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correct_award_00067
|
FactBench
|
3
| 77
|
https://news.gtp.gr/2023/05/15/odysseus-elytis-museum-in-athens-almost-complete/
|
en
|
Odysseus Elytis Museum in Athens Almost Complete
|
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] |
2023-05-15T00:00:00
|
The Odysseus Elytis Museum, a new cultural space that will honor the Nobel Prize-winning Greek poet, is expected to become a major attraction for visitors in Athens.
|
en
|
GTP Headlines
|
https://news.gtp.gr/2023/05/15/odysseus-elytis-museum-in-athens-almost-complete/
|
A new cultural landmark in Athens, dedicated to the life and work of the Nobel Prize-winning Greek poet Odysseus Elytis, is nearing completion.
Set to become a major attraction for visitors to the Greek capital, the Odysseus Elytis Museum will be run by non-profit NGO Aerton, the organization that owns the Odysseas Elytis archive.
The museum’s creation recently became official following the signing of a Memorandum of Cooperation (MoC) between Culture Minister Lina Mendoni and NGO Aerton President Ioulita Iliopoulou.
Under the MoC, the Culture Ministry will grant Aerton the use of the building located at the junction of Dioskourwn and Polygnwtou streets in the Athenian quarter of Plaka, as well as the two adjacent auxiliary buildings, upon completion of restoration works which are expected to be finished this summer.
The ministry will also subsidize the museum’s operation and provide specialized expertise and support to the site, which will be managed by Aerton. The restoration works began in December 2020.
Odysseus Elytis Museum
The new museum will feature a permanent exhibition space that will include photographs, texts, audio, and visual material, offering visitors a glimpse into the poet’s life and work.
In particular, there will be an accurate reconstruction of Elytis’ office, his workplace, personal objects, and valuable archival and exhibition material curated by Iliopoulou, familiarizing guests with the poet’s aesthetics, life, and conception of art. The museum will also house the Elytis Archive and other items related to his work.
Culture Minister Lina Mendoni said that the new museum, besides showcasing the poet’s life and work, “will also highlight Athenian urban architecture and demonstrate the historical continuity of the capital”.
She also noted that the museum is expected to become a major point of interest for visitors interested in the poet’s “great contribution to contemporary Greek culture”.
Odysseas Elytis, a prominent Greek poet and member of the 1930s literary generation, received the State Poetry Prize in 1960 and the Nobel Prize for Literature in 1979, making him the second and last Greek to receive the award.
Elytis is known for his innovative poetic style, with notable works such as Axion Esti and Orientations. He also translated poetic and theatrical works and was a member of various international art and literary organizations.
Follow to keep up to date with all the latest on tourism and travel in Greece.
|
|||||
correct_award_00067
|
FactBench
|
3
| 2
|
https://www.nobelprize.org/prizes/literature/1979/summary/
|
en
|
The Nobel Prize in Literature 1979
|
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
|
en
|
NobelPrize.org
|
https://www.nobelprize.org/prizes/literature/1979/summary/
|
The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
To cite this section
MLA style: The Nobel Prize in Literature 1979. NobelPrize.org. Nobel Prize Outreach AB 2024. Mon. 22 Jul 2024. <https://www.nobelprize.org/prizes/literature/1979/summary/>
Back to top Back To Top Takes users back to the top of the page
Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
|
|||||
correct_award_00067
|
FactBench
|
2
| 95
|
https://www.ellines.com/en/famous-greeks/44684-the-nobel-prize-winning-economist-and-knight-of-the-british-crown/
|
en
|
winning economist and Knight of the British Crown
|
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[
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[
"info info"
] |
2019-04-16T14:57:04+03:00
|
Sir Christopher Pissarides is Regius Professor at the London School of Economics (LSE), where he also heads the Macroeconomic Research Program at the Center for Economic Performance. He is Professor..
|
ellines.com - Η πρώτη διαδικτυακή χώρα στον κόσμο
|
https://www.ellines.com/en/famous-greeks/44684-the-nobel-prize-winning-economist-and-knight-of-the-british-crown/
|
Sir Christopher Pissarides is Regius Professor at the London School of Economics (LSE), where he also heads the Macroeconomic Research Program at the Center for Economic Performance. He is Professor of European Studies at the University of Cyprus and President of the Council of National Economy of Cyprus. He specializes in labor market economics, macroeconomic policy, economic growth and structural change.
He was born in Nicosia, Cyprus, on February 20, 1948. When he finished school at the age of 17, he was still to young to do his military service and so he managed to leave for studies abroad. Originally, as he mentions in his biography, Mr. Pissarides wanted to become an architect, but after the encouragement of his parents he studied economics -a field he found interesting- at the University of Essex, Great Britain, where he obtained his degree in 1970. In the following year he completed his postgraduate studies there. He then joined the LSE, where he completed his doctorate in 1973, under the supervision of mathematician economist Michio Morishima.
In 1976, Christopher Pissarides began working as a lecturer at the LSE. At that time, unemployment was the most important problem in British society. The youngest economist at that time observed the unemployment shock caused by unemployment in Britain’s political and social environment and decided to devote himself to the causes that caused it.
In 2005, Mr. Pissarides became the first economist outside the US to win, together with Dale Mortensen, the prestigious International Job Labor Institute (IZA) award in Labor Economics. He is a member of the Econometric Society, the British Academy, the Academy of Europe and several other scientific associations, and is also an honorary member of the American Economic Association.
He also held the “Norman Sosnow” headquarters of the Department of Economics, at the same university. He has written in scientific journals and in the press, and his book Equilibrium Unemployment Theory is a reference point in unemployment economics and has been translated into many languages.
The result of his multi-year studies and research was to be honored in 2010 with the Nobel Prize in Economics, along with Dale Mortensen of Northwestern University and Peter Diamond of MIT, for his work in analyzing market friction and contributing to the mapping of correlations which link the outbreak of unemployment to monetary and macroeconomic policies.
The Swedish Academy of Sciences rewarded the patience of decades of university professors with ethos and values, who individually and collectively succeeded in improving the ability of economic science to analyze hot and topical social and economic problems such as unemployment. Mr. Pissarides became the third person in the Greek space, after the poets George Seferis in 1963 and Odysseus Elytis in 1979, which was awarded the Nobel Prize.
As Mr. Pissarides said in his interview along with Mr. Mortensen and Mr. Diamond after receiving his Nobel Prize, his dealing with hot economic policy issues, particularly unemployment, through the Center for Labor Economics’ research projects, and then of the LSE’s Financial Performance Center, was an important motivation that prompted him to focus more on the problem of unemployment.
In the same interview, he revealed that he had been deeply influenced by the study of Wage Theory, the classic work of the top English economist and Nobel Prize winner John Hicks for Labor Economics, published in 1932, and stressed the importance of frictions and the institutional framework for full understanding the labor market beyond the potential of the full competition model.
In 2011, he was awarded with the Grand Cross of the Order of Makarios III of the Republic of Cyprus. In 2013 he became Knight of the British Crown, taking the title “Sir”. Mr Pissarides’ title was given in the context of the annual honorary title giving, on the occasion of Queen Elizabeth’s birthday. The head of the National Economy Council and professor at the LSE was honored with the title of Ernen Knight, the original degree of chivalry, for his services in the field of economics.
On November 5, 2015, he was elected a full member of the Academy of Athens at the “Economic Sciences – Development and Employment” headquarters in the class of Ethics and Political Sciences.
Professor Pissarides said in an interview that “New technologies of robotics and artificial intelligence can abolish certain professions, but they will cause an explosion in the creation of new jobs in areas that do not exist today. Just as electricity, the internal combustion engine and the railroad have degraded the wagons and caused a cosmogony that started from engineering and construction and stretched as the expansion of cities into areas that were inaccessible”.
For example, he added that Greece could solve the problem of unemployment simply by investing in health. Striding developments in health sciences, coupled with an aging population, will make the care and welfare sector the fastest growing. And all of this without having even talked about the status of advanced artificial intelligence programs to learn deeply and acquire within a few hours skills, as recently happened in chess, that a man would take a lifetime to conquer.
Mr. Pissarides does not exclude a revolutionary development in which he referred to his speech at the Academy of Athens, that it will come a day when the Nobel Prize for Economics or Physics will be awarded to a robot. He also said, under the flames of the fire by Prometheus, that “The fire of Prometheus is a transfer for the new technology”, meaning that the fire of the new technology will always illuminate the impasse of man and society.
The Professor continued by saying that Athens now holds the negative record of the metropolitan group with the highest unemployment in the Eurozone, such as “Investing in new technologies, education and boosting productivity. Sweden devotes 4% of GDP to research and development of new technologies and thus achieves satisfactory growth and low unemployment, while through redistribution policies it forms the conditions for a society with a high level of education, lifelong learning, social services, health and welfare”.
Nobel Prize-winning economist Sir Christopher Pissarides, is undoubtedly one of the most prominent scientists in the world who are active in the fields of Economic Sciences, Development – Growth and Employment.
In recent years, he has focused his research interests on the international economy and policy as well as on economic growth, technological progress and structural changes in the long run of the economy. As a teacher of thousands of students in his career and adviser to a number of international and national organizations, he has contributed as few other scientists to the improvement of humanity.
|
||||||
correct_award_00067
|
FactBench
|
3
| 36
|
https://impactalk.gr/en/stories-talk/nikos-kazantzakis-greek-giant-writer-was-nominated-9-nobel-prizes
|
en
|
Nikos Kazantzakis: The Greek giant writer that was nominated for 9 Nobel Prizes
|
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[
""
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[
"Nikos Kazantzakis"
] |
2021-04-02T00:28:20+03:00
|
Two Greek writers, Giorgos Seferis in 1963 and Odysseas Elytis in 1979, have won the Nobel Prize in Literature. There could be more Greek Nobel Prize winners in literature and for sure one of them that truly deserved it was Nikos Kazantzakis. Nevertheless, he never won the ultimate prize although he was globally considered the most well-known and widely-read Greek writer.
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en
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/themes/custom/rkpt/assets/image/favicon-96x96.png
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ImpacTalk
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https://impactalk.gr/en/stories-talk/nikos-kazantzakis-greek-giant-writer-was-nominated-9-nobel-prizes
|
Two Greek writers, Giorgos Seferis in 1963 and Odysseas Elytis in 1979, have won the Nobel Prize in Literature. There could be more Greek Nobel Prize winners in literature and for sure one of them that truly deserved it was Nikos Kazantzakis. Nevertheless, he never won the ultimate prize although he was globally considered the most well-known and widely-read Greek writer.
By Mia Kollia
Translated by Alexandros Theodoropoulos
According to Nobel Prize archives, Kazantzakis was nominated in nine different years for a total of 14 different nominations and in two of them together with Greek poet Angelos Sikelianos. Unfortunately, cohorts of the Greek Church along with some politicians and academics of the status quo did whatever it takes to prevent Kazantzakis winning the Nobel but on the other hand, the Swedish academy seemed to support him.
In 1956, Nikos Kazantzakis contested the prize having much of a chance to win, but the prize went to Spanish poet Jimenez for just a couple of votes. Kazantzakis won the Peace Prize at the same year, a prize that had been won by personalities like Charlie Chaplin and Shostakovich, but in the ceremony that took place in Vienna and was attended by all members of the World Peace Council, Greece wasn’t present. Considered an atheist, communist and panderer of young people, Kazantzakis was labeled by the Greek state as a public enemy.It is also noteworthy that in Norway, contrary to Greece, his books were published without restrictions. The Norwegian government, having seen the attitude of the Greek state towards Kazantzakis, offered him Norwegian citizenship and passport so that he could commute with ease. Also the Norwegian literature company nominated him for the Nobel after a unanimous vote. Kazantzakis rejected all offers.
When Albert Camus won the Nobel Prize for Literature in 1957, Nikos Kazantzakis was inpatient in Freiburg University Hospital in Germany. Despite deterioration of his health he sent a telegram to the French writer to congratulate him.
After the death of Kazantzakis, Albert Camus responded to his widow, Eleni N. Kazantzaki: “I’ve always admired and, if I may, adored your husband’s work. And I also never forget that the day I was so sad and had to accept honours that Kazantzakis deserved 100 times more than me, I received from him the most generous telegram. Soon I was horrified to notice that this message was written a few days before his death. With his loss, we lost one of the last great artists…”
Unpublished letter from Nikos Kazantzakis for the Nobel that he never won
“We escaped from Nobel this year. I heard a couple of months ago that a document from Sweden reached Mantoudis (Xefloudas also saw it) and as stated, I am out of time. I felt joy because in this way nobody will stand in the way of my dear friend and poet”, written by Nikos Kazantzakis in November 1946 in his letter to “Respected friend and Protector” of litterateurs, Nikos Veis, professor of Medieval and Modern Greek Literature in the University of Athens.
Kazantzakis’s letter referring to Nobel, his “dear friend and poet” Angelos Sikelianos and to the ejection of Nikos Veis from the University of Athens with the accusation of participating in Decemvriana (December events of 1944), is one of the unpublished handwritten documents in the Historic Archive collection of the University of Athens.
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correct_award_00067
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FactBench
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3
| 37
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http://authorscalendar.info/elitis.htm
|
en
|
Odysseus Elytis
|
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Greek poet and winner of the 1979 Nobel Prize for Literature. Elytis's poems are written in rich language, full of images from history and myths. The lines are long and musical. Inspired by the "sanctity of the perceiving senses" Elytis celebrated in his early poems the mystery of the Greek light, the sea, and the air. Later themes are grief, suffering, and search for a paradise.
----"I was given the Hellenic tongue
my house a humble one on the sandy shores of Homer.
----My only care my tongue on the sandy shores of Homer.
The sea-bream and perch
----windbeaten verbs
green currents with the cerulean
----all that I saw blazing in my entrails
sponges, medusae
----with the first words of the Sirens
pink shells with their first dark tremors."
(from Axion Esti, 1959)
Odysseus Elytis (pseudonym of Odysseas Alepoudhelis) was born in Iráklion, Crete, into a prosperous Cretan family. He was the sixth child of Maria and Panayiotis Alepoudellis. His parents and ancestors came from the island of Lesbos, home of the ancient Greek poet Sappho. From there the family business moved to Athens. During his summer vocations, Elytis went to the islands. He often said that the Agean indelibly stamped his mind. Elytis's father died of pneumonia in 1925. Following a nervous breakdown Elytis spent two months in bed.
After attending the Makris Private School, he entered Athens University, where he studied law from 1930 to 1935 without taking a degree. At the time, the most popular poet among the Greek youth was Kostas Karyotakis, who had committed suicide in 1928. "Pale, seized by dreams, they all wrote similar poems that confessed their faith to the one and only god: Karyotakis," said Elytis of his fellow students. Periodically he worked in the family's soap manufacturing business. Inspired by Freudian theory, French Surrealism and especially Paul Éluard, Elytis also tried his hand at poetry. All his poems, which he composed, he destroyed in 1934.
Elytis's first poems appeared in 1935 in magazine Ta Nea Grammata, which also published George Seferis's works - he won the Nobel Prize for literature in 1963. The poet Andreas Empeirikos, who had recently returned from France and was close to the French surrealistic circle, became Elytis's lifelong friend. Along with Empeirokos and the painter Stratis Eleftheriadis-Teriade, he traveled to Lesbos, where he was involved in the discovery and promotion of the art of the folk painter Theophilos Hadjimichael (1897-1934). Orientations (1940), Elytis's first collection, combined themes of Eros and beauty with the timeless nature of the Aegean world: "Love / The archipelago / And the prow of its foam / And the seagull of its dream" (from 'Of the Aegean').
During WW II when Nazis occupied Greece, Elytis joined the resistance movement and served as a second lieutenant in Albania in 1940-41. After a long campaign, he contracted typhus. Asma iroiko ke penthimo ghia ton hameno anthipolochago tis Alvanias (1943, Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign) was published during the Nazi occupation of Greece. Elytis's joyful visions of youth and the sun-drenched Aegean nature had changed into acknowlegmenet of violence and sudden death. The hero of the poem is killed on the battlefield and miraculously resurrected throught his youth and heroism.
"As a young man he had seen gold glittering and gleaming on the shoulders of the great -And one night -he remembers -during a great storm the neck of the sea roared so it turned murky -but he would not submit it
The world's an oppressive place to live through -yet with a little pride it's worth it."
(from Death and Resurrection of Constandinos Paleologhos')
Like many other leftist intellectuals, Elytis was denied a passport during the civil war between communists and royalistst. He wrote critics for the newspaper Kathimerini and worked for the National Broadcasting Institute in Athens in 1945-46 and again 1953-54. When he was given permission to travel outside the country in 1948, he moved to Paris, where he studied literature at the Sorbonne. During this time he became acquainted with Pablo Picasso, Henri Matisse, and other figures of the Parisian art scene.
In 1953, Elytis returned to Greece and took an active role in cultural affairs. He was a member of the Greek critical and prize-awarding Group of the Twelve, and served as president and governing-board member of Karolos Koun's Art Theater and of the Greek Ballet. His silence as a poet ended in 1959 with To Axion Esti, reminiscent of Walt Whitman's Song of Myself, which celebrated the diversity of American landscapes and people. It is believed, that Elytis was proficient enough in English to read Whitman while in France.
The work took him 14 years to write; it was later set music by Mikis Theodorakis. Inspired by the Byzantine liturgy, Elytis combines the biblical story of the creation with modern Greek history. In this work the poet identifies himself in the first section, 'Genesis', with the sun and the entire Aegena world and his race. In the second, 'The Passion,' he passes through the barbaric war decade, comparing humankind's suffering with the suffering of Christ. Eventually, like Dante in Paradise, he sees the sun, love, and beauty. "If there is, I think, for each one of us a different, a personal Paradise," Elytis once said, "mine should irreparably be inhabited by trees of words that the wind dresses in silver, like poplars, by men who see the rights of which they have been deprived returning to them, and by birds that even in the midst of the truth of death insist on singing in Greek and on saying, eros, eros, eros!""
Between 1965 and 1968, Elytis served on the administrative board of the Greek National Theater, and then spent the next two years in Paris after the Greek military coup of 1967. The dictatorial government offered him the Grand Prize for Literature, but he refused the honour. The two collections of poetry, The Light Tree and the Fourteenth Beauty and The Monogram, which he composed during the Junta rule, appeared in Cyprus. In 1978 he published a long poetic work, Maria Nefeli, which was finished when he returned to Greece. Its alternating monologues are spoken by a girl, Maria Nephele and the Antiphonist, the poet himself.
Much of his life, Elytis spent in semiseclusion, focusing only on his art. For many years he lived in the same apartment in Athens, frequented the Café Dexameni (a statue of Elytis stands in Dexameni Square), and wrote on the desk he had had since childhood.
After the Nobel Prize followed a period of busy traveling. His final collection was Dytika tis Lypis (1995). Elytis never married; during his last years his companion was the poet Ioulita Iliopoulou. Elytis died of a heart attack on March 18, 1996, at his home in Kolonaki. The bulk of his books Elytis donated to libraries. His collected poems, translated into English by Jeffrey Carson and Nikos Sarris, came out posthumously in 1997. Elytis was also a talented painter and produced illustrations of his lyrical world in gouaches and collages.
For further reading: Da Omero a Elytis: la metafora del mito dall'epos antico alle letterature moderne, a cura di Matteo Miano, Sophie Zambalou, Anna Zimbone (2019); Mediterranean Modernisms: The Poetic Metaphysics of Odysseus Elytis by Marinos Pourgouris (2011); Seferis and Elytis as Translators by Irene Loulakaki-Moore (2010); God and the Poetic Ego: the Appropriation of Biblical and Liturgical Language in the Poetry of Palamas, Sikelianos, and Elytis by Anthony Hirst (2004) Odysseus Elytis: From the Golden to the Silver Poem by Adonis Decavalles (1994); Eliot and Elytis: Poet of Time, Poet of Space by Karl Malkoff (1984); Odysseus Elytis: Analogies of Light by I. Ivask (1981); '"Elytis," Odysseus,' in World Authors 1950-1970, edited by John Wakeman (1975); Books Abroad, special Elytis issue (Autumn 1975); Modern Greek Poetry by E. Keeley (1973) - "Odysseus Elytis is first of all a poet whose unique strength is the celebration of a landscape that is his protean theme, his finest invention. This terrain is both his beloved Greece and the human body, a vision r ooted in the past and passionately imagined in a kind of floating, timeless present." (Rachel Hadas in The New York Times, February 7, 1982)
Selected works:
Prosanatolismoi, 1940
- Orientations (selections in The Sovereign Sun: Selected Poems, translated by Simon Friar, 1974; Selected Poems, translated by Edmund Keeley and Philip Sherrard, 1981)
Îlios o Prôtos, 1943 (Sun the First, together with Variations of a Sunbeam)
Asma Îrôiko kai Penthimo gia ton chameno Anthypolochago tîs Alvanias, 1943 (Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign)
To Axion Esti, 1959
- The Axion Esti (translated by Edmund Keeley and George Savadis, 1974)
- Ylistetty olkoon (suom. Markku Pääskynen, 2010)
- oratorio: composed by Mikis Theodorakis, 1960
Exî kai mia Typseis gia ton Oyrano, 1960
- Six and One Remorses for the Sky and Other Poems (selections in Selected Poems, translated by Edmund Keeley and Philip Sherrard, 1981; translated by Jeffrey Carson, 1981)
O Îlios o Îliatora, 1971
- The Sovereign Sun: Selected Poems (translated by Simon Friar, 1974)
To monogramma, 1971
- The Monogram (in What I Love, translated by Olga Boumas, 1986)
To Fotodendro ke i Dekati Tetarti Omorfia, 1971 (The Light Tree and the Fourteenth Beauty)
Ta Rô tou Erôta, 1972
The Sovereign Sun: Selected Poems, 1974 (translated by Kimon Friar)
Ta Eterothalî, 1974
Anichta Hartia, 1974 [Open Book]
The Stepchildren, 1974
Î Mageia tou Papadiamantî, 1974
Deuteri Grafî, 1976 (translator)
Sîmatologeion, 1977
Maria Nefelî, 1978
- Maria Nephele: A Poem in Two Voices (translated by Athan Anagnostopoulos, 1981)
Selected Poems, 1981 (translated by Edmund Keeley et al.)
Odysseus Elytis: Analogies of Light, 1981 (edited by Ivar Ivask and Philip Sherrard)
Tria Poiîmata me sîmaia Eykairias, 1982
Sapfô, 1984 (translator)
Îmerologio enos Atheatou Apriliou, 1984
- Diary of an Unseen April (translated by David Connolly, 1999)
Î Apokalypsî tou Iôanni, 1985 (translator)
Six and One Remorses for the Sky: And Other Poems, 1985 (translated by Jeffrey Carson)
What I Love: Selected Poems, 1986 (translated by Olga Boumas)
O Mikros Nautilos, 1986
- The Little Mariner (translated by Olga Broumas, 1988)
Krinagoras, 1987 (translator)
Ta Elegeia tîs Oxôpetras, 1991
- The Oxopetra Elegies, 1996 (translated by David Connolly, 1996) / The Elegies of Oxopetra West of Sorrow (English & Greek; translated by David Connoll, 2012)
En Lefkó, 1992
- Carte Blance: Selected Writings (translated by David Connolly, 1999)
Open Papers: Selected Essays, 1994 (translated by Olga Broumas & T. Begley)
O Kípos me tis Aftapátes, 1995 [The Garden of Self-Delusions]
Dytika tis Lypis, 1995
S X 7 E, 1996
The Collected Poems of Odysseus Elytis, 1997 (translated by Jeffrey Carson and Nikos Sarris)
Ek tou Plîsion, 1998 (edited by Ioulita Iliopoulou)
Eros, Eros, Eros: Selected and Last Poems, 1998 (translated by Olga Broumas)
Carte Blanche: Selected Writings, 1999 (translated by David Connolly)
Autoprosōpographia: se logo prophoriko, 2000
Sēmatologion, 2001
Poiîsî, 2002
Selected Poems 1940-1979, 2005 (translated by Edmund Keeley, Philip Sherrard, George Savidis, John Stathatos, Nanos Valaoritis)
In the Name of Luminosity and Transparency, 2016 (translated from the modern Greek by Simon Darragh; introduction by Dimitris Daskalopoulos)
Some rights reserved Petri Liukkonen (author) & Ari Pesonen. 2008-2023.
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SOURCE: THENATIONALNEWS
There have been 114 literature prizes
The Nobel Prize for Literature is the only one decided by the Swedish Academy, founded in 1786 by Swedish King Gustav III, which has 18 life tenure members.
Alfred Nobel’s will orders that the award goes to “the person who shall have produced in the field of literature the most outstanding work in an ideal direction”.
There have been 114 literature prizes awarded ― and nine years when no one won.
The youngest winner was a 41-year-old Rudyard Kipling in 1907 “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterise the creations of this world-famous author”.
And the oldest was Doris Lessing, “epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”.
2021
Abdulrazak Gurnah “for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents”
2020
Louise Glück “for her unmistakable poetic voice that with austere beauty makes individual existence universal”
2019
Peter Handke “for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience”
2018
Olga Tokarczuk “for a narrative imagination that with encyclopaedic passion represents the crossing of boundaries as a form of life”
2017
Kazuo Ishiguro “who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
2016
Bob Dylan “for having created new poetic expressions within the great American song tradition”
2015
Svetlana Alexievich “for her polyphonic writings, a monument to suffering and courage in our time”
2014
Patrick Modiano “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
2013
Alice Munro “master of the contemporary short story”
2012
Mo Yan “who with hallucinatory realism merges folk tales, history and the contemporary”
2011
Tomas Transtromer “because, through his condensed, translucent images, he gives us fresh access to reality”
2010
Mario Vargas Llosa “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat”
2009
Herta Muller “who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
2008
Jean-Marie Gustave Le Clezio “author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilisation”
2007
Doris Lessing “that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
2006
Orhan Pamuk “who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
2005
Harold Pinter ”who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms”
2004
Elfriede Jelinek “for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”
2003
John M Coetzee “who in innumerable guises portrays the surprising involvement of the outsider”
2002
Imre Kertesz “for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
2001
Sir Vidiadhar Surajprasad Naipaul “for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
2000
Gao Xingjian “for an oeuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
1999
Gunter Grass “whose frolicsome black fables portray the forgotten face of history”
1998
José Saramago who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
1997
Dario Fo “who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
1996
Wislawa Szymborska “for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
1995
Seamus Heaney “for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
1994
Kenzaburo Oe “who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
1993
Toni Morrison “who in novels characterised by visionary force and poetic import, gives life to an essential aspect of American reality”
1992
Derek Walcott “for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
1991
Nadine Gordimer “who through her magnificent epic writing has — in the words of Alfred Nobel — been of very great benefit to humanity”
1990
Octavio Paz “for impassioned writing with wide horizons, characterised by sensuous intelligence and humanistic integrity”
1989
Camilo Jose Cela “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”
1988
Naguib Mahfouz “who, through works rich in nuance — now clearsightedly realistic, now evocatively ambiguous — has formed an Arabian narrative art that applies to all mankind”
1987
Joseph Brodsky “for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
1986
Wole Soyinka “who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
1985
Claude Simon “who in his novel combines the poet’s and the painter’s creativeness with a deepened awareness of time in the depiction of the human condition”
1984
Jaroslav Seifert “for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
1983
William Golding “for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
1982
Gabriel García Márquez “for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent’s life and conflicts”
1981
Elias Canetti “for writings marked by a broad outlook, a wealth of ideas and artistic power”
1980
Czeslaw Milosz who with uncompromising clearsightedness voices man’s exposed condition in a world of severe conflicts”
1979
Odysseus Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clearsightedness modern man’s struggle for freedom and creativeness”
1978
Isaac Bashevis Singer “for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
1977
Vicente Aleixandre “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
1976
Saul Bellow “for the human understanding and subtle analysis of contemporary culture that are combined in his work”
1975
Eugenio Montale “for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
1974
Eyvind Johnson “for a narrative art, far-seeing in lands and ages, in the service of freedom”
Harry Martinson “for writings that catch the dewdrop and reflect the cosmos”
1973
Patrick White “for an epic and psychological narrative art which has introduced a new continent into literature”
1972
Heinrich Boll “for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterisation has contributed to a renewal of German literature”
1971
Pablo Neruda “for a poetry that with the action of an elemental force brings alive a continent’s destiny and dreams”
1970
Aleksandr Isayevich Solzhenitsyn “for the ethical force with which he has pursued the indispensable traditions of Russian literature”
1969
Samuel Beckett “for his writing, which — in new forms for the novel and drama — in the destitution of modern man acquires its elevation”
1968
Yasunari Kawabata “for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
1967
Miguel Angel Asturias “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
1966
Shmuel Yosef Agnon “for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
Nelly Sachs” for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength”
1965
Mikhail Aleksandrovich Sholokhov “for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
1964
Jean-Paul Sartre “for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
1963
Giorgos Seferis “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
1962
John Steinbeck “for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
1961
Ivo Andric “for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
1960
Saint-John Perse “for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
1959
Salvatore Quasimodo “for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
1958
Boris Leonidovich Pasternak “for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
1957
Albert Camus “for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
1956
Juan Ramón Jiménez “for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
1955
Halldór Kiljan Laxness “for his vivid epic power which has renewed the great narrative art of Iceland”
1954
Ernest Miller Hemingway “for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style”
1953
Sir Winston Leonard Spencer Churchill “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
1952
François Mauriac “for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
1951
Pär Fabian Lagerkvist “for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
1950
Earl (Bertrand Arthur William) Russell “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
1949
William Faulkner “for his powerful and artistically unique contribution to the modern American novel”
1948
Thomas Stearns Eliot “for his outstanding, pioneer contribution to present-day poetry”
1947
Andre Paul Guillaume Gide “for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
1946
Hermann Hesse “for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
1945
Gabriela Mistral “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
1944
Johannes Vilhelm Jensen “for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
1943
No Nobel Prize was awarded this year. The prize money was with one-third allocated to the Main Fund and with two-thirds to the Special Fund of this prize section.
1942
No Nobel Prize was awarded this year. The prize money was with one-third allocated to the Main Fund and with two-thirds to the Special Fund of this prize section.
1941
No Nobel Prize was awarded this year. The prize money was with one-third allocated to the Main Fund and with two-thirds to the Special Fund of this prize section.
1940
No Nobel Prize was awarded this year. The prize money was with one-third allocated to the Main Fund and with two-thirds to the Special Fund of this prize section.
1939
Frans Eemil Sillanpaa “for his deep understanding of his country’s peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
1938
Pearl Buck “for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
1937
Roger Martin du Gard “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
1936
Eugene Gladstone O’Neill “for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
1935
No Nobel Prize was awarded this year. The prize money was with one-third allocated to the Main Fund and with two-thirds to the Special Fund of this prize section.
1934
Luigi Pirandello “for his bold and ingenious revival of dramatic and scenic art”
1933
Ivan Alekseyevich Bunin “for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
1932
John Galsworthy “for his distinguished art of narration which takes its highest form in The Forsyte Saga”
1931
Erik Axel Karlfeldt “The poetry of Erik Axel Karlfeldt”
1930
Sinclair Lewis “for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
1929
Thomas Mann “principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature”
1928
Sigrid Undset “principally for her powerful descriptions of Northern life during the Middle Ages”
1927
Henri Bergson “in recognition of his rich and vitalising ideas and the brilliant skill with which they have been presented”
1926
Grazia Deledda “for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
1925
George Bernard Shaw “for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
1924
Wladyslaw Stanislaw Reymont “for his great national epic, The Peasants”
1923
William Butler Yeats “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
1922
Jacinto Benavente “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
1921
Anatole France “in recognition of his brilliant literary achievements, characterised as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
1920
Knut Pedersen Hamsun “for his monumental work, Growth of the Soil”
1919
Carl Friedrich Georg Spitteler “in special appreciation of his epic, Olympian Spring”
1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1917
Karl Adolph Gjellerup “for his varied and rich poetry, which is inspired by lofty ideals”
Henrik Pontoppidan “for his authentic descriptions of present-day life in Denmark”
1916
Carl Gustaf Verner von Heidenstam “in recognition of his significance as the leading representative of a new era in our literature”
1915
Romain Rolland “as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
1914
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1913
Rabindranath Tagore “because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”
1912
Gerhart Johann Robert Hauptmann “primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art”
1911
Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck “in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers’ own feelings and stimulate their imaginations”
1910
Paul Johann Ludwig Heyse “as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories”
1909
Selma Ottilia Lovisa Lagerlöf “in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterise her writings”
1908
Rudolf Christoph Eucken “in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
1907
Rudyard Kipling “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterise the creations of this world-famous author”
1906
Giosue Carducci “not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterise his poetic masterpieces”
1905
Henryk Sienkiewicz “because of his outstanding merits as an epic writer”
1904
Frederic Mistral “in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
Jose Echegaray y Eizaguirre “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
1903
Bjornstjerne Martinus Bjornson “as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
1902
Christian Matthias Theodor Mommsen “the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
1901
Sully Prudhomme “in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect”
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https://libguides.furman.edu/book-awards/nobel
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LibGuides at Furman University
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Various book awards and links to the books in our collection. Happy reading! The Nobel Prize in Literature has been awarded 108 times to 112 Nobel Laureates between 1901 and 2015..
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https://libguides.furman.edu/book-awards/nobel
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Annie Ernaux “for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory”
The Nobel Prize in Literature 2021
Abdulrazak Gurnah “for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents”
The Nobel Prize in Literature 2020
Louise Glück “for her unmistakable poetic voice that with austere beauty makes individual existence universal”
The Nobel Prize in Literature 2019
Peter Handke “for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience”
The Nobel Prize in Literature 2018
Olga Tokarczuk “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”
The Nobel Prize in Literature 2017
Kazuo Ishiguro “who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
The Nobel Prize in Literature 2016
Bob Dylan “for having created new poetic expressions within the great American song tradition”
The Nobel Prize in Literature 2015
Svetlana Alexievich “for her polyphonic writings, a monument to suffering and courage in our time”
The Nobel Prize in Literature 2014
Patrick Modiano “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
The Nobel Prize in Literature 2013
Alice Munro “master of the contemporary short story”
The Nobel Prize in Literature 2012
Mo Yan “who with hallucinatory realism merges folk tales, history and the contemporary”
The Nobel Prize in Literature 2011
Tomas Tranströmer “because, through his condensed, translucent images, he gives us fresh access to reality”
The Nobel Prize in Literature 2010
Mario Vargas Llosa “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat”
The Nobel Prize in Literature 2009
Herta Müller “who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
The Nobel Prize in Literature 2008
Jean-Marie Gustave Le Clézio “author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization”
The Nobel Prize in Literature 2007
Doris Lessing “that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
The Nobel Prize in Literature 2006
Orhan Pamuk “who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
The Nobel Prize in Literature 2005
Harold Pinter“who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms”
The Nobel Prize in Literature 2004
Elfriede Jelinek “for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”
The Nobel Prize in Literature 2003
John M. Coetzee “who in innumerable guises portrays the surprising involvement of the outsider”
The Nobel Prize in Literature 2002
Imre Kertész “for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
The Nobel Prize in Literature 2001
Sir Vidiadhar Surajprasad Naipaul “for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
The Nobel Prize in Literature 2000
Gao Xingjian “for an æuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
The Nobel Prize in Literature 1999
Günter Grass “whose frolicsome black fables portray the forgotten face of history”
The Nobel Prize in Literature 1998
José Saramago who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
The Nobel Prize in Literature 1997
Dario Fo “who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
The Nobel Prize in Literature 1996
Wislawa Szymborska “for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
The Nobel Prize in Literature 1995
Seamus Heaney “for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
The Nobel Prize in Literature 1994
Kenzaburo Oe “who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
The Nobel Prize in Literature 1993
Toni Morrison “who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality”
The Nobel Prize in Literature 1992
Derek Walcott “for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
The Nobel Prize in Literature 1991
Nadine Gordimer “who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity”
The Nobel Prize in Literature 1990
Octavio Paz “for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity”
The Nobel Prize in Literature 1989
Camilo José Cela “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”
The Nobel Prize in Literature 1988
Naguib Mahfouz “who, through works rich in nuance – now clear-sightedly realistic, now evocatively ambiguous – has formed an Arabian narrative art that applies to all mankind”
The Nobel Prize in Literature 1987
Joseph Brodsky “for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
The Nobel Prize in Literature 1986
Wole Soyinka “who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
The Nobel Prize in Literature 1985
Claude Simon “who in his novel combines the poet’s and the painter’s creativeness with a deepened awareness of time in the depiction of the human condition”
The Nobel Prize in Literature 1984
Jaroslav Seifert “for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
The Nobel Prize in Literature 1983
William Golding “for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
The Nobel Prize in Literature 1982
Gabriel García Márquez “for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent’s life and conflicts”
The Nobel Prize in Literature 1981
Elias Canetti “for writings marked by a broad outlook, a wealth of ideas and artistic power”
The Nobel Prize in Literature 1980
Czeslaw Milosz who with uncompromising clear-sightedness voices man’s exposed condition in a world of severe conflicts”
The Nobel Prize in Literature 1979
Odysseus Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”
The Nobel Prize in Literature 1978
Isaac Bashevis Singer “for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
The Nobel Prize in Literature 1977
Vicente Aleixandre “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
The Nobel Prize in Literature 1976
Saul Bellow “for the human understanding and subtle analysis of contemporary culture that are combined in his work”
The Nobel Prize in Literature 1975
Eugenio Montale “for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
The Nobel Prize in Literature 1974
Eyvind Johnson “for a narrative art, far-seeing in lands and ages, in the service of freedom”
Harry Martinson “for writings that catch the dewdrop and reflect the cosmos”
The Nobel Prize in Literature 1973
Patrick White “for an epic and psychological narrative art which has introduced a new continent into literature”
The Nobel Prize in Literature 1972
Heinrich Böll “for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature”
The Nobel Prize in Literature 1971
Pablo Neruda “for a poetry that with the action of an elemental force brings alive a continent’s destiny and dreams”
The Nobel Prize in Literature 1970
Aleksandr Isayevich Solzhenitsyn “for the ethical force with which he has pursued the indispensable traditions of Russian literature”
The Nobel Prize in Literature 1969
Samuel Beckett “for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation”
The Nobel Prize in Literature 1968
Yasunari Kawabata “for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
The Nobel Prize in Literature 1967
Miguel Angel Asturias “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
The Nobel Prize in Literature 1966
Shmuel Yosef Agnon “for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
Nelly Sachs“for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength”
The Nobel Prize in Literature 1965
Mikhail Aleksandrovich Sholokhov “for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
The Nobel Prize in Literature 1964
Jean-Paul Sartre “for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
The Nobel Prize in Literature 1963
Giorgos Seferis “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
The Nobel Prize in Literature 1962
John Steinbeck “for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
The Nobel Prize in Literature 1961
Ivo Andric “for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
The Nobel Prize in Literature 1960
Saint-John Perse “for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
The Nobel Prize in Literature 1959
Salvatore Quasimodo “for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
The Nobel Prize in Literature 1958
Boris Leonidovich Pasternak “for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
The Nobel Prize in Literature 1957
Albert Camus “for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
The Nobel Prize in Literature 1956
Juan Ramón Jiménez “for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
The Nobel Prize in Literature 1955
Halldór Kiljan Laxness “for his vivid epic power which has renewed the great narrative art of Iceland”
The Nobel Prize in Literature 1954
Ernest Miller Hemingway “for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style”
The Nobel Prize in Literature 1953
Sir Winston Leonard Spencer Churchill “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
The Nobel Prize in Literature 1952
François Mauriac “for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
The Nobel Prize in Literature 1951
Pär Fabian Lagerkvist “for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
The Nobel Prize in Literature 1950
Earl (Bertrand Arthur William) Russell “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
The Nobel Prize in Literature 1949
William Faulkner “for his powerful and artistically unique contribution to the modern American novel”
The Nobel Prize in Literature 1948
Thomas Stearns Eliot “for his outstanding, pioneer contribution to present-day poetry”
The Nobel Prize in Literature 1947
André Paul Guillaume Gide “for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
The Nobel Prize in Literature 1946
Hermann Hesse “for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
The Nobel Prize in Literature 1945
Gabriela Mistral “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
The Nobel Prize in Literature 1944
Johannes Vilhelm Jensen “for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
The Nobel Prize in Literature 1943
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1939
Frans Eemil Sillanpää “for his deep understanding of his country’s peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
The Nobel Prize in Literature 1938
Pearl Buck “for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
The Nobel Prize in Literature 1937
Roger Martin du Gard “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
The Nobel Prize in Literature 1936
Eugene Gladstone O’Neill “for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
The Nobel Prize in Literature 1935
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1934
Luigi Pirandello “for his bold and ingenious revival of dramatic and scenic art”
The Nobel Prize in Literature 1933
Ivan Alekseyevich Bunin “for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
The Nobel Prize in Literature 1932
John Galsworthy “for his distinguished art of narration which takes its highest form in The Forsyte Saga”
The Nobel Prize in Literature 1931
Erik Axel Karlfeldt “The poetry of Erik Axel Karlfeldt”
The Nobel Prize in Literature 1930
Sinclair Lewis “for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
The Nobel Prize in Literature 1929
Thomas Mann “principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature”
The Nobel Prize in Literature 1928
Sigrid Undset “principally for her powerful descriptions of Northern life during the Middle Ages”
The Nobel Prize in Literature 1927
Henri Bergson “in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented”
The Nobel Prize in Literature 1926
Grazia Deledda “for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
The Nobel Prize in Literature 1925
George Bernard Shaw “for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
The Nobel Prize in Literature 1924
Wladyslaw Stanislaw Reymont “for his great national epic, The Peasants”
The Nobel Prize in Literature 1923
William Butler Yeats “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
The Nobel Prize in Literature 1922
Jacinto Benavente “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
The Nobel Prize in Literature 1921
Anatole France “in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
The Nobel Prize in Literature 1920
Knut Pedersen Hamsun “for his monumental work, Growth of the Soil”
The Nobel Prize in Literature 1919
Carl Friedrich Georg Spitteler “in special appreciation of his epic, Olympian Spring”
The Nobel Prize in Literature 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1917
Karl Adolph Gjellerup “for his varied and rich poetry, which is inspired by lofty ideals”
Henrik Pontoppidan “for his authentic descriptions of present-day life in Denmark”
The Nobel Prize in Literature 1916
Carl Gustaf Verner von Heidenstam “in recognition of his significance as the leading representative of a new era in our literature”
The Nobel Prize in Literature 1915
Romain Rolland “as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
The Nobel Prize in Literature 1914
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1913
Rabindranath Tagore “because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”
The Nobel Prize in Literature 1912
Gerhart Johann Robert Hauptmann “primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art”
The Nobel Prize in Literature 1911
Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck “in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers’ own feelings and stimulate their imaginations”
The Nobel Prize in Literature 1910
Paul Johann Ludwig Heyse “as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories”
The Nobel Prize in Literature 1909
Selma Ottilia Lovisa Lagerlöf “in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings”
The Nobel Prize in Literature 1908
Rudolf Christoph Eucken “in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
The Nobel Prize in Literature 1907
Rudyard Kipling “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”
The Nobel Prize in Literature 1906
Giosuè Carducci “not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces”
The Nobel Prize in Literature 1905
Henryk Sienkiewicz “because of his outstanding merits as an epic writer”
The Nobel Prize in Literature 1904
Frédéric Mistral “in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
José Echegaray y Eizaguirre “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
The Nobel Prize in Literature 1903
Bjørnstjerne Martinus Bjørnson “as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
The Nobel Prize in Literature 1902
Christian Matthias Theodor Mommsen “the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
The Nobel Prize in Literature 1901
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2019-11-18T17:07:30+00:00
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It would be difficult to account for the whole of Modern Greek literature in a single lecture; indeed, the only possible approach is through selected highlights. This is precisely what Peter Mackridge, Oxford Professor of Modern Greek (1996-2003), contrived to do in his lecture in the Bodleian Libraries lecture series ‘Literatures of Multilingual Europe’, which took place in Michaelmas Term 2018. [You can see the full podcast of the lecture at http://podcasts.ox.ac.uk/introduction-modern-greek-literature.]
In a wide-ranging talk, which began with the nineteenth century Romantic poet Dionysios Solomos and then circled back to him by way of Medieval, Renaissance and Modern writings, Peter took his audience on a whistle-stop tour of the major landmarks of Modern Greek Literature.
Beginning with the humorous Medieval begging poems of an author known to us only by his pseudonym, ‘Poor Prodromos’, Prof. Mackridge went on to delineate the 16th-17th century Cretan ‘Renaissance’ verse romances and the beginnings of the Modern period in the Greek revolution of 1821. Apart from Solomos, the ‘Father of Modern Greek Poetry’, Prof. Mackridge noted the two most prominent exemplars of 19th century Greek prose, Emmanouil Roidis (author of the subversive satire ‘Pope Joan’, first translated into English in an abbreviated version by Lawrence Durrell) and Papadiamandis, whose extraordinary realist novel ‘The Murderess’ has recently been retranslated by Liadain Sherrard. Prof. Mackridge himself has translated the long short story, ‘Around the Lagoon’.
As Prof. Mackridge pointed out, the astonishing continuity of Greek literature (defined as literature in Greek) is largely inherent in poetry. C.P. Cavafy, the best-known and most-translated Greek poet, who died in 1933, preceded the so-called Generation of 1930, whose shining lights include George Seferis, Yannis Ritsos and Odysseas Elytis.
Seferis and Elytis both won the Nobel Prize for Literature, whilst Ritsos was awarded the Lenin Peace Prize. All three poets have had their work set to music by Mikis Theodorakis, whose settings have proved hugely popular with people from all walks of life.
Among the issues discussed by Prof. Mackridge were the school syllabus, with its emphasis on national pride and the glorification of heroes of the War of Independence, and the related emphasis in Greek culture (including the arts) on identity: what it means to be Greek. Here, there were humorous references to “Zorba the Greek” (Kazantzakis) and the stereoptyping to which English translations of this work (there is no “the Greek” in the Greek title) have contributed.
Finally, Prof. Mackridge referred to more recent writings, including the poetry anthology inspired by the Greek financial crisis: “Austerity Measures” (edited by his former D. Phil. student, Prof. Karen Van Dyck).
At the beginning of his talk, Prof. Mackridge apologised for his exclusion of women writers. In fact, much of the period under discussion yields no well-known female authors, but the twentieth century has produced women novelists and poets of some stature, including Maro Douka, Rea Galanaki, Jenny Mastoraki, Maria Laïna, Evgenia Fakinou and Kiki Dimoula. There were also earlier poets, such as Maria Polydouri, who was popular in her day though her work has not really stood the test of time. The one woman writer referred to, the poet and novelist Ersi Sotiropoulou, was mentioned in connection with her recent fictionalised account of an episode in the life of C. P. Cavafy.
Rea Galanaki’s acclaimed novel, ‘The Life of Ismail Ferik Pasha’, translated by Kay Cicellis, makes an interesting companion volume to the Nobel laureate Ivo Andric’s last novel, ‘Omer Pasha Latas’ (1968), recently translated by Celia Hawkesworth (winner of the 2019 Weidenfeld Translation Prize for this volume). ‘The Life of Ismail Ferik Pasha’ has been described as an ‘elaboration’ on Borges’ traitor-hero theme (Beaton, An Introduction to Modern Greek Literature, p. 291). It creates a biography for a historical figure about whom almost nothing is known. Seized in Crete as a child by the Ottomans and sold as a slave in Egypt, Ismail eventually becomes the leader of the Ottoman Egyptian army and returns to Crete to quell a local revolt. In parallel to Ismail, Andric’s Omer Pasha is a Christian boy who converts to Islam and becomes commander-in-chief of the Sultan’s armies.
Maria Iordanidou’s autobiographical novel Loxandra is set in pre-1922 Constantinople/Istanbul. This is an earlier version of the world of the popular Greek film ‘Politiki Kouzina’/’A Touch of Spice’ (Tassos Boulmetis, 2003).
Karen van Dyck has done much to bring contemporary Greek women poets to an English-speaking audience and the leading translator of Modern Greek Literature, David Conolley, has produced sensitive renderings of Kiki Dimoula.
Dr Sarah Ekdawi
Faculty Research Fellow
Reviews Editor of Byzantine and Modern Greek Studies
Assistant Director of Studies, Oxford School of English
For readers who would like to read some Modern Greek literature in excellent translations, the following selection is highly recommended. This select bibliography (compiled by Sarah Ekdawi) is followed by Prof. Mackridge’s more extensive bibliography, used to illustrate his talk.
* Names marked with an asterisk are Oxford alumni
Select Bibliography
Overview
Roderick Beaton, An Introduction to Modern Greek Literature (Oxford Clarendon Press,1994
Poetry
P. Cavafy, The Collected Poems, translated by Evangelos Sachperoglou, with an introduction by Peter Mackridge, bilingual edition (Oxford World Classics, OUP, 2007)
George Seferis, Novel and Other Poems, translated by Roderick Beaton (Aiora Press, 2016)
Yannis Ritsos Among his Contemporaries. Twentieth-Century Greek Poetry Translated by Marjorie Chambers (Colenso Books, 2018)
Rhea Galanaki, Jenny Mastoraki and Maria Laina, The Rehearsal of Misunderstanding. Three Collections by Contemporary Greek Women Poets, translated and introduced by Karen van Dyck, bilingual edition. Wesleyan University Press, 1998
Kiki Dimoula, Lethe’s Adolescence, translated by David Conolly (Nostos Books, 1996)
Novels
Alexandros Papadiamantis, The Murderess, translated by Liadain Sherrard (Denise Harvey Publisher, 2011)
Maria Iordanidou, Loxandra, translated by Norma Aynsley Sourmeli (Denise Harvey Publisher, 2107)
Rhea Galanaki, The Life of Ismail Ferik Pasha, translated by Kay Cicellis (Peter Owen Publishers, 1999)
Evgenia Fakinou, The Seventh Garment, translated by Ed Emery (Serpent’s Tail, 1991)
Menis Koumandareas, Their Smell Makes me Want to Cry, translated by Patricia Felisa Barbeito and Vangelis Calotychos, (University of Birmingham, 2004)
Prof. Mackridge’s Bibliography
Cretan Renaissance literature (16th-17th c.)
1. Georgios Chortatsis (c. 1550-c. 1610), Plays of the Veneto-Cretan Renaissance: a bilingual Greek-English edition, ed. & tr. Rosemary Bancroft-Marcus*, vol. 1 (OUP, 2014) [PA5610.C45 A2 CHO 2013]
2. D. Papamarkos* and G. Ragkos, Erōtokritos tou Vintsentzou Kornarou (graphic novel, Polaris, 2016) [PN6790.G73 G68 GOU 2016]
The War of Independence (1820s)
3. Dionysios Solomos (1798-1857), The Free Besieged and other poems, ed. Prof. Mackridge* bilingual edn (Nottingham: Shoestring Press, 2000 [22015])
Mid-19th c.
4. Emmanouil Roidis, Papissa Ioanna (graphic novel, illustrated by Dimitris Hantzopoulos, Athens 2018; also forthcoming edn translated as Pope Joan by Prof. Mackridge*)
Turn of 19th-20th c.
5. Alexandros Papadiamandis, The Boundless Garden: selected short stories (Denise Harvey, 2007) [PA2104.P2.A3.B7]
5a. Alexandros Papadiamandis, Around the Lagoon: reminiscences to a Friend. Bilingual edn, tr. Prof. Mackridge* (Denise Harvey, 2014).
20th century
6. C. P. Cavafy, The collected poems, tr. Evangelos Sachperoglou, intro. Prof. Mackridge, bilingual edn (Oxford World Classics, 2007) [PA2105.K5.A14.2007; also Bod]
7. Kostas Karyotakis, Battered guitars: poems and prose, tr. William W. Reader and Keith Taylor (Birmingham: Centre for Byzantine, Ottoman and Modern Greek Studies, 2006) [PA2105.K4.A2.B3.E5]
8. Nikos Kazantzakis, Zorba the Greek (Faber Modern Classics, 2016) [Bod]
9. Robert Levesque (tr.), Seferis: choix de poèmes traduits et accompagnés du texte grec avec une préface (1945) [PA2105.S4.A4.L6.F8]
10. Roderick Beaton, George Seferis: waiting for the angel (Yale UP, 2003) [PA2105.S4.Z6.B3.W1 + Bod.]
11. Yannis Ritsos, Selected poems, tr. Nikos Stangos (Penguin, 1974) [Bod]
12. Odysseas Elytis, Selected poems, ed. Edmund Keeley* and Philip Sherrard (Penguin, 1981) [PA5610.E43 A213 ELY 1991]
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2008-04-08T00:00:00
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Poetry Dispatch No. 226 | April 4, 2008 Odysseas Elytis The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America…
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https://secure.gravatar.com/blavatar/b9869b178b76b72f72c25bc9afc3a8ed80d9ae71c141e9ad746d34aa5bade613?s=32
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poetry dispatch & other notes from the underground
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https://poetrydispatch.wordpress.com/2008/04/08/odysseas-elytis-calendar-of-an-invisible-april/
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Poetry Dispatch No. 226 | April 4, 2008
Odysseas Elytis
The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America writers alone who, in the minds of many knowledgeable people, should have won the Nobel Prize in literature but never did. (Norman Mailer, for one, comes to mind). But we sometimes forget the existence and role of the writer in other cultures. In many countries, a more honorable and recognized a calling than the American scene where the writer has been pretty much reduced to a huckster, from TV talk shows to endless book tours, his success depending on just about everything else than whom he speaks for from his heart and whatever art he may have achieved in a lifetime of learning to say it well.
I have always welcomed the Nobel Prize committee’s contrary nature and particular insight in plucking some totally unknown foreign author (to us), thrusting that author into the world spotlight, giving him/her the attention so well deserved, even though their work may have been barely been translated into a handful of languages.
I remember the Nobel Prize for Literature going to the Greek poet, Odysseas Elytis in 1979 and saying to myself: Odysseas, who? How do they find these writers?
But the more unknown, the more obscure the writer, the more likely I am these days to purchase his or her book immediately—if an English translation exists.
Here is Elytis in prose and poetry. I think you will see why the committee bestowed the world class honor upon him in 1979. Norbert Blei
“Europeans and Westerners always find mystery in obscurity, in the night, while we Greeks find it in light, which is for us an absolute. To illustrate this I give three images. I tell how once, at high noon, I saw a lizard climb upon a stone (it was unafraid since I stood stock-still, ceasing even to breathe) and then, in broad daylight, commence a veritable dance, with a multitude of tiny movements, in honor of light. There and then I deeply sensed the mystery of light. At another time I experienced this mystery while at sea between the islands of Naxos and Paros. Suddenly in the distance I saw dolphins that approached and passed us, leaping above the water to the height of our deck. The final image is that of a young woman on whose naked breast a butterfly descended one day at noon while cicadas filled the air with their noise. This was for me another revelation of the mystery of light. It is a mystery which I think we Greeks can fully grasp and present. It may be something unique to this place. Perhaps it can be best understood here, and poetry can reveal it to the entire world.” –Odysseus Elytis
Calendar of an Invisible April by Odysseas Elytis
Translation from Greek: Marios Dikaiakos
“The wind was whistling continuously, it was
getting darker, and that distant voice was
incessantly reaching my ears : “an entire life”…
“an entire life”…
On the opposite wall, the shadows of the
trees were playing cinema”
“It seems that somewhere people are celebrating;
although there are no houses or human beings
I can listen to guitars and other laughters which
are not nearby
Maybe far away, within the ashes of heavens
Andromeda, the Bear, or the Virgin…
I wonder; is loneliness the same, all over the
worlds ? ”
“Almond-shaped, elongated eyes, lips; perfumes stemming
from a premature sky of great feminine delicacy
and fatal drunkeness.
I leant on my side -almost fell- onto the
hymns to the Virgin and the cold of spacious
gardens.
Prepared for the worst.”
“FRIDAY, 10c
LATE MIDNIGHT my room is moving in the
neighborhood shining like an emerald.
Someone searches it, but truth eludes him
constantly. How to imagine that it is
placed lower
Much lower
That death too, has its own Red sea.”
Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911—March 18, 1996) is a legendary Greek poet,regarded as one of the most important representatives of romantic modernism in Greece and the world. In 1979 he was awarded the Nobel Prize in Literature.
Descendant of the Alepoudhelis, an old industrial family from Lesbos, he was born in Heraklion (Candia) on the island of Crete, 2 November 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as an auditor at the Law School at Athens University. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.Elytis chose exile in Paris for a greater part Greece’s military dictatorship in 1967.He fled to Paris in the late sixties and was romantically linked to the lyricist and musicologist Mariannina Kriezi. Elytis was vehemently private and purposely solitary in pursuing his ideal of poetic truth and the poetic experience.
In 1937 he served his military requirements. Being selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters to later be transferred at the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world. He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
He has twice been Programme Director of the Greek National Radio Foundation (1945-46 and 1953-54), Member of the Greek National Theatre’s Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist’s Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world’s avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti) as Tériade’s most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre,Francoise Gilot, Rene Daumal…) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled “Orientations”. Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome. In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Odysseas Elytis had been completing plans to travel overseas when he died in Athens at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who was bestowed the writ of condolence from the mayor of Athens on behalf of the nation at the funeral.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarified and passionate. He did derive certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted —in a certain way based on psychical and sentimental aspects— to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people’s conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a “worshiper” -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis’ theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Poetry
* Orientations (Προσανατολισμοί, 1939)
* Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
* An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
* To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
* Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
* The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
* The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
* The Trills Of Love (Τα Ρω του Έρωτα, 1973)
* The Monogram (Το Μονόγραμμα, 1972)
* Step-Poems (Τα Ετεροθαλή, 1974)
* Signalbook (Σηματολόγιον, 1977)
* Maria Nefeli (Μαρία Νεφέλη, 1978)
* Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
* Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
* Krinagoras (Κριναγόρας, 1987)
* The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
* The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
* West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
* The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
* 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
* (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
* The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
* The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
* Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
* The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
* Private Way (Ιδιωτική Οδός, 1990)
* «Εν λευκώ» (συλλογή κειμένων), (1992)
* The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
* Second Writing (Δεύτερη γραφή, 1976)
* Sappho (Σαπφώ)
* The Apocalypse (by John) (Η αποκάλυψη, 1985)
Reference works
* Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
* Tasos Lignadis: Elytis’ Axion Esti (1972)
* Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
* Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
* A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis’ Variations on a theme (1982)
* E. Keeley: Elytis and the Greek Tradition (1983)
* Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
* K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
* A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
Translations of Elytis’ work
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Nobel Prize-winning poet Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid…
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//www.poetryfoundation.org/assets/media/images/apple-touch-icon-57x57.png?=1.2.12
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Poetry Foundation
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https://www.poetryfoundation.org/poets/odysseus-elytis
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Nobel Prize-winning poet Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy of Letters had bestowed the honor upon other previously little-known writers—among them Eugenio Montale, Vicente Aleixandre, and Harry Martison—their choice of Elytis came as a surprise nonetheless. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness ... [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition. Elytis later explained the motivations behind his embracing of the French ideals: “Many facets of surrealism I cannot accept, such as its paradoxical side, its championing of automatic writing; but after all, it was the only school of poetry—and, I believe, the last in Europe—which aimed at spiritual health and reacted against the rationalist currents which had filled most Western minds. Since surrealism had destroyed this rationalism like a hurricane, it had cleared the ground in front of us, enabling us to link ourselves physiologically with our soil and to regard Greek reality without the prejudices that have reigned since the Renaissance.”
Thus, Elytis adapted only selected principles of surrealism to his Greek reality. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.” In a review of a later work, O ilios o iliatoras (1971, translated as The Sovereign Sun, 1974), a writer for the Virginia Quarterly Review echoed Keeley’s eloquent praise: “An intuitive poet, who rejects pessimism and engages in his surrealistic images the harsh realities of life, Elytis is a voice of hope and naked vigor. There is light and warmth, an awakening to self, body, and spirit, in Elytis.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong. I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.”
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
Elytis’s To axion esti (1959, translated as Worthy It Is, 1974), came after a period of more than 10 years of silence. Widely held to be his chef d’oeuvre, it is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. Keeley, the translator of the volume into English, suggested that To axion esti “can perhaps be taken best as a kind of spiritual autobiography that attempts to dramatize the national and philosophical extensions of the poet’s personal sensibility. Elytis’s strategy in this work ... is to present an image of the contemporary Greek consciousness through the developing of a persona that is at once the poet himself and the voice of his country.”
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. When Maria Nefeli was first published in 1978, it met with a curious, yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti, so they [approached] Maria Nefeli with cautious hesitation as an experimental and not-so-attractive creation of rather ephemeral value.”
The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet ... not directly [transcribing] actual events,” he once stated, Maria Nefeli was based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis’s poem had changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis’s youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blase representative of today’s young woman ... This urban Nefeli is the offspring, not the sibling, of the women of Elytis’s youth. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
The poem consists of the juxtaposed statements of Maria Nefeli, who represents the ideals of today’s emerging woman, and Antifonitis, or the Responder, who stands for more traditional views. Through Maria, the Responder is confronted with issues which, though he would like to ignore them, he is forced to come to terms with. Rather than flat, lifeless characters who expound stale and stereotyped maxims, however, “both are sophisticated and complex urbanites who express themselves in a wide range of styles, moods, idioms and stanzaic forms,” maintained Raizis.
Despite the initial reservations voiced by some critics, Maria Nefeli came to be regarded as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Robert Shannan Peckham in the Times Literary Supplement noted that Elytis’s reputation as a major poet was ensured when he received the Nobel Prize for Literature in 1979. Elytis, though, was also a prolific essayist, writing a variety of nonfiction criticism translated and collected in Carte Blanche: Selected Writings in 2000. Peckham argued that the essays need to read “as an extension of the poetry, exuberantly lyrical and self-consciously metaphysical ... The essays cohere through an associative, poetic logic, rather than developing any sustained critical argument.” Peckham concluded that the collection would not “secure Elytis a place among the outstanding essayists of the twentieth century,” but praised the translation by David Connolly.
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.”
Elytis died in Athens, Greece on March 18, 1996.
|
||||
correct_award_00067
|
FactBench
|
0
| 23
|
https://www.athensinsider.com/nobel-laureate-odysseus-elytis-works-to-find-a-permanent-home-in-plaka/
|
en
|
Nobel Laureate Odysseus Elytis’ works to find a permanent home in Plaka
|
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2020-12-21T19:39:41+00:00
|
Described as the ‘sun-drinking poet,’ the late Nobel laureate Odysseas Elytis will be honoured with a permanent home dedicated to preserving his poems, photographs and texts on the corner of Dioskourou and Polygnotou streets in Plaka. Considered one of the most acclaimed poets of the 20th century, Elytis was born on Crete in 1911 and passed […]
|
en
|
https://www.athensinsider.com/wp-content/themes/athensinsider/images/favicon.ico
|
Athens Insider
|
https://www.athensinsider.com/nobel-laureate-odysseus-elytis-works-to-find-a-permanent-home-in-plaka/
|
The listed building that will house Odysseas Elytis’ works, consists of a main residence and two auxiliary buildings. The building, owned by the Culture Ministry, will include the creation of an exhibition area but also a space for the storage of Elytis’ archives. The residence’s ground floor will house a reception area and a visual presentation of significant milestones in Elytis’ life and work. Also on display will be books, manuscripts, the poet’s favourite poems and works of art, translations, audio and visual material and personal items from his office.
Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clear-sightedness, modern man’s struggle for freedom and creativeness … [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition.
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong.
I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece.
His poem Maria Nefeli came to be regarded by critics as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces.”
|
||||
correct_award_00067
|
FactBench
|
1
| 38
|
https://impactalk.gr/en/stories-talk/nikos-kazantzakis-greek-giant-writer-was-nominated-9-nobel-prizes
|
en
|
Nikos Kazantzakis: The Greek giant writer that was nominated for 9 Nobel Prizes
|
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[] |
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[
""
] | null |
[
"Nikos Kazantzakis"
] |
2021-04-02T00:28:20+03:00
|
Two Greek writers, Giorgos Seferis in 1963 and Odysseas Elytis in 1979, have won the Nobel Prize in Literature. There could be more Greek Nobel Prize winners in literature and for sure one of them that truly deserved it was Nikos Kazantzakis. Nevertheless, he never won the ultimate prize although he was globally considered the most well-known and widely-read Greek writer.
|
en
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/themes/custom/rkpt/assets/image/favicon-96x96.png
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ImpacTalk
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https://impactalk.gr/en/stories-talk/nikos-kazantzakis-greek-giant-writer-was-nominated-9-nobel-prizes
|
Two Greek writers, Giorgos Seferis in 1963 and Odysseas Elytis in 1979, have won the Nobel Prize in Literature. There could be more Greek Nobel Prize winners in literature and for sure one of them that truly deserved it was Nikos Kazantzakis. Nevertheless, he never won the ultimate prize although he was globally considered the most well-known and widely-read Greek writer.
By Mia Kollia
Translated by Alexandros Theodoropoulos
According to Nobel Prize archives, Kazantzakis was nominated in nine different years for a total of 14 different nominations and in two of them together with Greek poet Angelos Sikelianos. Unfortunately, cohorts of the Greek Church along with some politicians and academics of the status quo did whatever it takes to prevent Kazantzakis winning the Nobel but on the other hand, the Swedish academy seemed to support him.
In 1956, Nikos Kazantzakis contested the prize having much of a chance to win, but the prize went to Spanish poet Jimenez for just a couple of votes. Kazantzakis won the Peace Prize at the same year, a prize that had been won by personalities like Charlie Chaplin and Shostakovich, but in the ceremony that took place in Vienna and was attended by all members of the World Peace Council, Greece wasn’t present. Considered an atheist, communist and panderer of young people, Kazantzakis was labeled by the Greek state as a public enemy.It is also noteworthy that in Norway, contrary to Greece, his books were published without restrictions. The Norwegian government, having seen the attitude of the Greek state towards Kazantzakis, offered him Norwegian citizenship and passport so that he could commute with ease. Also the Norwegian literature company nominated him for the Nobel after a unanimous vote. Kazantzakis rejected all offers.
When Albert Camus won the Nobel Prize for Literature in 1957, Nikos Kazantzakis was inpatient in Freiburg University Hospital in Germany. Despite deterioration of his health he sent a telegram to the French writer to congratulate him.
After the death of Kazantzakis, Albert Camus responded to his widow, Eleni N. Kazantzaki: “I’ve always admired and, if I may, adored your husband’s work. And I also never forget that the day I was so sad and had to accept honours that Kazantzakis deserved 100 times more than me, I received from him the most generous telegram. Soon I was horrified to notice that this message was written a few days before his death. With his loss, we lost one of the last great artists…”
Unpublished letter from Nikos Kazantzakis for the Nobel that he never won
“We escaped from Nobel this year. I heard a couple of months ago that a document from Sweden reached Mantoudis (Xefloudas also saw it) and as stated, I am out of time. I felt joy because in this way nobody will stand in the way of my dear friend and poet”, written by Nikos Kazantzakis in November 1946 in his letter to “Respected friend and Protector” of litterateurs, Nikos Veis, professor of Medieval and Modern Greek Literature in the University of Athens.
Kazantzakis’s letter referring to Nobel, his “dear friend and poet” Angelos Sikelianos and to the ejection of Nikos Veis from the University of Athens with the accusation of participating in Decemvriana (December events of 1944), is one of the unpublished handwritten documents in the Historic Archive collection of the University of Athens.
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correct_award_00067
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FactBench
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0
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https://www.betweenthecovers.com/btc/awards/1000004/nobel-prize-for-literature/
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en
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Nobel Prize for Literature
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Between the Covers
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Established under the will of Swedish chemist Alfred Nobel and awarded annually for an outstanding body of work in the field of literature. The Nobel Prize for Literature is a "lifetime achievement award" and is never awarded for a single book, although you will see that some very good references get confused about this (such as the famous ecyclopedia which erroneously states online that Ernest Hemingway won the award for The Old Man and the Sea.) Save for the critical approval of posterity, the Nobel Prize is the most distinguished award bestowed upon a modern author of any nationality. However, as with any long-running award, it has its quirks. Literature Nobel laureates Winston Churchill and Bertrand Russell, for example, were great men in their fields, but their field wasn't really literature. And most modern scholars question the omission of James Joyce and Marcel Proust from the list. Despite these foibles it is not an award to be shunned, unless you're Jean-Paul Sartre, who refused the award in 1964.
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correct_award_00067
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FactBench
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2
| 82
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http://www.online-literature.com/forums/showthread.php%3F19525-2006-Nobel-Prize-in-Literature
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FactBench
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1
| 14
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https://greatestgreeks.wordpress.com/2016/08/08/odysseus-elytis/
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en
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Odysseus Elytis
|
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"Telemachus Odysseides"
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2016-08-08T00:00:00
|
Poet (1911 – 1996) The major representative of romantic modernism in Greece, Elytis was one of the most notable writers of the generations of the 30s’, an influential literary school which included Georgios Seferis, the first Greek Noble Prize winner, in Literature. He is considered one of the greatest poets of modern Greece and of…
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en
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Greatest Greeks
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https://greatestgreeks.wordpress.com/2016/08/08/odysseus-elytis/
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Poet (1911 – 1996)
The major representative of romantic modernism in Greece, Elytis was one of the most notable writers of the generations of the 30s’, an influential literary school which included Georgios Seferis, the first Greek Noble Prize winner, in Literature. He is considered one of the greatest poets of modern Greece and of the entire world.
Odysseus Elytis was born in Crete. His original surname was Alepoudelis but once he became a literary figure he changed it to Elytis to avoid relation with his family’s soap business. His surname, El-, a prefix found in many Greek words such as El-pdia (hope), El-ia (olive) and El-eutheria (freedom), -y-, a letter originating and found only in the Greek language and the suffix –tis from Greek surnames such as Πολίτης meaning citizen, was carefully constructed by the poet to designate the Greek influence. He studied chemistry and later law in the University of Athens but later dropped out as he dedicated himself to literature and poetry.
In the 1930’s Elytis made his literary debut in the magazine Νέα Γράμματα (New Letters) by publishing his first poem titled Τοῦ Αἰγαίου (Of the Aegean) under the name Elytis. In 1936 he met Nikos Gatsos, with whom he formed a strong bond of friendship. With the outbreak of the 2nd World War, Elytis published his poetic collection Orientations. He joined the army and fought in the first line in the Greco-Italian war of 1940. His experiences inspired him to write his second poetic collection A Heroic And Funeral Chant For The Lieutenant Lost In Albania. He left Greece during the civil war and settled in France where he was introduced to the literary world of France and all its representatives.
In 1952 he returned to Greece. 7 years later he published his masterpiece Axion Esti (Ἄξιον Ἐστί, It is Worthy). A sacred moment for Hellenism. The gates of the world opened for him. The poem is the apogee of the ethical and spiritual struggles of the Greek race throughout the ages. In 1964 Mikis Theodorakis set Axion Esti to music making it popular enough for Elytis and Theodorakis to earn worldwide recognition. His entire life remained creative as he continued writing poems until 1991. His last poem was The Elegies of Oxopetras.
He was a frugal man who, in spite of his family’s close relations with politics never got actively involved with the commons. He rejected any offers to join political parties and rejected the position of honorary Academic in the Academy of Athens. He detested life associated with commerce and the acquisition of money. His poetry was involved with modern Hellenism and aimed at its spiritual and ethical revival. His poems were translated into 11 languages. Aside from his numerous poetic collections, Elytis translated works, mostly from French and painted.
In 1979 Odysseus Elytis was awarded the Nobel Prize in Literature “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”.
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https://www.nobelprize.org/prizes/lists/all-nobel-prizes/all/
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All Nobel Prizes
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NobelPrize.org
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https://www.nobelprize.org/prizes/lists/all-nobel-prizes
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Between 1901 and 2023, the Nobel Prizes and the Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel were awarded 621 times to 1000 people and organisations. With some receiving the Nobel Prize more than once, this makes a total of 965 individuals and 27 organisations. Below, you can view the full list of Nobel Prizes and Nobel Prize laureates.
Find all prizes in | physics | chemistry | physiology or medicine | literature | peace | economic sciences | all categories
2024
The 2024 Nobel Prizes will be announced 7–14 October.
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https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
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Odysseus Elytis – Facts
|
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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en
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
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Odysseus Elytis
The Nobel Prize in Literature 1979
Residence at the time of the award: Greece
Prize motivation: “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness”
Language: Greek
Prize share: 1/1
Life
Odysseus Elytis was born in 1911 on the Greek island of Crete. The family later moved to Athens. After finishing his secondary school studies there, Elytis studied law at the University of Athens. He immediately attracted attention when he published his poems in the magazine Nea Grammata (New Culture) in the 1930s. Elytis took part in World War II, fighting against Mussolini’s troops in Albania. When the Greek military junta seized power in his native country in 1967, he chose to take up residence in Paris, where he became acquainted with several artists and writers. When the dictatorship fell in 1974, he returned to Greece.
Work
In the poetry of Odysseus Elytis, influences of surrealism meet traditional Greek literature. The sun plays a central role in his early works. His poems celebrate light, the turquoise sea, the rocky landscape and the ancient ruins of Elytis’ native country. Elytis’ experiences during World War II introduced a darker element into his poetic world. One of his most prominent works is Axion esti (1959) (It Is Worthy), in which poetry and prose intermingle as in old Byzantine liturgy.
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https://agnionline.bu.edu/about/our-people/authors/odysseas-elytis/
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Odysseas Elytis
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2018-01-30T14:57:23+00:00
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Odysseas Elytis (1911–1996) was born in Crete. He studied law at the University of Athens and in 1960 won the National Prize in poetry. The receiver of the 1979 Nobel Prize in Literature, his Collected Poems was published in 2004 by The Johns Hopkins University Press.
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AGNI Online
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https://agnionline.bu.edu/about/our-people/authors/odysseas-elytis/
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Odysseas Elytis (1911–1996) was born in Crete. He studied law at the University of Athens and in 1960 won the National Prize in poetry. The receiver of the 1979 Nobel Prize in Literature, his Collected Poems was published in 2004 by The Johns Hopkins University Press.
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correct_award_00067
|
FactBench
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1
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https://poetrydispatch.wordpress.com/2008/04/08/odysseas-elytis-calendar-of-an-invisible-april/
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poetry dispatch & other notes from the underground
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2008-04-08T00:00:00
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Poetry Dispatch No. 226 | April 4, 2008 Odysseas Elytis The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America…
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https://secure.gravatar.com/blavatar/b9869b178b76b72f72c25bc9afc3a8ed80d9ae71c141e9ad746d34aa5bade613?s=32
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poetry dispatch & other notes from the underground
|
https://poetrydispatch.wordpress.com/2008/04/08/odysseas-elytis-calendar-of-an-invisible-april/
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Poetry Dispatch No. 226 | April 4, 2008
Odysseas Elytis
The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America writers alone who, in the minds of many knowledgeable people, should have won the Nobel Prize in literature but never did. (Norman Mailer, for one, comes to mind). But we sometimes forget the existence and role of the writer in other cultures. In many countries, a more honorable and recognized a calling than the American scene where the writer has been pretty much reduced to a huckster, from TV talk shows to endless book tours, his success depending on just about everything else than whom he speaks for from his heart and whatever art he may have achieved in a lifetime of learning to say it well.
I have always welcomed the Nobel Prize committee’s contrary nature and particular insight in plucking some totally unknown foreign author (to us), thrusting that author into the world spotlight, giving him/her the attention so well deserved, even though their work may have been barely been translated into a handful of languages.
I remember the Nobel Prize for Literature going to the Greek poet, Odysseas Elytis in 1979 and saying to myself: Odysseas, who? How do they find these writers?
But the more unknown, the more obscure the writer, the more likely I am these days to purchase his or her book immediately—if an English translation exists.
Here is Elytis in prose and poetry. I think you will see why the committee bestowed the world class honor upon him in 1979. Norbert Blei
“Europeans and Westerners always find mystery in obscurity, in the night, while we Greeks find it in light, which is for us an absolute. To illustrate this I give three images. I tell how once, at high noon, I saw a lizard climb upon a stone (it was unafraid since I stood stock-still, ceasing even to breathe) and then, in broad daylight, commence a veritable dance, with a multitude of tiny movements, in honor of light. There and then I deeply sensed the mystery of light. At another time I experienced this mystery while at sea between the islands of Naxos and Paros. Suddenly in the distance I saw dolphins that approached and passed us, leaping above the water to the height of our deck. The final image is that of a young woman on whose naked breast a butterfly descended one day at noon while cicadas filled the air with their noise. This was for me another revelation of the mystery of light. It is a mystery which I think we Greeks can fully grasp and present. It may be something unique to this place. Perhaps it can be best understood here, and poetry can reveal it to the entire world.” –Odysseus Elytis
Calendar of an Invisible April by Odysseas Elytis
Translation from Greek: Marios Dikaiakos
“The wind was whistling continuously, it was
getting darker, and that distant voice was
incessantly reaching my ears : “an entire life”…
“an entire life”…
On the opposite wall, the shadows of the
trees were playing cinema”
“It seems that somewhere people are celebrating;
although there are no houses or human beings
I can listen to guitars and other laughters which
are not nearby
Maybe far away, within the ashes of heavens
Andromeda, the Bear, or the Virgin…
I wonder; is loneliness the same, all over the
worlds ? ”
“Almond-shaped, elongated eyes, lips; perfumes stemming
from a premature sky of great feminine delicacy
and fatal drunkeness.
I leant on my side -almost fell- onto the
hymns to the Virgin and the cold of spacious
gardens.
Prepared for the worst.”
“FRIDAY, 10c
LATE MIDNIGHT my room is moving in the
neighborhood shining like an emerald.
Someone searches it, but truth eludes him
constantly. How to imagine that it is
placed lower
Much lower
That death too, has its own Red sea.”
Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911—March 18, 1996) is a legendary Greek poet,regarded as one of the most important representatives of romantic modernism in Greece and the world. In 1979 he was awarded the Nobel Prize in Literature.
Descendant of the Alepoudhelis, an old industrial family from Lesbos, he was born in Heraklion (Candia) on the island of Crete, 2 November 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as an auditor at the Law School at Athens University. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.Elytis chose exile in Paris for a greater part Greece’s military dictatorship in 1967.He fled to Paris in the late sixties and was romantically linked to the lyricist and musicologist Mariannina Kriezi. Elytis was vehemently private and purposely solitary in pursuing his ideal of poetic truth and the poetic experience.
In 1937 he served his military requirements. Being selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters to later be transferred at the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world. He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
He has twice been Programme Director of the Greek National Radio Foundation (1945-46 and 1953-54), Member of the Greek National Theatre’s Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist’s Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world’s avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti) as Tériade’s most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre,Francoise Gilot, Rene Daumal…) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled “Orientations”. Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome. In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Odysseas Elytis had been completing plans to travel overseas when he died in Athens at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who was bestowed the writ of condolence from the mayor of Athens on behalf of the nation at the funeral.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarified and passionate. He did derive certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted —in a certain way based on psychical and sentimental aspects— to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people’s conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a “worshiper” -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis’ theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Poetry
* Orientations (Προσανατολισμοί, 1939)
* Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
* An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
* To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
* Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
* The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
* The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
* The Trills Of Love (Τα Ρω του Έρωτα, 1973)
* The Monogram (Το Μονόγραμμα, 1972)
* Step-Poems (Τα Ετεροθαλή, 1974)
* Signalbook (Σηματολόγιον, 1977)
* Maria Nefeli (Μαρία Νεφέλη, 1978)
* Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
* Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
* Krinagoras (Κριναγόρας, 1987)
* The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
* The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
* West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
* The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
* 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
* (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
* The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
* The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
* Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
* The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
* Private Way (Ιδιωτική Οδός, 1990)
* «Εν λευκώ» (συλλογή κειμένων), (1992)
* The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
* Second Writing (Δεύτερη γραφή, 1976)
* Sappho (Σαπφώ)
* The Apocalypse (by John) (Η αποκάλυψη, 1985)
Reference works
* Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
* Tasos Lignadis: Elytis’ Axion Esti (1972)
* Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
* Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
* A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis’ Variations on a theme (1982)
* E. Keeley: Elytis and the Greek Tradition (1983)
* Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
* K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
* A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
Translations of Elytis’ work
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https://scholarblogs.emory.edu/postcolonialstudies/2014/06/21/nobel-prize-in-literature/
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Nobel Prize in Literature – Postcolonial Studies
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en
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https://scholarblogs.emory.edu/postcolonialstudies/2014/06/21/nobel-prize-in-literature/
|
Alfred Nobel
Alfred Nobel was born in Stockholm, Sweden, in 1833. In 1842, the Nobel family moved to Russia, where Alfred and his brothers received an education in the humanities and the natural sciences from private tutors. Nobel is accredited with the invention of dynamite in 1866. Dynamite and the blasting cap are two of Nobel’s most well known inventions, and he held 355 patents. Second to his reputation as an inventor is Nobel’s reputation as a businessman; he established businesses and laboratories in over twenty countries. Nobel was not only interested in the sciences but he seriously considered becoming a writer, choosing to write poetry, drama, and even an unfinished novel in his leisure time. Nobel sought conciseness in language, and he was a gifted writer of aphorisms.
On November 27, 1895, Alfred Nobel signed his final will and testament. In his will, Nobel established the Nobel Foundation, which awards prizes in Physics, Peace, Literature, Chemistry, and Physiology or Medicine. Nobel was explicit in his instructions that the prize should go to the person or persons who made the greatest contribution to mankind through their field, regardless of nationality. Nobel died of a heart attack in San Remo, Italy on December 10, 1896, just over a year after signing his will. The first Nobel Prize was awarded in 1901. In 1968, the Bank of Sweden created the “Bank of Sweden Prize in Economic Sciences in Memory of Alfred Nobel,” sometimes referred to as the Nobel Prize in Economics.
The Swedish Academy
King Gustaf III founded the Swedish Academy on April 5th, 1786. It is very similar to the French Academy. In his inaugural speech upon the formation of the Swedish Academy, Gustaf III announced its main purpose to preserve the ‘purity, vigour and majesty’ of the Swedish language. To accomplish its goal, the Academy was charged with the production of a Swedish dictionary and rules regarding not only grammar, but proper behavior as well. Gustaf III created the Academy to serve a patriotic purpose as well, each year commemorating one Swede of remarkable achievement. At the turn of the twentieth century, the Academy assumed the task of awarding the Nobel Prize in Literature, which was not a part of its original statutes.
The Nomination and Selection Process of the Prize in Literature
Every year the Swedish Academy sends requests for nominations of candidates for the Nobel Prize in Literature. Members of the Academy, members of academies and societies of similar membership and goals, professors of literature and language, former Nobel laureates in literature, and the presidents of writers’ organizations representing their countries’ literary productions are allowed to nominate a candidate. It is not possible to nominate oneself.
Thousands of requests are sent out each year, and about fifty proposals are made. A proposal does not need to be accompanied by supporting reasons, but it can be. Proposals must be received by the academy by February 1st, and the proposals are examined by the Nobel Committee throughout the spring. By April, the Academy narrows the field to around twenty candidates, and by summer the list is usually reduced to five names. In October, the members of the Academy vote, and the candidate who gains more than half the number of votes is named the Nobel Laureate in Literature.
The Prize
In Stockholm on December 10, His Majesty the King awards the prizes during the Prize Award Ceremony. The Peace Prize is awarded on the same day in Oslo by the Chairman of the Norwegian Nobel Committee in the presence of the King of Norway. The winner of the Nobel Prize in his or her field receives a diploma, a medal, and a document certifying the prize amount. The prize amount is the same for every field. It can be awarded to one person or team, split between two or three individuals, or allocated to the Main fund or Special fund for that field.
The institution that awards the prize in a given field determines the design of the diploma for that field. The Royal Swedish Academy of Sciences awards the prizes in Physics, Chemistry, and Economics. The Nobel Assembly at the Karolinska Institute is responsible for the Physiology or Medicine Prize, the Swedish Academy for the Prize in Literature, and the Norwegian Nobel Committee for presentation of the Peace Prize. The diplomas have varied over the years, depending on the field and the artist. Today, each diploma is a unique creation.
The Nobel medals each bear on one side a portrait of Alfred Nobel. The other side bears an inscription and an image appropriate to the laureate’s field. The designs of the medals have remained unchanged since 1902. Until 1980, the medals were made of 23 karat gold. Since then, they have been made of 18 karat green gold plated with 24 karat gold. In addition to the diploma, medal, and prize amount, every Nobel laureate since 1961 has been commemorated with an annual series of stamps issued by the Sweden Post Stamps.
Nobel Laureates in Literature since 1945
2000 Gao Xingjian, France (born in China)
1999 Günter Grass, Germany
1998 José Saramago, Portugal
1997 Dario Fo, Italy
1996 Wislawa Szymborska, Poland
1995 Seamus Heaney, Ireland
1994 Kenzaburo Oe, Japan
1993 Toni Morrison, USA
1992 Derek Walcott, St. Lucia
1991 Nadine Gordimer, South Africa
1990 Octavio Paz, Mexico
1989 Camilo José Cela, Spain
1988 Naguib Mahfouz, Egypt
1987 Joseph Brodsky, USA (born in the Soviet Union)
1986 Wole Soyinka, Nigeria
1985 Claude Simon, France
1984 Jaroslav Seifert, Czechoslovakia
1983 William Golding, Great Britain
1982 Gabriel García Márquez, Colombia
1981 Elias Canetti, Great Britain (born in Bulgaria)
1980 Czeslaw Milosz, USA and Poland
1979 Odysseus Elytis, Greece
1978 Isaac Bashevis Singer, USA (born in Poland)
1977 Vicente Aleixandre, Spain
1976 Saul Bellow, USA
1975 Eugenio Montale, Italy
1974 Eyvind Johnson, Sweden/ Harry Martinson, Sweden
1973 Patrick White, Australia
1972 Heinrich Böll, Germany
1971 Pablo Neruda, Chile
1970 Aleksandr Solzhenitsyn, Soviet Union
1969 Samuel Beckett, Ireland
1968 Kawabata Yasunari, Japan
1967 Miguel Angel Asturias, Guatemala
1966 Samuel Agnon, Israel/ Nelly Sachs, Sweden (born in Germany)
1965 Mikhail Sholokhov, Soviet Union
1964 Jean-Paul Sartre, France
1963 Giorgos Seferis, Greece
1962 John Steinbeck, USA
1961 Ivo Andric, Yugoslavia
1960 Saint-John Perse, France
1959 Salvatore Quasimodo, Italy
1958 Boris Pasternak, Soviet Union
1957 Albert Camus, France
1956 Juan Ramón Jiménez, Spain
1955 Halldór Kiljan Laxness, Iceland
1954 Ernest Hemingway, USA
1953 Winston Churchill, Great Britain
1952 François Mauriac, France
1951 Pär Lagerkvist, Sweden
1950 Bertrand Russell, Great Britain
1949 William Faulkner, USA
1948 Thomas Stearns Eliot, Great Britain
1947 André Gide, France
1946 Hermann Hesse, Switzerland (born in Germany)
1945 Gabriela Mistral, Chile
Full list of all winners from 1901 available at http://www.nobel.se/literature/laureates/index.html
Controversy Surrounding the Nobel Prize in Literature
Since the establishment of the Nobel prize in literature, it has been surrounded by a great deal of controversy. In his will, Nobel was clear that the prize was to be given to the author of “the most astounding work in an ideal direction.” There has been much debate as to what, exactly, Nobel meant in this statement. What constitutes an “astounding” work is highly subjective, as is the vague requirement that the work move “in an ideal direction.” It is this last ambiguity that has been the source of much debate over the years. Some people have argued that Nobel meant idealistic, and not ideal, which is an entirely different concept. As Kjell Espmark writes, “Indeed, the history of the literature prize is in some ways a series of attempts to interpret an imprecisely worded will.” The selection of the first Nobel laureate in literature, Sully Prudhomme, was attacked by August Strindberg in 1910. Strindberg argued that Prudhomme’s writing was not written ideally because “he was a materialist and had translated Lucretius” (Allen).
Works Cited
Allen, Sture. “Topping Shakespeare? Aspects of the Nobel Prize in Literature”. (July 23, 1997) Web. 19 November, 2001. <http://www.nobelprize.org/nobel_prizes/literature/articles/sture/index.html>
Espmark, Kjell. “The Nobel Prize in Literature”. (Dec, 1999) Web. 19 November 2001. <http://www.nobelprize.org/nobel_prizes/literature/articles/espmark/index.html>
The Nobel Foundation. “The Nobel e-Museum” (2001) Web. 31 October 2001.<http://www.nobelprize.org/>
The Swedish Academy. “Swedish Academy (English)” (Dec, 2000) Web. 31 October 2001.
Related Sites
Alfred Nobel’s Aphorisms
http://www.nobelprize.org/alfred_nobel/biographical/aphorisms.html
Excerpt from Alfred Nobel’s Will Creating the Nobel Prize
http://www.nobelprize.org/alfred_nobel/will/
The Nobel Prize in Literature Medal
http://www.nobelprize.org/nobel_prizes/literature/medal.html
Nobel Prize Amounts, 1901 to 2001
http://www.nobelprize.org/nobel_prizes/about/amounts.html
Postcolonial Author and 1913 Nobel Laureate Rabindranath Tagore
http://www.nobelprize.org/nobel_prizes/literature/laureates/1913/#
Nadine Gordimer and the South African Experience
http://www.nobelprize.org/nobel_prizes/literature/laureates/1991/#
A Single, Homeless, Circling Satellite: Derek Walcott, 1992 Nobel Literature Laureate
http://www.nobelprize.org/nobel_prizes/literature/laureates/1992/
Author: Carey Coombs, Fall 2001
Last edited: October 2017
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https://www.ebay.com/itm/115532400842
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Odysseas Elytis NOBEL PRIZE IN LITERATURE autograph, signed card mounted
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(1911-1996) Greek poet, Nobel Prize in Literature 1979. You will receive each autograph with a fine certificate of authenticity with a unique identification number. Franz Xaver Kroetz autograph, German AUTHOR; actor and film director, signed pho.
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en
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eBay
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https://www.ebay.com/itm/115532400842
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US $16.00GermanyStandard International Shipping
Estimated between Fri, Jul 26 and Mon, Jul 29 to 60323
Seller ships within 2 days after receiving cleared payment.
US $40.00GermanyFedEx International Priority
Estimated between Wed, Jul 31 and Wed, Aug 14 to 60323
Seller ships within 2 days after receiving cleared payment.
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correct_award_00067
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https://pahellenicfoundation.org/CulturalCenter/page-18/
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en
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Modern Literature
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correct_award_00067
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FactBench
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https://www.greeka.com/cyclades/ios/sightseeing/ios-elytis-theater/
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Odysseas Elytis Theatre in Ios, Greece
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Discover Ios Odysseas Elytis Theatre: Information and photos of Odysseas Elytis Theatre in Chora, Ios.
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Greekacom
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https://www.greeka.com/cyclades/ios/sightseeing/ios-elytis-theater/
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Location: Chora
Odysseas Elytis was a famous Greek poet who wrote modern poetry and was awarded the Nobel Literature Prize in 1979.
The Odysseas Elytis Amphitheatre in Ios was named after the poet and is located at the top of Chora, behind the whitewashed windmills that stand there.
DISCOVER IOS WITH OUR TOURS!
Book an unforgettable Tour in Ios.
Though the amphitheater is made of marble and according to the ancient Greek style, it was constructed relatively recently as compared to other architectural wonders of Ios. It is a colossal structure and can hold up to 1100 people. Every year, most of the cultural events of the island are held there.
The events are organized by the municipality of Ios. During the summer musical concerts, plays and other performances take place at this theatre. You should definitely visit whether you enjoy a performance or not.
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Nobel Prize in Literature 1979
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/press-release/
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Press release
Press release
The Nobel Prize in Literature 1979
Odysseus Alepoudhélis (pseudonym Odysseus Elytis)
Odysseus Elytis’s name tells us a great deal about him as a person and a writer.
Odysseus – the seafarer, the Homeric poem’s hero, alive with the spirit of freedom, with defiant intrepidity, enterprise, and an insatiable appetite for all the adventures and sensuous experiences that the seas and isles of Greece can offer. Odysseus is the name given to the poet by his parents. It testifies to the feeling for the past and to the links with the myths and distinctive character of Greek tradition. The family comes from the Aegean islands. The poet was born in Crete just before the liberation from Turkish rule.
Elytis is the name he adopted at the very beginning of his career as a writer. The name is a composite one, with allusion to several concepts dear to the poet’s heart – it could be called a much abridged manifesto. The components in the name are to serve as a reminder of the Greek words for Greece (Ellas), hope (elpídha), freedom (elefthería) and the mythical woman who is the personification of beauty, erotic sensuality and female allure, Helena (Eléni). Eros and Heros are closely connected in Elytis’s world of poetry or myth.
The sea and the islands, their fauna and flora, the smooth pebbles on the beaches, the surge of the waves, the prickly black sea-urchins, the tang of salt, and the light over the water are constantly recurring elements in his writing – like the bright flood of sunlight which baptizes this world with its all-pervading lustre, at once fertile and purifying. Sensuality and light irradiate Elytis’s poetry. The perceptible world is vividly present and overwhelming in its wealth of freshness and astonishing experiences.
But through Elytis’s evocative verbal art, this world is also elevated to a symbolic reality. It becomes an ideal for the world that is not always so bright and true and wonderful, but which should be, and could be. We should always praise and worship this world for what it ought to be, and for what it, thereby, can be to us: a life-giving source of strength. Elytis’s extolling of existence, of man and his potentialities, and life in communion with the rest of creation, is no idealizing or illusory escapism. It is a moral act of invocation of the kind to be found so many times in Greek history, from the present-day struggles for freedom against fascist or other oppression far back through the centuries to the heroic phase of the classical era. What matters is not to submit. What matters is constantly to bear in mind what life should be, and what man can shape for himself in defiance of all that threatens to destroy him and violate him.
This is not political writing in the narrow sense of the word. It is a writing of preparedness, which aims at defending the moral integrity or pride that is essential if we are to be able to resist at all, and to endure hardships and dangers, outrage and adversity. These sides of Elytis’s poetry emerged strongly during the first years of the 1940s when he took part in the campaign in Albania against the fascist invasion. He passed through what he himself calls a crisis. Everything had to be tried out afresh – how to live, what the use of poetry was, how the beauty of poetry and art could serve in the fight for human dignity and resistance, yet preserve its freedom as art.
The poem, Heroic and Elegiac Song for the Lost Second Lieutenent of the Albanian Campaign was written during this war, most of it based on personal experience. It immediately evoked response and became a kind of generation document for the young. It has kept its position as an expression of the Greeks’ indomitable spirit of resistance. The fallen soldier is a representative of the Greeks who were killed in this war, but also of all those who have fallen during Greece’s long history of struggle for national liberty and individuality. Here, as so often in Elytis’s writing, realistic and mythical depiction are combined.
The Albanian campaign and the “heroic and elegiac song” about it were, in a way, a turning point for Elytis as a poet. His first verses had been published in the middle of the 1930s in a magazine which was then a forum for young writers, Nea Ghrámmata — in fact, a school for budding poets. The impulses from French surrealism, in particular, made themselves felt – in Elytis’s case, chiefly from Paul Éluard. Surrealism became a liberator. It helped the young writers to find themselves, not least, in relation to the great Greek classical tradition, which might threaten to become oppressive and to stagnate in stereotyped and rhetorical formulae. Elytis’s first poems, before Heroic and Elegiac Song, are youthfully sensual, full of light, brilliant, and very evocative in their visual and charming freshness. They quickly established him as one of the leading new Greek poets.
With Herioc and Elegiac Song, however, other sides of the writer emerged and insisted on becoming part of his creative world – sides which had been there from the outset but which now demanded more room: the tragic and the heroic. In the poetic cycle which many regard as Elytis’s foremost work, To áxion estí (Worthy It Is ), these very complex experiences and programs have been given a form which makes this work one of 20th century literature’s most concentrated and richly-faceted poems. The cycle is a kind of lyric drama or myth with strains from Hesiod, the Bible and Byzantine hymns. In its severe and polyphonic structure it is also linked to the avant-gardism of modern western writing. The cycle begins almost as drama of creation, concerning not only the poet himself, but, through him, us all. For, Elytis says, “I do not speak about myself. I speak for anyone who feels like myself but does not have enough naiveté to confess it.” But it is also about the origin of Greece, in fact of the world. Then follows an architecturally complicated section with descriptions of the war and other scourges that have afflicted Greece and modern man. After this section, which represents a crisis or path of suffering, comes a concluding part, the actual song of praise; mature man is tempered and strengthened through his experiences but also fortified in his indomitable and defiant will to defend life and its sensuous abundance.
In one of his short essays, Elytis sums up his intentions: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraints, and the justice which could be identified with absolute light…”
In its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’s poetry give a shape to its distinctiveness,which is not only very personal but also represents the traditions of the Greek people.
Bio-bibliographical notes
Odysseus Elytis, pen-name for Odysseus Alepoudhiéis, was born in 1911 at Herakleion in Crete. The family, which originally came from Lesbos, moved in 1914 to Athens, where Elytis, after leaving school, began to read law. He broke off his studies, however, and devoted himself entirely to his literary and artistic interests. He got to know the foremost advocate in Greece of surrealism, the poet Andreas Embirikos, who became his lifelong friend. As time went on impulses from Embirikos and others became merged with Elytis’ Greek-Byzantine cultural tradition. In 1935 he published his first poems in the magazine Nea Ghrámmata (New Letters) and also took part – with collages – in the first international surrealist exhibition arranged that year in Athens. In 1936 and 1937, in the magazine Makedhonikés Iméres (Macedonian Days) followed a collection of poems with the title Prosanatolizmoí (Orientations), in book form 1939, I klepsídhres tou aghnóstou (Hourglass of the Unknown) and, in 1943, Ilios o prótos (Sun the First).
Deeply felt experiences from the war lie behind the work that made Elytis famous as one of the most prominent poets of the Greek resistance and struggle for freedom: Ásma iroikó ke pénthimo yia ton haméno anthipolohaghó tis Alvanías (Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign) 1945.
After the war Elytis was engaged in various public assignments (among other things he was head of programs at the radio) and, apart from literary and art criticism, published very little for more than ten years. The work begun in 1948, To Áxion Estí (Worthy It Is), did not appear until 1959. The years 1948-52 he spent in Paris and travelling. He came in close contact with writers like Breton, Eluard, Char, Jouve and Michaux and with artists such as Matisse, Picasso and Giacometti. The poetic cycle To Áxion Estí (with introductory words taken from the Greek-Orthodox liturgy) has come to be recognized as Elytis’s greatest work. It has been translated into several languages and in 1960 was awarded the National Prize in Poetry. It was set to music by Míkis Theodorákis in 1964.
Of later works – in several cases illustrated by the author himself or by his friends Picasso, Matisse, Ghika, Tsarouchis and others – can be mentioned: Exi ke miá típsis yia ton uranó (Six and One Remorses for the Sky) 1960, O ílios o iliátoras (The Sovereign Sun) and To monoghramma (The Monogram), both 1971, Ta ro tou érota (The Ro of Eros) 1972, Villa Natacha 1973, Maria Neféli 1979, and the collection of essays with a personal touch Anihtá hártia (Open Book) 1974. “Selected Writings;” (with collages by the author) recently appeared, and no less than three entirely new works await publication.
For many years past translations of Elytis’s poems have been printed in literary magazines and anthologies, but are also to be had in a number of separate volumes:
In English:
The Sovereign Sun: Selected poems. Kimon Friar, transl. Philadelphia: Temple Univ. Press, 1974.
The Axion Esti (bilingual ed.) Edmund Keeley Georges Savidis, transl. Pittsburgh: Univ. of Pittsburgh Press, 1974.
In French:
Six plus un remords pour le ciel. Texte francais de F.B. Mache. Montpellier: Fata Morgana, 1977.
In Italian:
Poesie. Trad. Mario Vitti. Roma 1952.
21 poesie. Trad. Vincenzo Rotolo. Palermo: Ist. Siciliano di Studi Bizantini e Neoellenici, 1968.
In German:
Korper des Sommers. Auagewahlte Gedichte. Neugriechisch u. deutsch. Uebertr. Antigone Kasolea u. Barbara Schlorb. St. Gallen: Tschudy Verlag 1960.
Sieben nachtliche Siebeneeiler. Griechisch-Deutsch. Uebertr. Gunter Dietz. Darmstadt: J.G. Blaschke Verlag, 1966.
To Axion Esti-Gepriesen Sei.Uebetr. Gunter Dietz. Hamburg: Claassen Verlag, 1969.
As well as in most of the above works Elytis is presented in detail in the magazine Books Abroad (Univ. of Oklahoma), vol. 49 (1975), No. 4 (Autumn).
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Odysseus Elytis (1911-96) won the Nobel Prize in Literature in 1979. With Seferis and the 'Generation of the Thirties', he introduced French Surrealism into Greek poetry. Kimon Friar’s classic translation The Sovereign Sun begins with his brilliantly sensuous early poems. It has large selections from his master work, Axion Esti (1959), and includes the whole of his Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign (1945). His Nobel Prize citation stated: ‘Against the background of Greek tradition, his poetry depicts with sensuous strength and clearsightedness modern man's struggle for freedom and creativeness.’
'He has a romantic and lyrical mind, which deploys a metaphysic of complete intellectual sensuality-the rocks, the islands, the blue Greek sea, the winds; they are at once "real" and also "signatures" in the alchemical sense. He makes his magic with them, and it is peculiarly Greek magic that he makes. His poems are spells, and they conjure up that eternal Greek world which has haunted and continues to haunt the European consciousness with its hints of a perfection that always remains a possibility. The Greek poet aims his heart and his gift directly at the sublime - for nothing else will do. How lucky, too, that he has found in Kimon Friar a translator who can transplant his poetry into English, so that its freshness and spontaneity still shock and delight.' – Lawrence Durrell
'I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.' – Odysseus Elytis
Reissue available September 2020
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Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911 – March 18, 1996) was a Greek poet, considered as one of the most important representatives of modernism in Greece. Modernism, as a tendency, emerged in mid-nineteenth century Western Europe. It is rooted in the idea that the "traditional" forms of art, literature, religious faith, social organization, and daily life had become outdated—therefore it was essential to sweep them aside. In this it drew on previous revolutionary movements, including liberalism and communism.
Modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was "holding back" progress, and replacing it with new, and therefore better, ways of reaching the same end. In essence, the modernist movement argued that the new realities of the industrial and mechanized age were permanent and imminent, and that people should adapt their world view to accept that what was new was also good and pretty. In 1979 he was awarded the Nobel Prize in Literature.
Biography
Descendant of an old family of Lesbos, he was born in Heraklion (Candia) on the island of Crete, November 2, 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as a listener at the Law School at Athens University. The son of a prosperous businessman, he would write under the nom de plume of Elytis to distance himself from the family business. His original family name was Alepoudelis. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα). His entry inaugurated a new era in Greek poetry and its subsequent reform after the Second World War.
The war
In 1937 he served his military requirements. Selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially in the First Army Corps Headquarters, he was later transferred to the Twenty-forth Regiment, on the first-line of the battlefields. Elytis continuously published poetry anthologies and essays on contemporary poetry and art during the years of the German Occupation.
Programme director for ERT
Elytis was twice named Programme Director of the Elliniki Radiophonia Tileorasi (Greek National Radio Foundation) (1945-1946 and 1953-1954), Member of the Greek National Theater's Administrative Council, President of the Administrative Council of the Elliniki Radiophonia Tileorasi (Greek Radio and Television) as well as Member of the Consultative Committee of the Greek National Tourist's Organization on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix, and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
Travels
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde movement, including Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti, as Teriade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowed artists and philosophers of the time—Kostas Axelos, Jean Paul Sartre, Rene Daumal. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations." Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.
In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; he received similar invitations from the Soviet Union in 1963 and Bulgaria in 1965.
Death
Odysseas Elytis died on March 18, 1996.
The Poetry of Elytis
Elytis' poetry spanned a period of over forty years, covering a broad spectrum of trends. His early work was clearly influenced by the development of Surrealism, especially admiring Paul Eluard. During the war, his poem "Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign" was an important rallying cry for Greek patriots. After the war, he remained silent for a decade and a half. Unlike other contemporaries, he did not return to Ancient Greece or Byzantium for his poetic inspiration, but devoted himself exclusively to more modern Hellenistic concerns. Rather than return to the mythology of the past, he attempted to endow contemporary institutions with a new mythology, one which would rid his people's conscience of past remorse, to complement life's natural elements through human ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a self-confessed idolater. This new mythology, or inner architecture, is clearly perceptible in a great many works of his—mainly in the Worthy It Is (Το Άξιον Εστί). This work was set to music by Mikis Theodorakis, and was widely spread among all Greeks, growing into a kind of the people's new "gospel." Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title 'The Open Papers (Ανοιχτά Χαρτιά). In addition he applied himself to translating poetry and drama as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Works
Poetry
Orientations (Προσανατολισμοί, 1940)
Sun The First (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills Of Love (Τα Ρω του Έρωτα, 1973)
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetras (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2x7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
«Εν λευκώ» (συλλογή κειμένων), (1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
Second Writing (Δεύτερη γραφή, 1976)
Sapho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Translations of Elytis' work
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Korper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti - Gepriesen sei. Übers. Güinter Dietz (Hamburg 1969)
The Axion Esti. Trans. Edmund Keeley and G. Savidis (Pittsburgh, U.S.A. 1974)
The Sovereign Sun. Trans. Kinom Friar (Philadelphia, U.S.A. 1974)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981)
Reference works
Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
Tasos Lignadis: Elytis' Axion Esti (1972)
Lili Zografos: Elytis - The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis' Variations on a theme (1982)
E. Keeley: Elytis and the Greek Tradition (1983)
Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
All links retrieved November 17, 2022.
Official site of Nobel Prize
Recitations of poems by Elytis
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2020-10-14T03:18:38+00:00
|
|9780822953180|The Axion Esti is probably the most widely read volume of verse to have appeared in Greece since World War II and remains a classic today. Those who follow the music of Greek composer Mikis Theodorakis have been especially drawn to Odysseus Elytis’s work, his prose is widely considered a mirror to the revolutionary music of Theodorakis. The “autobiographical” elements are constantly colored by allusion to the history of Greece, thus, the poems express a contemporary consciousness fully resonant with those echoes of the past that have served most to shape the modern Greek experience.| Odysseus Elytis| Pitt Poetry Series|...
|
https://upittpress.org/wp-content/themes/pittspress/images/favicon.ico
|
University of Pittsburgh Press
|
https://upittpress.org/books/9780822953180/
|
The Axion Esti is probably the most widely read volume of verse to have appeared in Greece since World War II and remains a classic today. Those who follow the music of Greek composer Mikis Theodorakis have been especially drawn to Odysseus Elytis’s work, his prose is widely considered a mirror to the revolutionary music of Theodorakis. The “autobiographical” elements are constantly colored by allusion to the history of Greece, thus, the poems express a contemporary consciousness fully resonant with those echoes of the past that have served most to shape the modern Greek experience.
|
|||
correct_award_00067
|
FactBench
|
1
| 13
|
https://www.athensinsider.com/nobel-laureate-odysseus-elytis-works-to-find-a-permanent-home-in-plaka/
|
en
|
Nobel Laureate Odysseus Elytis’ works to find a permanent home in Plaka
|
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2020-12-21T19:39:41+00:00
|
Described as the ‘sun-drinking poet,’ the late Nobel laureate Odysseas Elytis will be honoured with a permanent home dedicated to preserving his poems, photographs and texts on the corner of Dioskourou and Polygnotou streets in Plaka. Considered one of the most acclaimed poets of the 20th century, Elytis was born on Crete in 1911 and passed […]
|
en
|
https://www.athensinsider.com/wp-content/themes/athensinsider/images/favicon.ico
|
Athens Insider
|
https://www.athensinsider.com/nobel-laureate-odysseus-elytis-works-to-find-a-permanent-home-in-plaka/
|
The listed building that will house Odysseas Elytis’ works, consists of a main residence and two auxiliary buildings. The building, owned by the Culture Ministry, will include the creation of an exhibition area but also a space for the storage of Elytis’ archives. The residence’s ground floor will house a reception area and a visual presentation of significant milestones in Elytis’ life and work. Also on display will be books, manuscripts, the poet’s favourite poems and works of art, translations, audio and visual material and personal items from his office.
Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clear-sightedness, modern man’s struggle for freedom and creativeness … [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition.
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong.
I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece.
His poem Maria Nefeli came to be regarded by critics as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces.”
|
||||
correct_award_00067
|
FactBench
|
2
| 11
|
https://nordstjernan.com/news/organizations/1710/
|
en
|
Nordstjernan
|
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Page description
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en
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/favicon.ico
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https://www.mywebsite.com/page
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Dr. Alfred Bernhard Nobel
Nobel by name, noble by nature
The last will and testament of Dr. Alfred Bernhard Nobel guaranteed the engineer a permanent place in history and, in the process, gave Sweden arguably the most exclusive brand name on the planet.
"The whole of my remaining realizable estate shall be dealt with in the following way: the capital, invested in safe securities by my executors, shall constitute a fund, the interest on which shall be annually distributed in the form of prizes to those who, during the preceding year, shall have conferred the greatest benefit to mankind."
Oe Kenzaburo receives the Nobel Prize in Literature in 1994, awarded by H.R.H. Carl XVI Gustaf, the King of Sweden. Published in Nordic Reach/Sweden & America, 2001.
Even in his wildest dreams, the author of these words could hardly have realized the impact his bequest would have on the world. Dated November 27, 1895, the last will and testament of Dr. Alfred Bernhard Nobel guaranteed the engineer a permanent place in history and, in the process, gave Sweden arguably the most exclusive brand name on the planet.
This is what the certificate looks like. Odysseas Elytis was awarded the Nobel Prize in Literature in 1974. Published in Nordic Reach/Sweden & America, 2001.
In a society where success is judged predominately in commercial terms, there is thankfully at least one institution standing that still recognizes and rewards the finest human and humane endeavors. Nobel Prize laureates might not receive the same publicity as Olympic champions or Oscar winners, but then again, the Nobel Prize is not about transient achievements. Its founder made clear that he desired his patronage be bestowed only on the extraordinary in fields outside of the realms of popular culture; a small band of people who have helped to define and often change the course of history for the common good. He may have been shooting for the stars, but were he alive today, he would probably be content to see that his wishes largely have been fulfilled.
Each year, the banquet at Stockholm City Hall is the event of the year. Published in Nordic Reach/Sweden & America, 2001.
As the inventor of dynamite and other explosives, Nobel has a legacy often questioned. Did he, as a person responsible for accelerating the destructive powers of mankind, seek to salve his conscience by redirecting the major portion of his vast fortune into what could be considered one of the most expensive public relations campaigns ever staged?
The table setting a fine example of recent Scandinavian design through and through. Published in Nordic Reach/Sweden & America, 2001.
Because the Swede, who died in Italy in 1896, never outlined his personal reasons for inaugurating the Prizes, commentators can only guess. But the PR theory fails to paint the full picture. Nobel was more than just a brilliant inventor and successful business tycoon.
The Nobel monument in New York City's Theodore Roosevelt Park honoring all American Nobel Laureates unveiled by New York's Mayor Michael R. Bloomberg and Sweden's Deputy Prime Minister at the time, Ms. Margareta Winberg, on October 14, 2003. Published in Nordic Reach, 2003.
Born in Stockholm in 1833, Alfred Nobel was one of four sons born to Immanuel and Caroline Nobel. Alfred showed a keen interest in engineering early on, and learned the basics from his father. In 1837, his father left Stockholm after several business failures for St. Petersburg, where he built a successful company that manufactured explosives and machine tools. In 1842, Immanuel brought Alfred and the rest of the family to join him in Russia. Such was Immanuel’s new wealth that he was able to have his sons educated by private tutors.
By the age of sixteen, Alfred spoke five languages fluently and was a budding chemist. In 1850, he moved to Paris to study this discipline, and it there that the seeds that would one day become the Nobel Prizes began to germinate.
It is knowledge, and mankind’s appreciation of it, be it social or scientific, that lie at the very root of the ideology of the Nobel prizes. The selection of Laureates is, as one might imagine a complex task, the selection machinery itself mirroring the overall structure of the Prize’s multifaceted approach, as can be seen not the least by this years winner of the Nobel Peace Prize, the nomination and selection of Nobel Prize winners varies accordingly to category and prize-awarding institutions.
Many Americans among winners
A number of Americans received Nobel Prizes in recent years. This year's Nobel Chemistry Prize was split between a UK-, an Israel-, and a U.S. based researcher (http://www.nordstjernan.com/news/sweden/1707/) and the Nobel Prize in Medicine went to three American researchers (http://www.nordstjernan.com/news/sweden/1700/).
In the year 2000, Sweden’s Dr. Arvid Carlsson shared this prize with Paul Greengard and Eric R. Kandel, both from the U.S. Their selection fell nicely in line with Nobel’s wish that, “no consideration shall be given to the nationality of the candidates, but that the most worthy shall receive it, whether he be Scandinavian or not.” Winners from other categories that year included Jack S. Kilby from Texas Instruments in Physics; and Alan J. Heeger and Alan G. MacDiarmid from the University of California at Santa Barbara and University of Pennsylvania, respectively, who shared the Prize in Chemistry with Dr. Shirakawa from the University of Tsukuba in Japan. Americans James J. Heckman and Daniel L. McFadden received the Bank of Sweden Prize in Economic Sciences in memory of Alfred Nobel, for a total of seven U.S. citizens honored in the year 2000.
Winners of the this year's Nobel Prizes will receive SEK 10M (about $1.4 million), compared to SEK 115,000 back in 1923. The greatest increase in prize money came in 1969, when the Prize in Economic Sciences was added. Winners also receive an impressive medal and a certificate as well as the knowledge that they are likely to go down in history as one of this world’s most talented individuals.
These celebrations mark a milestone in what most of us have come to see as an accolade for individuals who have widened the domains of research and understanding to new higher levels. As a result, Nobel will for many of us be ever synonymous with the quest for peace, of brave struggle against the face of evil, and of hope.
In the words of a fine man, a great orator and one of America’s brightest sons, “I think Alfred Nobel would know what I mean when I say that I accept this award in the spirit of a curator of some precious heirloom which he holds in trust for its true owners – all those to whom beauty is truth, and truth is beauty – and in whose eyes the beauty of genuine brotherhood and peace is more precious than diamonds, or silver, or gold.’ (From the Nobel Prize acceptance speech given by Dr. Martin Luther King, Dec. 10, 1964).
|
|||||
correct_award_00067
|
FactBench
|
1
| 44
|
https://www.ellines.com/en/myths/27654-a-nobel-prize-awarded-greek-poet/
|
en
|
A Nobel Prize awarded Greek poet
|
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2016-02-28T19:22:25+02:00
|
George Seferis is one of the most important Greek poets. Seferis received the Nobel Prize in Literature in 1963.
His real name was Georgios Seferiades. He was born on 13 March 1900 in Smyrna,..
|
ellines.com - Η πρώτη διαδικτυακή χώρα στον κόσμο
|
https://www.ellines.com/en/myths/27654-a-nobel-prize-awarded-greek-poet/
|
I feel at this moment that I am a living contradiction. The Swedish Academy has decided that my efforts in a language famous through the centuries but not widespread in its present form are worthy of this high distinction. It is paying homage to my language – and in return I express my gratitude in a foreign language. I hope you will accept the excuses I am making to myself.
I belong to a small country. A rocky promontory in the Mediterranean, it has nothing to distinguish it but the efforts of its people, the sea, and the light of the sun. It is a small country, but its tradition is immense and has been handed down through the centuries without interruption. The Greek language has never ceased to be spoken. It has undergone the changes that all living things experience, but there has never been a gap. This tradition is characterized by love of the human; justice is its norm. In the tightly organized classical tragedies the man who exceeds his measure is punished by the Erinyes. And this norm of justice holds even in the realm of nature.
«Helios will not overstep his measure»; says Heraclitus, «otherwise the Erinyes, the ministers of Justice, will find him out». A modern scientist might profit by pondering this aphorism of the Ionian philosopher. I am moved by the realization that the sense of justice penetrated the Greek mind to such an extent that it became a law of the physical world. One of my masters exclaimed at the beginning of the last century, «We are lost because we have been unjust» He was an unlettered man, who did not learn to write until the age of thirty-five. But in the Greece of our day the oral tradition goes back as far as the written tradition, and so does poetry. I find it significant that Sweden wishes to honour not only this poetry, but poetry in general, even when it originates in a small people. For I think that poetry is necessary to this modern world in which we are afflicted by fear and disquiet. Poetry has its roots in human breath – and what would we be if our breath were diminished? Poetry is an act of confidence – and who knows whether our unease is not due to a lack of confidence?
Last year, around this table, it was said that there is an enormous difference between the discoveries of modern science and those of literature, but little difference between modern and Greek dramas. Indeed, the behaviour of human beings does not seem to have changed. And I should add that today we need to listen to that human voice which we call poetry, that voice which is constantly in danger of being extinguished through lack of love, but is always reborn. Threatened, it has always found a refuge; denied, it has always instinctively taken root again in unexpected places. It recognizes no small nor large parts of the world; its place is in the hearts of men the world over. It has the charm of escaping from the vicious circle of custom. I owe gratitude to the Swedish Academy for being aware of these facts; for being aware that languages which are said to have restricted circulation should not become barriers which might stifle the beating of the human heart; and for being a true Areopagus, able «to judge with solemn truth life’s ill-appointed lot», to quote Shelley, who, it is said, inspired Alfred Nobel, whose grandeur of heart redeems inevitable violence.
In our gradually shrinking world, everyone is in need of all the others. We must look for man wherever we can find him. When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: «Man». That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.
|
||||||
correct_award_00067
|
FactBench
|
2
| 85
|
http://www.mlahanas.de/Greeks/NewLiteratur/GeorgeSeferis.html
|
en
|
Giorgos Seferis
|
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Literature 1963
Giorgos Seferis (ÎιÏÏÎ³Î¿Ï Î£ÎµÏÎÏηÏ) (February 29, 1900 â September 20, 1971) was one of the most important Greek poets of the 20th century. He also pursued a career in the Greek foreign service, culminating in his appointment as Ambassador to the UK, a post which he held from 1957 to 1962.
'Seferis' was a pen name, a variation on his family name, Seferiadis.
Biography
Seferis was born in Urla near Smyrna in Asia Minor (now Ä°zmir, Turkey). His father, Stelios Seferiadis, was a lawyer, and later a professor at the University of Athens, as well as a poet and translator in his own right. He was also a staunch Venizelist and a supporter of the demotic Greek language over the formal, official language (katharevousa). Both of these attitudes influenced his son. In 1914 the family moved to Athens, where Seferis completed his secondary school education. He continued his studies in Paris from 1918 to 1925, studying law at the Sorbonne. While he was there, in September 1922, Smyrna was occupied by the Turks and its Greek population, including Seferis' family, fled. Seferis would not visit Smyrna again until 1950; the sense of being an exile from his childhood home would inform much of Seferis' poetry, showing itself particularly in his interest in the story of Odysseus.
Married Maria Zannou ('Maro') on 10th April 1941.
In exile with the Greek government in Egypt and South Africa during the Second World War.
Seferis was greatly influenced by Kavafis, T. S. Eliot and Ezra Pound.
Cyprus
Seferis first visited Cyprus in 1952. He immediately fell in love with the island, partly because of its resemblance, in its landscape, the mixture of populations, and in its traditions, to his childhood summer home in Skala. His book of poems Imerologio Katastromatos III was inspired by the island, and mostly written there â bringing to an end a period of six or seven years in which Seferis had not produced any poetry. Its original title was Cyprus, where it was ordained for meâ¦, a quotation from Euripidesâ Helen, in which Helenâs brother Teucer states that Apollo has decreed that Cyprus shall be his home; it made clear the optimistic sense of homecoming Seferis felt on discovering the island. Seferis changed the title in the 1959 edition of his poems.
Politically, Cyprus was entangled in the dispute between the UK, Greece and Turkey over its international status. Over the next few years, Seferis made use of his position in the diplomatic service to strive towards a resolution of the Cyprus dispute, investing a great deal of personal effort and emotion. This was one of the few areas in his life in which he allowed the personal and the political to mix.
The Nobel Prize
In 1963, Seferis was awarded the Nobel Prize for Literature "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture." [1] Seferis was the first Greek to receive the prize (and the only, until Odysseas Elytis became a Nobel laureate in 1979). His nationality, and the role he had played in the 20th century renaissance of Greek literature and culture, were probably a large contributing factor to the award decision. But in his acceptance speech, Seferis chose to emphasise his own humanist philosophy, concluding: "When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: 'Man'. That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus." [2] While Seferis has sometimes been considered a nationalist poet, his 'Hellenism' had more to do with his identifying a unifying strand of humanism in the continuity of Greek culture and literature.
Statement of 1969
In 1967 the repressive nationalist, right-wing Regime of the Colonels took power in Greece after a coup d'état. After two years marked by widespread censorship, political detentions and torture, Seferis took a stand against the regime. On 28 March 1969, he made a statement on the BBC World Service [3], with copies simultaneously distributed to every newspaper in Athens. In authoritative and absolute terms, he stated "This anomaly must end".
Seferis did not live to see the end of the junta in 1974, the direct result of Turkeyâs invasion of Cyprus, which had been prompted by the juntaâs attempt to overthrow Cyprusâ Archbishop Makarios.
At his funeral, huge crowds followed his coffin through the streets of Athens, singing Mikis Theodorakisâ setting of Seferisâ poem 'Denial' (then banned); he had become a popular hero for his resistance to the regime.
Other
In 1999, there was a dispute over the naming of a street in Ãzmir Yorgos Seferis Sokagi (a Turkification of Giorgos Seferis), due to continuing ill-feeling around the Greco-Turkish War in the 1920s.
In 2004, the band Sigmatropic released "16 Haikus and Other Stories," an LP dedicated to and lyrically derived from Seferis' work.
Works
Poetry
Strofi ΣÏÏοÏή (1931)
Sterna ΣÏÎÏνα (1932)
Mythistorima (1935)
Tetradio Gymnasmaton (1940)
Imerologio Katastromatos I (1940)
Imerologio Katastromatos II (1944)
Kichli (1947)
Imerologio Katastromatos III (1955)
Tria Kryfa Poiimata (1966)
Prose
Dokimes (Essays) 3 vols. (vols 1-2, 3rd ed. (ed. G.P. Savidis) 1974, vol 3 (ed. Dimitri Daskalopoulos) 1992)
Antigrafes (Translations) (1965)
Meres (Days â diaries) (7 vols., 1975-1990)
English translations
Complete Poems trans. Edmund Keeley and Philip Sherrard. (1995) London: Anvil Press Poetry. ISBN
A Poet's Journal: Days of 1945-1951 trans. Athan Anagnostopoulos. (1975) London: Harvard University Press. ISBN
On the Greek Style trans. Rex Warner and Th.D. Frangopoulos. (1966) London: Bodley Head.
Biography
Beaton, Roderick (2003). George Seferis: Waiting for the Angel - A Biography. New Haven: Yale University Press. ISBN 0-300-10135-X.
Tsatsos, Ioanna, Demos Jean (trans.) (1982). My Brother George Seferis. Minneapolis, Minn.: North Central Publishing.
Links
Nobel Prize 1963 ..âSeferis's verse symbolizes all that is indestructible in the Hellenic acceptance of lifeâ
Seferis reads Seferis (MP3)
Poems in English/French/German/Greek
Nanos Valaorits about Seferis (Real Audio /Greek) ,
Seferis BBC Report (Real Audio)
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https://www.britannica.com/topic/The-Axion-Esti
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The Axion Esti | poem by Elytis
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Other articles where The Axion Esti is discussed: Odysseus Elytis: The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize.
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Encyclopedia Britannica
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https://www.britannica.com/topic/The-Axion-Esti
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In Odysseus Elytis
The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize.
Read More
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correct_award_00067
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https://www.powells.com/awards/nobel
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Nobel Prize for Literature
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Jon Fosse
The Nobel Prize for Literature is awarded to an individual based on the body of their published work. In his will, Swedish scientist Alfred Nobel stipulated that a portion of his estate be awarded "to the person who shall have produced in the field of literature the most outstanding work of an idealistic tendency."
The Nobel Prize in Literature for 2023 was awarded to Jon Fosse, "For his innovative plays and prose which give voice to the unsayable."
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https://kids.kiddle.co/Odysseas_Elytis
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Odysseas Elytis facts for kids
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Odysseus Elytis (Greek: Οδυσσέας Ελύτης pen name of Odysseus Alepoudellis, Greek: Οδυσσέας Αλεπουδέλλης; 2 November 1911 – 18 March 1996) was a Greek poet, essayist and translator, regarded as a major exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century, with his Axion Esti "regarded as a monument of contemporary poetry". In 1979, he was awarded the Nobel Prize in Literature.
Biography
Descendant of the Alepoudelis, an old olive oil industrial family from Lesbos, Elytis was born in Heraklion on the island of Crete, on 2 November 1911. His family later moved to Athens, where the poet graduated from high school and later attended courses as an auditor at the law school at University of Athens.
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.
From 1969 to 1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris. He was romantically linked to the lyricist and musicologist Mariannina Kriezi, who subsequently produced and hosted the legendary children's radio broadcast "Here Lilliput Land". Elytis was intensely private and vehemently solitary in pursuing his ideals of poetic truth and experience.
The war
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. He assisted Frederica of Hanover off the train and on to Greek soil personally when she arrived from Germany to marry hereditary Prince Paul. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
Programme director for ERT
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre's Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourists' Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
Travels
In 1948–1952 and 1969–1972 he lived in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean-Paul Sartre, Francoise Gilot, René Daumal) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations". Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.
In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Death
Odysseus Elytis had been completing plans to travel overseas when he died of a heart attack in Athens on 18 March 1996, at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First Cemetery of Athens.
Poetry
Elytis' poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today's Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people's conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a "worshiper" -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work It Is Truly Meet (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Works
Poetry
Orientations (Προσανατολισμοί, 1939)
Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills of Love (Τα Ρω του Έρωτα, 1973)
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)* Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
Eros, Eros, Eros: Selected and Last Poems (Copper Canyon Press, 1998) (translated by Olga Broumas)
Prose, essays
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2x7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Report to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Open Papers: Selected Essays (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
Art books
The Room with the Pictures (Το δωμάτιο με τις εικόνες, 1986) – collages by Odysseus Elytis, text by Evgenios Aranitsis
Translations
Second Writing (Δεύτερη γραφή, 1976)
Sappho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Translations of Elytis' work
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Körper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti – Gepriesen sei. Übers. Günter Dietz (Hamburg 1969)
The Axion Esti. Tr. E. Keeley and G. Savidis (Pittsburgh 1974 – Greek & English)(repr. London: Anvil Press, 1980 – English only)
Lofwaardig is. Vert. Guido Demoen (Ghent 1989-1991)
The Sovereign Sun: selected poems. Tr. K. Friar (1974; repr. 1990)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981; repr. 1982, 1991)
Maria Nephele, tr. A. Anagnostopoulos (1981)
Çılgın Nar Ağacı, tr. C. Çapan (Istanbul: Adam Yayınları, 1983)
What I love: selected poems, tr. O. Broumas (1986) [Greek & English texts]
See also
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[NP] Nobel Prize for Literature
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Nobel Prize for Literature [NP] Awarded annually since 1901 “My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!” That line from Shelley comes to mind when I think about the Nobel Prize for Literature. Not because the Nobel laureates rule supreme, but because in the context of the poem,…
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https://s1.wp.com/i/favicon.ico
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https://lettersrepublic.wordpress.com/np/
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Nobel Prize for Literature [NP]
Awarded annually since 1901
“My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!” That line from Shelley comes to mind when I think about the Nobel Prize for Literature. Not because the Nobel laureates rule supreme, but because in the context of the poem, a brief vision of a vast desert wasteland, this line is an arrogant boast etched in stone ruins that are all that remain of a once great kingdom. The braggadocio of Oxymandias didn’t stand up to the sweep of history. Likewise, Nobel laureates garner a lot of praise, but all too often they don’t live on in the canon. Of the 101 laureates to receive the Nobel since 1901, sixty didn’t get two votes for a specific work in my master list. (A work of literature has to appear on at least two of 24 different lists in order to make the Master.)
So much for the Nobel! Well, like most things, it is more complicated than that. Turns out that the master list is extremely preferential toward English language writers, specifically those from either America or the British Isles. The Nobel, throughout history, has fought against that bias. It awards English speakers begrudgingly. Less than a quarter of its recipients write in English. The Nobel, then, is a great way to broaden the spectrum of this list, adding lots of non-English speaking authors that are very worth reading. Right? The problem is that the Nobel doesn’t award works but rather it recognizes an author’s oeuvre. My solution at first was to give a vote to everything a laureate wrote and, if any work got a vote from another list, it was included in the master. But this would have made a very long list even longer. So no. I decided that if an author won the Nobel, he just got a mention beside his name and birthdate. [NP]. Kind of a gold star. Another problem arose. Some really great authors were left off through sheer bad luck. Specifically Jose Saramago, a man considered by Harold Bloom (bloviator though he is) to be one of the most gifted writers of recent decades. Saramago won the Nobel, and five of his works received a vote from various lists, but none got two. A flaw in the system. Great authors who write a lot of works – good works that get attention from other lists – but who are not writing in English, find it much harder to make the master list. My solution is to use the Nobel as a safety net. If an author wins the Nobel but he has no works that have received two votes, I select one to be included in the master list. Not perfect, but better. And better is a good thing.
Here are the laureates. Those with a work on the Master List appear in RED.
2010
Mario Vargas Llosa
2009
Herta Müller
2008
Jean-Marie Gustave Le Clézio
2007
Doris Lessing
2006
Orhan Pamuk
2005
Harold Pinter
2004
Elfriede Jelinek
2003
John M. Coetzee
2002
Imre Kertész
2001
Sir Vidiadhar Surajprasad Naipaul
2000
Gao Xingjian
1999
Günter Grass
1998
José Saramago
1997
Dario Fo
1996
Wislawa Szymborska
1995
Seamus Heaney
1994
Kenzaburo Oe
1993
Toni Morrison
1992
Derek Walcott
1991
Nadine Gordimer
1990
Octavio Paz
1989
Camilo José Cela
1988
Naguib Mahfouz
1987
Joseph Brodsky
1986
Wole Soyinka
1985
Claude Simon
1984
Jaroslav Seifert
1983
William Golding
1982
Gabriel García Márquez
1981
Elias Canetti
1980
Czeslaw Milosz
1979
Odysseus Elytis
1978
Isaac Bashevis Singer
1977
Vicente Aleixandre
1976
Saul Bellow
1975
Eugenio Montale
1974
Eyvind Johnson, Harry Martinson
1973
Patrick White
1972
Heinrich Böll
1971
Pablo Neruda
1970
Aleksandr Isayevich Solzhenitsyn
1969
Samuel Beckett
1968
Yasunari Kawabata
1967
Miguel Angel Asturias
1966
Shmuel Yosef Agnon, Nelly Sachs
1965
Mikhail Aleksandrovich Sholokhov
1964
Jean-Paul Sartre
1963
Giorgos Seferis
1962
John Steinbeck
1961
Ivo Andric
1960
Saint-John Perse
1959
Salvatore Quasimodo
1958
Boris Leonidovich Pasternak
1957
Albert Camus
1956
Juan Ramón Jiménez
1955
Halldór Kiljan Laxness
1954
Ernest Miller Hemingway
1953
Sir Winston Leonard Spencer Churchill
1952
François Mauriac
1951
Pär Fabian Lagerkvist
1950
Earl (Bertrand Arthur William) Russell
1949
William Faulkner
1948
Thomas Stearns Eliot
1947
André Paul Guillaume Gide
1946
Hermann Hesse
1945
Gabriela Mistral
1944
Johannes Vilhelm Jensen
1939
Frans Eemil Sillanpää
1938
Pearl Buck
1937
Roger Martin du Gard
1936
Eugene Gladstone O’Neill
1934
Luigi Pirandello
1933
Ivan Alekseyevich Bunin
1932
John Galsworthy
1931
Erik Axel Karlfeldt
1930
Sinclair Lewis
1929
Thomas Mann
1928
Sigrid Undset
1927
Henri Bergson
1926
Grazia Deledda
1925
George Bernard Shaw
1924
Wladyslaw Stanislaw Reymont
1923
William Butler Yeats
1922
Jacinto Benavente
1921
Anatole France
1920
Knut Pedersen Hamsun
1919
Carl Friedrich Georg Spitteler
1917
Karl Adolph Gjellerup, Henrik Pontoppidan
1916
Carl Gustaf Verner von Heidenstam
1915
Romain Rolland
1913
Rabindranath Tagore
1912
Gerhart Johann Robert Hauptmann
1911
Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck
1910
Paul Johann Ludwig Heyse
1909
Selma Ottilia Lovisa Lagerlöf
1908
Rudolf Christoph Eucken
1907
Rudyard Kipling
1906
Giosuè Carducci
1905
Henryk Sienkiewicz
1904
Frédéric Mistral, José Echegaray y Eizaguirre
1903
Bjørnstjerne Martinus Bjørnson
1902
Christian Matthias Theodor Mommsen
|
||
correct_award_00067
|
FactBench
|
3
| 88
|
https://www.greeknewsagenda.gr/poem-of-the-month-a-tribute-to-odysseus-elytis-and-his-chef-d-oeuvre-the-axion-esti/
|
en
|
Poem of the Month: A Tribute to Odysseus Elytis and his Chef d' Oeuvre 'The Axion Esti'
|
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[
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2019-11-27T06:27:07+00:00
|
On 18 October 1979, one of Greece’s major poets, Odysseus Elytis, was awarded with the Noble Prize for Literature. The Swedish Academy declared in its presentation that Elytis’ poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness. . . . [In] its combination of fresh, sensuous flexibility and strictly […]
|
en
|
Greek News Agenda
|
https://www.greeknewsagenda.gr/poem-of-the-month-a-tribute-to-odysseus-elytis-and-his-chef-d-oeuvre-the-axion-esti/
|
On 18 October 1979, one of Greece’s major poets, Odysseus Elytis, was awarded with the Noble Prize for Literature. The Swedish Academy declared in its presentation that Elytis’ poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness. . . . [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people“.
To be a Greek and a part of its twenty-five-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization“.
Odysseus Elytis, original surname Alepoudhelis was born on November 2, 1911. Born the scion of a prosperous family from Lesbos, he abandoned the family name as a young man in order to dissociate his writing from the family soap business. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality“.
Intrigued by French Surrealism, and particularly by the poet Paul Eluard, he began publishing verse in the 1930s, notably in Nea grammata. This magazine was a prime vehicle for the “Generation of the ’30s,” an influential school that included George Seferis, who in 1963 became the first Greek Nobel laureate for literature. Elytis’ earliest poems exhibited a strong individuality of tone and setting within the Surrealist mode. The volume Prosanatolismoi (Orientations), published in 1940, is a collection of his works to that date. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.”
When Nazi Germany occupied Greece in 1941, Elytis fought against the Italians in Albania. He became something of a bard among young Greeks; one of his poems, Asma hērōiko kai penthimo gia ton chameno anthypolochago tēs Alvanias (1945; “Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign”), became an anthem to the cause of freedom. Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
During and after the Greek Civil War, he lapsed into literary silence for almost 15 years, returning to print in 1959 with The Axion Esti (Worthy It Is), a long poem in w hich the speaker explores the essence of his being as well as the identity of his country and people. Widely held to be his chef d’oeuvre, The Axion Esti is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. Edmund Keeley, the translator of the volume into English, suggested that The Axion Esti “can perhaps be taken best as a kind of spiritual autobiography that attempts to dramatize the national and philosophical extensions of the poet’s personal sensibility. Elytis’s strategy in this work . . . is to present an image of the contemporary Greek consciousness through the developing of a persona that is at once the poet himself and the voice of his country“.
…PRAISED BE the unmotivated tear
rising slowly in the lovely eyes of children
standing hand in hand
of children staring speechlessly
Love’s stammering upon the rocks
a lighthouse discharging the grief of ages
a cricket insisting like remorse
a woolen sweater left to the frost
PRAISED BE the hand returning
from horrible murder knowing now
which the world that is really superior
which the world’s “now” and which its “forever”:
NΟW the myrtle’s wild animal Now the cry of May
FOREVER the utmost conscience Forever the full light
Now now the hallucination and the mimicry of sleep
Forever forever the world and forever the astral Keel
Now the moving cloud of lepidoptera
Forever the circumgyrating light of mysteries
Now the crust of the Earth and the Dominion
Forever the food of the Soul and the quintessence
Now the Moon’s incurable swarthiness
Forever the Galaxy’s golden blue scintillation
Now the amalgam of peoples and the black Number
Forever the statue of Justice and the great Eye
Now the humiliation of the Gods
Now the ashes of Man Now Now the zero
and Forever this small world the Great!
After the overwhelming success of The Axion Esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. When Maria Nefeli was first published in 1978, it met with a curious, yet hesitant public. Despite the initial reservations voiced by some critics, Maria Nefeli came to be regarded as the summa of Elytis’s later writings.
Elytis lived in Paris for a short time after the Greek military coup of 1967. His later works include Ho hēlios ho hēliatoras (1971; The Sovereign Sun), Ta eterothalē (1974; The Stepchildren), Ho mikros nautilos (1986; The Little Mariner), and Ta elegeia tis Oxopetras (1991; The Oxopetra Elegies). The Collected Poems of Odysseus Elytis (1997) is a volume of his poetry in English translation.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum. Unlike others, he did not turn back to Ancient Greece or Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted – in a certain way based on psychical and sentimental aspects – to build up the mythology and the institutions. His main endeavour has been to rid his people’s conscience from remorses unjustifiable, to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and to finally succeed in approaching the mystery of light, “the metaphysic of the sun” – according to his own definition.
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood“.
Odysseus Elytis died on March 18, 1996.
|
|||||
correct_award_00067
|
FactBench
|
3
| 30
|
https://www.ellines.com/en/myths/27654-a-nobel-prize-awarded-greek-poet/
|
en
|
A Nobel Prize awarded Greek poet
|
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"info info"
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2016-02-28T19:22:25+02:00
|
George Seferis is one of the most important Greek poets. Seferis received the Nobel Prize in Literature in 1963.
His real name was Georgios Seferiades. He was born on 13 March 1900 in Smyrna,..
|
ellines.com - Η πρώτη διαδικτυακή χώρα στον κόσμο
|
https://www.ellines.com/en/myths/27654-a-nobel-prize-awarded-greek-poet/
|
I feel at this moment that I am a living contradiction. The Swedish Academy has decided that my efforts in a language famous through the centuries but not widespread in its present form are worthy of this high distinction. It is paying homage to my language – and in return I express my gratitude in a foreign language. I hope you will accept the excuses I am making to myself.
I belong to a small country. A rocky promontory in the Mediterranean, it has nothing to distinguish it but the efforts of its people, the sea, and the light of the sun. It is a small country, but its tradition is immense and has been handed down through the centuries without interruption. The Greek language has never ceased to be spoken. It has undergone the changes that all living things experience, but there has never been a gap. This tradition is characterized by love of the human; justice is its norm. In the tightly organized classical tragedies the man who exceeds his measure is punished by the Erinyes. And this norm of justice holds even in the realm of nature.
«Helios will not overstep his measure»; says Heraclitus, «otherwise the Erinyes, the ministers of Justice, will find him out». A modern scientist might profit by pondering this aphorism of the Ionian philosopher. I am moved by the realization that the sense of justice penetrated the Greek mind to such an extent that it became a law of the physical world. One of my masters exclaimed at the beginning of the last century, «We are lost because we have been unjust» He was an unlettered man, who did not learn to write until the age of thirty-five. But in the Greece of our day the oral tradition goes back as far as the written tradition, and so does poetry. I find it significant that Sweden wishes to honour not only this poetry, but poetry in general, even when it originates in a small people. For I think that poetry is necessary to this modern world in which we are afflicted by fear and disquiet. Poetry has its roots in human breath – and what would we be if our breath were diminished? Poetry is an act of confidence – and who knows whether our unease is not due to a lack of confidence?
Last year, around this table, it was said that there is an enormous difference between the discoveries of modern science and those of literature, but little difference between modern and Greek dramas. Indeed, the behaviour of human beings does not seem to have changed. And I should add that today we need to listen to that human voice which we call poetry, that voice which is constantly in danger of being extinguished through lack of love, but is always reborn. Threatened, it has always found a refuge; denied, it has always instinctively taken root again in unexpected places. It recognizes no small nor large parts of the world; its place is in the hearts of men the world over. It has the charm of escaping from the vicious circle of custom. I owe gratitude to the Swedish Academy for being aware of these facts; for being aware that languages which are said to have restricted circulation should not become barriers which might stifle the beating of the human heart; and for being a true Areopagus, able «to judge with solemn truth life’s ill-appointed lot», to quote Shelley, who, it is said, inspired Alfred Nobel, whose grandeur of heart redeems inevitable violence.
In our gradually shrinking world, everyone is in need of all the others. We must look for man wherever we can find him. When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: «Man». That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.
|
||||||
correct_award_00067
|
FactBench
|
2
| 1
|
https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
|
en
|
Odysseus Elytis – Facts
|
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
|
en
|
NobelPrize.org
|
https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
|
Odysseus Elytis
The Nobel Prize in Literature 1979
Residence at the time of the award: Greece
Prize motivation: “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness”
Language: Greek
Prize share: 1/1
Life
Odysseus Elytis was born in 1911 on the Greek island of Crete. The family later moved to Athens. After finishing his secondary school studies there, Elytis studied law at the University of Athens. He immediately attracted attention when he published his poems in the magazine Nea Grammata (New Culture) in the 1930s. Elytis took part in World War II, fighting against Mussolini’s troops in Albania. When the Greek military junta seized power in his native country in 1967, he chose to take up residence in Paris, where he became acquainted with several artists and writers. When the dictatorship fell in 1974, he returned to Greece.
Work
In the poetry of Odysseus Elytis, influences of surrealism meet traditional Greek literature. The sun plays a central role in his early works. His poems celebrate light, the turquoise sea, the rocky landscape and the ancient ruins of Elytis’ native country. Elytis’ experiences during World War II introduced a darker element into his poetic world. One of his most prominent works is Axion esti (1959) (It Is Worthy), in which poetry and prose intermingle as in old Byzantine liturgy.
|
|||||
correct_award_00067
|
FactBench
|
3
| 47
|
https://www.newyorker.com/magazine/1979/11/05/odysseus-elytis
|
en
|
Odysseus Elytis
|
https://static.cdn.realviewdigital.com/global/content/GetImage.aspx?pguid=FC9071DC-DD99-441F-A727-1B74670350BC&i=1979-11-05&folio=042
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[
"greece",
"greeks",
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"poets"
] | null |
[
"Katha Pollitt",
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] |
1979-11-05T00:00:00
|
Talk story about a young greengrocer, a Greek, who is thrilled that poet Odysseus Elytis has won the Nobel Prize for Literature. He is the second Greek …
|
en
|
https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
|
The New Yorker
|
https://www.newyorker.com/magazine/1979/11/05/odysseus-elytis
|
The New Yorker, November 5, 1979 P. 43
Talk story about a young greengrocer, a Greek, who is thrilled that poet Odysseus Elytis has won the Nobel Prize for Literature. He is the second Greek Nobel Poet; George Seferis was the first. The young man believes that Yannis Ritsos will be the third. He quotes the other two, and Ritsos. From Seferis he recites: "Wherever I travel, Greece still wounds me."
|
|||
correct_award_00067
|
FactBench
|
3
| 10
|
https://greekherald.com.au/culture/history/on-this-day-nobel-prize-winner-literature-odysseus-elytis-passed-awa/
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en
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On This Day: Nobel Prize winner for literature, Odysseus Elytis, passed away
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2021-03-17T23:51:47+00:00
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Odysseus Elytis was born on this day. He remains the second and last Greek poet honoured with the Nobel Prize for Literature.
|
en
|
The Greek Herald
|
https://greekherald.com.au/culture/history/on-this-day-nobel-prize-winner-literature-odysseus-elytis-passed-awa/
|
By Billy Patramanis.
Odysseus Alepoudellis was born on 2 November, 1911, in Heraklion, Crete. He was the son of a very wealthy family but changed his surname to Elytis when he began writing as a teenager, in order to disassociate his poetry from his family.
Elytis took an interest in poetry at around 17 years old. It was during this time that Elytis learnt the concept of surrealism, which was a new theory being developed in France at the time. He decided to base his poetry off the teachings.
Elytis studied law at the University of Athens after graduating from school, but after being influenced by the poet, Paul Eluard, Elytis decided to turn to literature and poetry.
Elytis published his first volume of poetry in 1936 titled “Prosanatolizmi.” The poetry was an uplifting, positive piece of work, earning Elytis the name of the ‘sun-drinking poet.’
In 1937, Elytis joined the National Military School in Corfu, Greece, serving his military requirement. During World War II, at the time of Nazi occupation in Greece in 1941, Elytis served on the frontline in Albania, fighting against the Italians.
While he stopped publishing poetry during this time, Elytis wrote a gruelling and powerful poem, depicting his time on the battlefield. His poem, published in 1945, was titled ‘A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.’
While Elytis was often regarded as a happy poet who praised the purity and beauty of life, this poem was the complete opposite of his usual work, depicting the true brutality of war on the frontline.
After World War II, Elytis took a break of almost 10 years from poetry. He would instead reside in Paris between 1948-1952. Here he studied philology in the Sorbonne. During this time he would also travel to Switzerland, Italy, Spain and England.
He returned to poetry soon after, publishing ‘To axion esti.’ This poem, after a long absence studying and travelling, is regarded as his true masterpiece. In the poem, Elytis questions himself and who he is, as well as Greece and its people, in a spiritual way.
The poem was highly successful, and he won many awards because of it. Elytis’ accolades include The First State Poetry Prize in 1960, The Order of the Phoenix Brigade in 1965, as well as being awarded Doctor Honoris Causa of the Philosophical School of the Thessaloniki University in 1975, and becoming an Honorary Citizen of the Town of Mytilene.
His greatest achievement however, came in 1979 when he was awarded the Nobel Prize in Literature.
Elytis is regarded as one of the greatest poets of the 20th century. His collection of work was published in English in 1997, titled ‘The Collected Poems of Odysseus Elytis.’
Odysseus Elytis died on the 18th of March, 1996.
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correct_award_00067
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FactBench
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0
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https://www.geni.com/people/Odysseus-Elytis-Nobel-Prize-in-Literature-1979/6000000014673818263
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en
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Odysseus Elytis, Nobel Prize in Literature, 1979
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1911-11-02T00:00:00
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Genealogy for Odysseus Elytis (Alepoudhiéis) (1911 - 1966) family tree on Geni, with over 240 million profiles of ancestors and living relatives.
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https://www.geni.com/people/Odysseus-Elytis-Nobel-Prize-in-Literature-1979/6000000014673818263
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Odysseas Elytis (Οδυσσέας Ελύτηςborn - Οδυσσέας Αλεπουδέλης) (November 2, 1911 – March 18, 1996) was regarded as a major exponent of romantic modernism in Greece and the world. In 1979 he was bestowed with the Nobel Prize in Literature.
Biography
Descendant of the Alepoudelis, an old industrial family from Lesbos, Elytis was born in Heraklion on the island of Crete, on November 2, 1911. His family later moved to Athens, where the poet graduated from high school and later attended courses as an auditor at the Law School at University of Athens.
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.
From 1969-1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris. He was romantically linked to the lyricist and musicologist Mariannina Kriezi, who subsequently produced and hosted the legendary children's radio broadcast "Here Lilliput Land". Elytis was intensely private and vehemently solitary in pursuing his ideals of poetic truth and experience.
The war
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
Programme director for ERT
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre's Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist's Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
Travels
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre, Francoise Gilot, Rene Daumal...) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations". Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.
In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Elytis was also a talented painter and produced illustrations of his lyrical world in gouaches and collages.
Death
Elytis never married; during his last years his companion was the poet Ioulita Iliopoulou. Odysseas Elytis had been completing plans to travel overseas when he died in Athens on 18 March 1996, at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First National Cemetery.
The Poetry of Elytis
Elytis' poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today's Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people's conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a "worshiper" -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
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correct_award_00067
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FactBench
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3
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https://greatestgreeks.wordpress.com/2016/08/08/odysseus-elytis/
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en
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Odysseus Elytis
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2016-08-08T00:00:00
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Poet (1911 – 1996) The major representative of romantic modernism in Greece, Elytis was one of the most notable writers of the generations of the 30s’, an influential literary school which included Georgios Seferis, the first Greek Noble Prize winner, in Literature. He is considered one of the greatest poets of modern Greece and of…
|
en
|
Greatest Greeks
|
https://greatestgreeks.wordpress.com/2016/08/08/odysseus-elytis/
|
Poet (1911 – 1996)
The major representative of romantic modernism in Greece, Elytis was one of the most notable writers of the generations of the 30s’, an influential literary school which included Georgios Seferis, the first Greek Noble Prize winner, in Literature. He is considered one of the greatest poets of modern Greece and of the entire world.
Odysseus Elytis was born in Crete. His original surname was Alepoudelis but once he became a literary figure he changed it to Elytis to avoid relation with his family’s soap business. His surname, El-, a prefix found in many Greek words such as El-pdia (hope), El-ia (olive) and El-eutheria (freedom), -y-, a letter originating and found only in the Greek language and the suffix –tis from Greek surnames such as Πολίτης meaning citizen, was carefully constructed by the poet to designate the Greek influence. He studied chemistry and later law in the University of Athens but later dropped out as he dedicated himself to literature and poetry.
In the 1930’s Elytis made his literary debut in the magazine Νέα Γράμματα (New Letters) by publishing his first poem titled Τοῦ Αἰγαίου (Of the Aegean) under the name Elytis. In 1936 he met Nikos Gatsos, with whom he formed a strong bond of friendship. With the outbreak of the 2nd World War, Elytis published his poetic collection Orientations. He joined the army and fought in the first line in the Greco-Italian war of 1940. His experiences inspired him to write his second poetic collection A Heroic And Funeral Chant For The Lieutenant Lost In Albania. He left Greece during the civil war and settled in France where he was introduced to the literary world of France and all its representatives.
In 1952 he returned to Greece. 7 years later he published his masterpiece Axion Esti (Ἄξιον Ἐστί, It is Worthy). A sacred moment for Hellenism. The gates of the world opened for him. The poem is the apogee of the ethical and spiritual struggles of the Greek race throughout the ages. In 1964 Mikis Theodorakis set Axion Esti to music making it popular enough for Elytis and Theodorakis to earn worldwide recognition. His entire life remained creative as he continued writing poems until 1991. His last poem was The Elegies of Oxopetras.
He was a frugal man who, in spite of his family’s close relations with politics never got actively involved with the commons. He rejected any offers to join political parties and rejected the position of honorary Academic in the Academy of Athens. He detested life associated with commerce and the acquisition of money. His poetry was involved with modern Hellenism and aimed at its spiritual and ethical revival. His poems were translated into 11 languages. Aside from his numerous poetic collections, Elytis translated works, mostly from French and painted.
In 1979 Odysseus Elytis was awarded the Nobel Prize in Literature “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”.
Bibliography
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FactBench
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1
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https://hfc-worldwide.org/blog/2015/01/26/seferis-and-elytis/
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Seferis and Elytis – Hellenic Foundation for Culture
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– Reviving Greek Poetry
The following article has been reprinted with kind permission from The Culture Trip: For more articles on Greece’s art and culture; handpicked local galleries; local books, films, music and apps recommendations; local cultural events and tours; and a selection of restaurants and hotels – take a look at The Culture Trip.
Most readers of classic literature would claim to be well-versed in the great works of Greek literature: The Odyssey and The Iliad from Homer, works of the great philosophers Socrates, Aristotle and Plato and the tragedies of Aeschylus, Sophocles, and Euripides. These men all belong to a hazy golden age in our imaginations commonly thought of as “antiquity.”
However, since then, Greek literature has ceased to be a conspicuous presence in the canon of Western literature, with which we are all so familiar. The past 500 years or so have seen a flowering of English, American, French, German and Italian literature, which have become the great “classics.” During the twentieth century burst of Modernism, these nations in particular produced the most famed avant-garde thinkers, writers and artists, who shaped the culture we live and breathe today. What may be less well known to most is that in this whirling milieu of radicalism, under the pressure of political turbulence and European instability, two Greek poets were bringing the ancient traditions of the Hellenic past into the modern age, a feat for which they would both receive the Nobel Prize for Literature.
Giorgos Seferis and Odysseas Elytis both originated from outside of Greece (Elytis from Crete, technically still part of the Ottoman Empire when he was born, and Seferis from Smyrna, in modern-day Turkey) but both moved with their families to Athens where they received their educations. It is not difficult to see how they were both influenced by Greece’s rich cultural heritage, although they identified with different strands. Smyrna was taken by the Turks in 1922, and Seferis, having left in 1914, did not return until 1950. This sense of being an exile from his home deeply affected him, and so it is unsurprising that he identified with the ancient story of Odysseus, told by the great epic poet Homer, in which a hero of the long Trojan War is forced to wander the seas for ten years whilst he attempts to find his way home.
It is possible to describe Seferis as something of a wanderer himself, as he had a long and successful diplomatic career, travelling to many different countries as the Greek Ambassador. The wanderer found a sense of closure on his visit to Cyprus in 1953, an island with which he felt an instant affinity, and which inspired him to end a seven-year literary dry spell with the release of his book of poems Imerologio Katastromatos III, which celebrated his sense of homecoming.
Seferis’ particular brand of Hellenism, the main reason for his Nobel Prize for Literature in 1963, was concentrated on highlighting a unifying strand of humanism which endures in Greek culture and literature. This desire to find continuity between the cultures of ancient and modern Greece through his own personal interest in humanism is nowhere better demonstrated than in his acceptance speech of his Nobel Prize, in which he adapted a famous Greek myth: “When on his way to Thebes, Oedipus encountered the Sphinx, his answer to its riddle was: ‘Man’. That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.”
His place in Greek culture was demonstrated by the inclusion of a very famous stanza from his “Mythistorema” in the 2004 Athens Olympics Opening Ceremony. Moreover, his place in the hearts of the Greek people had been confirmed some years earlier upon his death: he became an important symbol of resistance against the repressive right-wing regime which terrorised Greece between 1967 and 1974, and at his funeral in 1971 huge crowds followed his coffin singing the words of his poem “Denial,” which was then banned. The poem itself conjures a wild and romantic vision of a Greek beach setting, but, as is characteristic of his work, with a human story at its heart.
The video below is a more recent performance of the song (with subtitles), which has become a classic in the Greek repertoire, as evidenced by the audience singing along.
“Mythistorema” similarly has a watery setting that is clearly taken from The Odyssey, of which it is in some ways a revised version; however, in the dreamy darkness of the narrative and the fragmentary form, and its rather loose allusions to the original story, it is easy to see the influence of T. S. Eliot’s “Wasteland,” which Seferis translated into Greek in 1936.
Where Seferis pointed the way, Elytis, with his friend’s encouragement, followed, and is today credited with the modernisation of Greek literature. Living in Paris in self-exile between 1948 and 1952, he was known and appreciated by some of the most important pioneers of the avant-garde, including artists Pablo Picasso, Henri Matisse, Marc Chagall and Alberto Giacometti.
Similarly interested in modern Greek culture as his friend and mentor Seferis, we can also detect elements of Ancient Greek and Byzantine culture in his work. He received the Nobel Prize for Literature in 1979, perhaps chiefly because of his intensely personal style of writing; it is poetry that resonates with an absolute sincerity, even when speaking of the most rarefied of subject matter. A recurring theme is the metaphysics of the sun, or rather, the mystery of life, for he was a self-confessed “sun-worshipper” or “idolator.” As Seferis’ poem “Denial” had been, Elytis’ landmark work “Worthy It Is” became a great rallying anthem for all Greeks who resisted injustice, especially when set to music by Mikis Theodorakis. With an epic Biblical structure, it represents a fevered call to modern man for self-liberation and a hymn to the beauty of nature.
The video below is one of the songs from the Axion Esti, “A Solitary Swallow,” which has, like Seferis’ “Denial,” become a classic, known by virtually all Greeks. The popularity of these songs also illustrates the enduring connection between poetry and music in Greek culture. The concert was televised and features Mikis Theodorakis himself conducting.
Seferis’ works can be found translated into English in his Complete Poems, whilst Elytis’ “Worthy It Is” is published in English under its original Greek title, “Axion Esti.” It is perhaps time for us to recognise the importance of the role both of these writers played in modern literature, in bringing the culture of Europe’s most ancient civilisation into the twentieth century, and fighting the epic battle against oppression and tyranny.
Helena Cuss
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correct_award_00067
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2
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http://almaz.com/nobel/literature/literature.html
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Winners of the Nobel Prize in Literature
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A comprehensive list of Nobel Prize Laureates in Literature, at the Nobel Prize Internet Archive.
| null |
2022
ANNIE ERNAUX for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory
2021
ABDULRAZAK GURNAH for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents
2020
LOUISE GLÜCK for her unmistakable poetic voice that with austere beauty makes individual existence universal.
2019
PETER HANDKE for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience.
2018
OLGA TOKARCZUK for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life.
2017
KAZUO ISHIGURO who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world
2016
BOB DYLAN for having created new poetic expressions within the great American song tradition
2015
SVETLANA ALEXIEVICH for her polyphonic writings, a monument to suffering and courage in our time.
2014
PATRICK MODIANO for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation.
2013
ALICE MUNRO, master of the contemporary short story.
2012
MO YAN who with hallucinatory realism merges folk tales, history and the contemporary.
2011
TOMAS TRANSTRÖMER because, through his condensed, translucent images, he gives us fresh access to reality.
2010
MARIO VARGAS LLOSA for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat.
2009
HERTA MÜLLER who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed.
2008
JEAN-MARIE GUSTAVE LE CLÉZIO author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization.
2007
DORIS LESSING that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny.
2006
ORHAN PAMUK who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures.
2005
HAROLD PINTER who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms.
2004
ELFRIEDE JELINEK for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clich s and their subjugating power
2003
JOHN MAXWELL COETZEE who in innumerable guises portrays the surprising involvement of the outsider
2002
IMRE KERTÉSZ for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history
2001
V. S. NAIPAUL for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories.
2000
GAO XINGJIAN for an oeuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama.
1999
GUNTER GRASS whose frolicsome black fables portray the forgotten face of history.
1998
JOSE SARAMAGO who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality.
1997
DARIO FO who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.
1996
WISLAWA SZYMBORSKA for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality.
1995
SEAMUS HEANEY for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past.
1994
KENZABURO OE who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today.
1993
TONI MORRISON who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality.
1992
DEREK WALCOTT for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment.
1991
NADINE GORDIMER who through her magnificent epic writing has - in the words of Alfred Nobel - been of very great benefit to humanity.
1990
OCTAVIO PAZ for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity.
1989
CAMILO JOSÉ CELA for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability.
1988
NAGUIB MAHFOUZ who, through works rich in nuance-now clearsightedly realistic, now evocatively ambigous-has formed an Arabian narrative art that applies to all mankind.
1987
JOSEPH BRODSKY for an all-embracing authorship, imbued with clarity of thought and poetic intensity.
1986
WOLE SOYINKA who in a wide cultural perspective and with poetic overtones fashions the drama of existence.
1985
CLAUDE SIMON who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition.
1984
JAROSLAV SEIFERT for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man.
1983
SIR WILLIAM GOLDING for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today.
1982
GABRIEL GARCÍA MÁRQUEZ for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts.
1981
ELIAS CANETTI for writings marked by a broad outlook, a wealth of ideas and artistic power.
1980
CZESLAW MILOSZ who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts.
1979
ODYSSEUS ELYTIS (pen-name of ODYSSEUS ALEPOUDHELIS ), for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness.
1978
ISAAC BASHEVIS SINGER for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life.
1977
VICENTE ALEIXANDRE for a creative poetic writing which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry beween the wars.
1976
SAUL BELLOW for the human understanding and subtle analysis of contemporary culture that are combined in his work.
1975
EUGENIO MONTALE for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions.
1974
The prize was divided equally between:
EYVIND JOHNSON for a narrative art, farseeing in lands and ages, in the service of freedom.
HARRY MARTINSON for writings that catch the dewdrop and reflect the cosmos.
1973
PATRICK WHITE for an epic and psychological narrative art which has introduced a new continent into literature.
1972
HEINRICH BÖLL for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature.
1971
PABLO NERUDA for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams.
1970
ALEKSANDR ISAEVICH SOLZHENITSYN for the ethical force with which he has pursued the indispensable traditions of Russian literature.
1969
SAMUEL BECKETT for his writing, which - in new forms for the novel and drama - in the destitution of modern man acquires its elevation.
1968
YASUNARI KAWABATA for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind.
1967
MIGUEL ANGEL ASTURIAS for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America.
1966
The prize was divided equally between:
SHMUEL YOSEF AGNON for his profoundly characteristic narrative art with motifs from the life of the Jewish people.
NELLY SACHS for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength.
1965
MICHAIL ALEKSANDROVICH SHOLOKHOV for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people.
1964
JEAN-PAUL SARTRE for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a farreaching influence on our age. (Declined the prize.)
1963
GIORGOS SEFERIS (pen-name of GIORGOS SEFERIADIS ), for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture.
1962
JOHN STEINBECK for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception.
1961
IVO ANDRI´C for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country.
1960
SAINT-JOHN PERSE (pen-name of ALEXIS LÉGER ), for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time.
1959
SALVATORE QUASIMODO for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times.
1958
BORIS LEONIDOVICH PASTERNAK for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition. (Accepted first, later caused by the authorities of his country to decline the prize.)
1957
ALBERT CAMUS for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times.
1956
JUAN RAMÓN JIMÉNEZ for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity.
1955
HALLDÓR KILJAN LAXNESS for his vivid epic power which has renewed the great narrative art of Iceland.
1954
ERNEST MILLER HEMINGWAY for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea ,and for the influence that he has exerted on contemporary style.
1953
SIR WINSTON LEONARD SPENCER CHURCHILL for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values.
1952
FRANÇOIS MAURIAC for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life.
1951
PÄR FABIAN LAGERKVIST for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind.
1950
EARL BERTRAND ARTHUR WILLIAM RUSSELL in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought.
1949
WILLIAM FAULKNER for his powerful and artistically unique contribution to the modern American novel.
1948
THOMAS STEARNS ELIOT for his outstanding, pioneer contribution to present-day poetry.
1947
ANDRÉ PAUL GUILLAUME GIDE for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight.
1946
HERMANN HESSE for his inspired writings which, while growing in boldness and penetration, exemplify the classical humaitarian ideals and high qualities of style.
1945
GABRIELA MISTRAL (pen-name of LUCILA GODOY Y ALCA-YAGA ), for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world.
1944
JOHANNES VILHELM JENSEN for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style.
1943-1940
The prize money was allocated to the Main Fund (1/3) and to the Special Fund (2/3) of this prize section. 1939
FRANS EEMIL SILLANPÄÄ for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature.
1938
PEARL BUCK (pen-name of PEARL WALSH née SYDENSTRICKER ), for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces.
1937
ROGER MARTIN DU GARD for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novelcycle Les Thibault.
1936
EUGENE GLADSTONE O'NEILL for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy.
1935
The prize money was allocated to the Main Fund (1/3) and to the Special Fund (2/3) of this prize section.
1934
LUIGI PIRANDELLO for his bold and ingenious revival of dramatic and scenic art.
1933
IVAN ALEKSEYEVICH BUNIN for the strict artistry with which he has carried on the classical Russian traditions in prose writing.
1932
JOHN GALSWORTHY for his distinguished art of narration which takes its highest form in The Forsythe Saga.
1931
ERIK AXEL KARLFELDT The poetry of Erik Axel Karlfeldt.
1930
SINCLAIR LEWIS for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters.
1929
THOMAS MANN principially for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature.
1928
SIGRID UNDSET principially for her powerful descriptions of Northern life during the Middle Ages.
1927
HENRI BERGSON in recognition of his rich and vitalizing ideas and the brillant skill with which they have been presented.
1926
GRAZIA DELEDDA (pen-name of GRAZIA MADESANI née DELEDDA) , for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general.
1925
GEORGE BERNARD SHAW for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty.
1924
WLADYSLAW STANISLAW REYMONT (pen-name of REYMENT ), for his great national epic, The Peasants.
1923
WILLIAM BUTLER YEATS for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation.
1922
JACINTO BENAVENTE for the happy manner in which he has continued the illustrious traditions of the Spanish drama.
1921
ANATOLE FRANCE (pen-name of JACQUES ANATOLE THIBAULT ), in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament.
1920
KNUT PEDERSEN HAMSUN for his monumental work, Growth of the Soil.
1919
CARL FRIEDRICH GEORG SPITTELER in special appreciation of his epic, Olympian Spring.
1918
The prize money for 1918 was allocated to the Special Fund of this prize section.
1917
The prize was divided equally between:
KARL ADOLPH GJELLERUP for his varied and rich poetry, which is inspired by lofty ideals.
HENRIK PONTOPPIDAN for his authentic descriptions of present-day life in Denmark.
1916
CARL GUSTAF VERNER VON HEIDENSTAM in recognition of his significance as the leading representative of a new era in our literature.
1915
ROMAIN ROLLAND as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings.
1914
The prize money for 1914 was allocated to the Special Fund of this prize section.
1913
RABINDRANATH TAGORE because of his profoundly sensitive, fresh and beautiful verse, by which, with comsummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.
1912
GERHART JOHANN ROBERT HAUPTMANN primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art.
1911
COUNT MAURICE (MOORIS) POLIDORE MARIE BERNHARD MAETERLINCK , in appreciation of his manysided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations.
1910
PAUL JOHANN LUDWIG HEYSE as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories.
1909
SELMA OTTILIA LOVISA LAGERLÖF in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings.
1908
RUDOLF CHRISTOPH EUCKEN in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life.
1907
RUDYARD KIPLING in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author.
1906
GIOSUÈ CARDUCCI not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces.
1905
HENRYK SIENKIEWICZ because of his outstanding merits as an epic writer.
1904
The prize was divided equally between:
FRÉDÉRIC MISTRAL in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist.
JOSÉ ECHEGARAY Y EIZAGUIRRE in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama.
1903
BJØRNSTJERNE MARTINUS BJØRNSON as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit.
1902
CHRISTIAN MATTHIAS THEODOR MOMMSEN the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome.
1901
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correct_award_00067
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https://en.wikipedia.org/wiki/Odysseas_Elytis
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Odysseas Elytis
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2002-12-06T07:23:20+00:00
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https://en.wikipedia.org/wiki/Odysseas_Elytis
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Greek poet and art critic
Odysseas Elytis (Greek: Οδυσσέας Ελύτης [oðiˈseas eˈlitis], pen name of Odysseas Alepoudellis, Greek: Οδυσσέας Αλεπουδέλλης; 2 November 1911 – 18 March 1996) was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century,[3] with his Axion Esti "regarded as a monument of contemporary poetry".[4] In 1979, he was awarded the Nobel Prize in Literature.[5]
Descendants of the Alepoudelis, whose name going back was Alepos and even further back connected to the revolutionary Lemonis in Lesbos, Panayiotis Alepoudelis and his younger brother Thrasyboulos were both born in the village Kalamiaris of Panagiouthas of Lesbos. Their family had become well-established the industries of soap manufacturing and olive oil production in Heraklion, Crete in 1895. In 1897 Panagyiotis married Maria E. Vrana (1880-1960) from the village Papados of Geras, Lesbos. From this union and as the last of six siblings, Odysseas was born in the early hours of 2 November 1911. He is pictured on the far left wearing a sailor's uniform in the photo of his family. The Alepoudelis later moved to Athens, where his father re-situated the soap factory in Piraeus. In 1918 his older sister and first born Myrsene (1898-1918) died in the Spanish influenza. While on summer holidays from their Athens home as guests on the island of Spetses in the Haramis home in the St Nicolaos neighbourhood his own father also died in the summer of 1925 from pneumonia. His father Panayiotis may have been the inspiration for Elytis to write. Apparently his father wrote poetry and it remained unpublished. In 1927 wrought with overtiredness Odysseas was diagnosed with tuberculosis. While in bed recuperating he voraciously read all the Greek poetry he could and in this year discovered Cavafy. In 1928 he graduated from high school and successfully passed the difficult entrance exams to law school at University of Athens. He read in the newspapers of the suicide of the poet Karyiotakis. In 1929 Elytis took a sabbatical between high school and university and decided secretly that he must only become a poet. In 1930 he and his family moved to Moshoniseon 148. Elytis had initial aspirations to become a lawyer but did not sit for his final examinations and did not get his legal qualification. He also had expressed aspirations to become a painter in the manner of the surrealists but his family quickly thwarted this idea. Around this timeframe Elytis noticed and noted that the month surrounding the Ides Of March was not good for him and was cautious while tracking it for the rest of his life.[6]
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. In the same year he also became a lifelong friend of writer and psychoanalyst Andreas Embiricos, who allowed him to have access to his vast library of books. In 1977, two years after the death of his friend, Elytis wrote a tribute book to Embiricos from within the commonalities that founded their ideas aptly titled "Reference to Andreas Embiricos" and originally published by Tram publishers Thessaloniki. His entry to the magazine "New Letters" in 1935 was in November which was the 11th issue and with his pseudonym Elytis established therein. With a distinctively earthy and original form in his expression, Elytis assisted inaugurating a new era in Greek poetry and its subsequent reform after the Second World War.[6] In 1960 his older brother Constantine (1905-1960) died, followed by his mother, Maria Vrana Alepoudelis. Elytis was simultaneously awarded the First National Prize for poetry for his work "Axion Esti".
In 1967 Elytis travelled to Egypt, visiting Alexandria, Cairo, Luxor and Aswan. Returning to Greece in March, he finished his piecing together of the fragments of Sappho's verses translated into modern Greek and brought them together with his own diaphanous iconography. These were published finally in 1984 without the drawings which are deposited separately in the archives of the American School of Classical Studies along with the original manuscripts of the initial translations of Sappho. With the April 21st military dictatorship in force, Elytis disappeared from public view.At the time of the dictatorship he lived at Skoufa 26 and upon his return from Paris in 1972 he moved to Skoufa 23 to a fifth floor apartment, his final residence in Athens before he died.
From 1969 to 1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris after he refused money from the junta and established a modest residence there.[6] In Paris he lived with the English philologist, lyricist and musicologist Marianina Kriezi (1947-2022), who subsequently produced and hosted the legendary children's radio broadcast "Here Lilliput Land". Kriezi was extraordinary, having published a book of poems at the age of fourteen. The title of The book was "Rhythms and Beats" and she sent a first edition copy to George Seferis along with a hand written letter asking him to write a page of his poetry in long hand in fountain pen and gift it to her. Apparently she was going to put across from her bed and see it every morning when she awoke for the rest of her life treasuring the words of poetry. The irony is that she met up with Elytis who was in contrast to the cerebral Seferis, unmarried and a poet of the senses. There is speculation that Kriezi and Elytis were secretly married in Paris but with their return to Greece their French marriage was invalidated and they separated, never divorcing. When Elytis died, however, he was buried wearing the silver wedding band that had the name "Marianina" engraved inside it. The silver ring is on the cover of "Analogies of Light" within a picture that shows only the author's hands writing inside a book. Ivar Ivask also noted the presence of the photo of Kriezi [a muse inside a silver frame across from the photo of his mother] in the home of Elytis when editing the aforementioned book. On the day he died three photographs of women that he had loved and influenced him were in his small apartment. In his bedroom the black and white photo of his mother was by his left bedside table and the photo of Kriezi taken in Paris in the late sixties was across from his bed on the left entering from the living room. In the living room on top of the fancy dresser drawers was a colour photo of Anita Mozas (born in Toronto in 1957) who had first met the poet in 1973 and then interviewed him for the CBC radio in early 1980. Elytis made her his authorized biographer in 1987 and stated she understood him as Dora Maar had understood Picasso. Francoise Gilot supported the decision of Elytis to make Anita Mozas his biographer after having met her and become friends with her.
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. He assisted Frederica of Hanover off the train and on to Greek soil personally when she arrived from Germany to marry hereditary Prince Paul. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. In 1941, he contracts an acute case of typhus abdominalis and is transferred to the Ioanina Hospital into the pathology unit for officers. Elytis came very close to his death here and was given the options between staying at the hospital and be a prisoner when the Germans fully invaded and occupied Greece, or be transferred with the risk of intestinal perforation and hemorrhage. On the eve of the invasion of the German armies, he decided to be transferred to Aigrinio and from there eventually back to Athens where he made a slow but steady recovery during the German occupation. He began to outline poetry for his eventual work "Sun The First"; in Alexandria Seferis delivered a lecture on Elytis and Antoniou. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.[6]
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.[7]
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre's Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourists' Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
In 1948–1952 and 1969–1972 he lived in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean-Paul Sartre, Francoise Gilot, René Daumal) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations". Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.[6]
In 1961, upon an invitation of the State Department, he traveled through the USA from March to June to New York Washington New Orleans Santa Fe Los Angeles San Francisco Boston Buffalo Chicago His return was to Paris to meet up with Teriade and then to Greece — Upon similar invitations in 1962 with Andreas Embiricos and Yiorgos Theotokas (1905-1966) through the Soviet Union to Odessa Moscow and Leningrad. Elytis did not like Yevgeny Yevtushenko when they were introduced but appreciated Voznesensky That summer he spent part of his holidays on Corfu Island and the rest on Lesbos where he and Teriade, who had returned from Paris, were establishing the foundations of a museum dedicated to the painter Theophilos. In 1964 the inaugural performance of the oratorio to the poetry of the Axion Esti as set to music by MIkis Theodorakis was held. In 1965 he completes the essays that will be comprised as the book "The Open Papers" and in that summer visits the Greek islands yet again. He visited Bulgaria in 1965[6] with his friend Yiorgos Theotokas on the invitation of the Union of Bulgarian Authors; it would be their final journey together as Theotokas would die in October 1966. Their guide throughout this country was the poet Elisaveta Bagryana (1893-1991, who had been nominated three times until then for the Nobel prize in Literature. In 1965 he was also bestowed with the Phoenix Cross, the highest honour of the Greek nation.
Elytis was a believer and follower of numerology in all its forms: Biblical, Kabbalah, Chaldean and Pythagorean. He also believed in vedic astrology and held certain beliefs of Hinduism to be true. Pablo Picasso had given him three instructions about the course of life which he attempted to uphold sacrosanct. Elytis was beset with the untimely death of friends and relatives throughout his life: Yiorgos Theotokas, George Seferis, Andreas Embiricos, George Sarandaris. Of all the deaths that happened, Karydis, his publisher at Ikaros, shook him up the most. Elytis had cordial relations with Yiannis Ritsos and close ties with his best friend Nikos Gatsos, both poets of the same generation.
Odysseas Elytis had been completing plans to travel overseas to see friends when he died of a heart failure in Athens on 18 March 1996, at the age of 84. He had made it known that he was a believer in cremation and had wished that somehow he could have been cremated which the tenets of his Greek Orthodox religion do not support or allow. He was also a supporter of the legalization of euthanasia for people who wished to die after pain and suffering. And he believed it was a woman's right to choose abortion in any circumstance. In the last ten years of his life he lived with a companion, Ioulita Iliopoulou [nee Sofia Iliopoulou, daughter of Dimitrios and Demetra July 1, 1965] who was 53 years his junior. Iliopoulou is an activist for children throughout the world imparting her knowledge whenever she is able to. She is a successful artist in her own right, translating and composing her own works and giving poetry recitals at the Theocharakis Foundation in Athens.
Elytis died in his Athens apartment on March 18, 1996, of heart failure. The funeral was held the next day. The funeral was jammed with people who had loved his poetry. He was buried in a family grave beside his family, including his mother and brother.
Iliopoulou, as his life partner, inherited the immovable property in real estate of Elytis which consisted of four apartments and the trustee power of copyrights to his work. She has been promoting Elytis with excellence in his legacy. Elytis was survived in his bloodline by his niece Myrsene (from his oldest brother Theodoros born 1900) and his next in line older brother Evangelos. This brother (born 1909-2002) also received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First Cemetery of Athens.
Elytis' poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today's Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people's conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a "worshiper" -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work It Is Truly Meet (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Orientations (Προσανατολισμοί, 1939)
Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1962)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills of Love (Τα Ρω του Έρωτα, 1973)
Villa Natacha {published in Thessaloniki by Tram and dedicated to E Terade 1973]
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2x7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Reference to Andreas Embeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Open Papers: Selected Essays (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
The Room with the Pictures (Το δωμάτιο με τις εικόνες, 1986) – collages by Odysseas Elytis, text by Evgenios Aranitsis
Second Writing (Δεύτερη γραφή, 1976)
Sappho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Körper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti – Gepriesen sei. Übers. Günter Dietz (Hamburg 1969)
The Axion Esti. Tr. E. Keeley and G. Savidis (Pittsburgh 1974 – Greek & English)(repr. London: Anvil Press, 1980 – English only)
Lofwaardig is. Vert. Guido Demoen (Ghent 1989–1991)
The Sovereign Sun: selected poems. Tr. K. Friar (1974; repr. 1990)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981; repr. 1982, 1991)
Maria Nephele, tr. A. Anagnostopoulos (1981)
Çılgın Nar Ağacı, tr. C. Çapan (Istanbul: Adam Yayınları, 1983)
What I love: selected poems, tr. O. Broumas (1986) [Greek & English texts]
To Àxion Estí, tr. Rubén J. Montañés (Valencia: Alfons el Magnànim, 1992) [Catalan & Greek edition with notes]
Eros,Eros,Eros, Selected & Last Poems, tr. Olga Broumas (Copper Canyon Press, 1998)
The Collected Poems of Odysseus Elytis, tr. Jeffrey Carson & Nikos Sarris (The Johns Hopkins University Press, 1997, 2004)
The Oxopetra Elegies and West of Sorrow, tr. David Connolly (Harvard University Press - 2014) (Greek & English texts)
From Nobel Lectures, Literature 1968–1980, Editor-in-Charge: Tore Frängsmyr, Editor: Sture Allén, World Scientific Publishing Co., Singapore, 1993.
Mario Vitti: Odysseus Elytis. Literature 1935–1971 (Icaros 1977)
Tasos Lignadis: Elytis' Axion Esti (1972)
Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
Odysseas Elytis: Analogies of Light. Ed. I. Ivask (1981)
A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis' Variations on a theme (1982)
E. Keeley: Elytis and the Greek Tradition (1983)
Ph. Sherrard: 'Odysseus Elytis and the Discovery of Greece', in Journal of Modern Greek Studies, 1(2), 1983
K. Malkoff: 'Eliot and Elytis: Poet of Time, Poet of Space', in Comparative Literature, 36(3), 1984
A. Decavalles: 'Odysseus Elytis in the 1980s', in World Literature Today, 62(l), 1988
I. Loulakaki-Moore: Seferis and Elytis as Translators. (Oxford: Peter Lang, 2010)
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Centre for Asia Minor Studies, Athens
The Centre for Asia Minor Studies is a scientific institute involved since 1930 in the collection, research and documentation of information of oral and written historical tradition, as well as the publication of scientific studies and monographs related to Asia Minor Greeks.
The Centre for Asia Minor Studies was created when, following the 1922 disaster, Greece became conscious of the need to preserve the cultural heritage and history of the Asia Minor homelands through the memory of the refugees.
At that point in time, the musicologist Melpo Logotheti-Merlier and her husband, the Hellenist Octave Merlier initiated a truly monumental project for the recording and preservation of Asia Minor history. Systematic research began during the interwar period, with the collection of popular songs all over Greece: music was the original nucleus of the research collections of CAMS. For that reason, it was originally named Musical Folklore Archives (1930-1933). As the institute extends the scope of its research from folklore to history, it changes names and forms; its institutional status, name ("Centre for Asia Minor Studies – Melpo and Octave Merlier Institute") and professional character were finalized after the war.
The institute's research interests were directed towards the expatriated from the beginning. For a number of years (1930 – 1975) field research was conducted in refugee settlements in the region of Attica and beyond. The oral accounts of 5,000 refugees from all parts of Asia Minor were collected, 1,375 settlements were investigated and more than 100 researchers have been employed in this endeavour. The testimonies constitute the Oral Tradition Archive, which is made up of 300,000 handwritten pages.
This material provides valuable information on the peaceful pre-disaster period describing the complete life cycle of the Greek populations of Asia Minor in their homelands. It also covers in detail the dramatic events of the 1919-1922 Greek-Turkish war, the traumatic exodus of the Greek Orthodox population from Asia Minor as well as the period of their settlement in Greece after the "Catastrophe".
The resource has been classified by province (Aeolis, Ionia, Caria, Lycia, Pamphylia, Cilicia, Pisidia, Phrygia, Galatia, Lycaonia, Cappadocia, Paphlagonia, Pontus, Bithynia, Lydia, Mysia, Eastern Trace, Countries of Tigris and Euphrates, and Caucasus). This classification system makes it possible to study the Asia Minor settlements within the framework of the broader geographical and social units to which they belong. Asia Minor has been divided in 20 provinces and around 120 districts. Although the setting of the boundaries of these regions has been based on empirical criteria set in the 1930s, it was deemed important to associate them with the roman division system of Asia Minor while using the ancient Greek names. Research for each settlement, originally conceived on folklore principles, covers a wide range of subjects including: language, geography, economy, social and religious life, education, local history.
The photographic material, in the beginning, formed part of the Oral Tradition Archive; as the number of photographs increased, they were separated from it and now constitute a distinct archive.
Around 7,000 photos depict the area of Asia Minor before the expatriation, presenting images of the social and everyday life of the Greeks since the end of the 19th century until 1922. After the 1922 exodus, the place and subject change: photographs of the refugees' settlement in Greece take over.
The material is classified along chronological and regional criteria as follows:
life in Asia Minor settlements before the expatriation (1922/1924);
photographs from the Asia Minor campaign (1919 – 1922);
pictures after 1922/1924 depicting the refugees' settlement in Greece;
photographs of CAMS researchers during their missions for the collection of material in Asia Minor and Greece;
photographs of CAMS informants along with their CVs.
The Centre for Asia Minor Studies (CAMS) Library, with approximately 17,000 titles of books and periodical editions (in Greek and other languages), is the only library in Greece specializing in Asia Minor studies. Classified according to the geographical system used for the Oral Tradition Archive, its resources include rare, old books, covering the whole area of Asia Minor, Karamanli publications, special book collections, as well as periodical publications, published before 1922, during the Ottoman Empire in Greece.
The Karamanli books (written in Turkish while employing the Greek alphabet), published by Orthodox Turkish-speaking people of Asia Minor and printed at the big printing houses of Venice, Smyrna (Izmir) and Constantinople (Istanbul), have nowadays attracted the interest of Greek and foreign experts.
The Centre has shown considerable interest in the production of publications of the Turkish-speaking Orthodox, since the 1950s. Under its aegis, the publication production of five centuries has been recorded. Eugenio Dalleggio and S. Salaville, working with CAMS, have published: Karamanlidika. Bibliographie analytique d’ouvrages en langue turque imprimés en caractères grecs (1584-1900), vols. Ι-ΙΙΙ. During the 1980s, Evagelia Balta has published three more volumes in the series of the publications of the Centre. Thanks to this contribution, the recording of Karamanli books now reaches the first decades of the 20th century.
The Karamanli library of the Centre, holds 320 titles, after the purchase of the Iordanis Pamboukis Collection, constitutes today one of the most important collections of this type of books on an international level.
Special Book Collections
The main bulk of the Library is supplemented with special collections:
The Athanassios D. Hatzidimou Collection, consisting of editions of the 19th c. in Smyrna, was purchased in 1980.
The Chr. I. Christidis Collection, donation of Ms. Ioanna Agianoglou, his niece includes Greek and foreign-speaking publications published in or related to Istanbul, as well as an important number of Turkish books and journals;
Around 500 statutes of associations and organizations from Istanbul and Asia Minor have been collected through donations.
Archive of Maps & Cartographic Sketches
Geography has been a valuable tool for the study of Asia Minor ever since the foundation of the Centre of Asia Minor Studies. The Cartographic Service of the Centre, which was founded in 1935 by Melpo Merlier and staffed by field experts, has drawn and classified the maps according to geographical areas. Apart from the unpublished handmade sketches, which were requested by the Centre, the Archive includes an important number of published maps.
Centre for Hellenic Studies, King's College London
King's holdings in Modern Greek are founded on a collection amassed by the Philhellene and Principal of King's College London, Ronald Burrows, in the late nineteenth and early twentieth centuries. Ronald Burrows, together with Eleftherios Venizelos, was instrumental in establishing Modern Greek & Byzantine Studies at King's. This was the first significant university collection of its type in the United Kingdom.
The collections are internationally recognised and contain rare and unique works. They are the premier collections in the UK of books and periodicals in the fields of Modern Greek language, literature and history, and also contain rich Byzantine holdings. The collections contain a considerable number of rare first editions of nineteenth and twentieth century works.The development of the collections closely reflects the teaching and research of King's department of Byzantine & Modern Greek Studies encompassing the full chronological remit that stretches from late Antiquity to the present and has, increasingly, an interdisciplinary focus: modern Greek poetry; modern Greek literature; the emergence and development of modern Greece; Greek history of the nineteenth and twentieth centuries; Cretan renaissance drama; modern Greek society and politics; the rise of Christendom; iconoclasm; the cultural history of Byzantium; discourse analysis and sociolinguistics of modern Greek; modern Greek sociolinguistics; Cypriot studies.The College Archives hold the records, 1935-1992, of the League for Democracy in Greece and associated bodies. Pre-1945 material includes a set of the Balkan Herald, 1935-1940, and surviving papers, 1943-1945, of the League's predecessor, the Greek United Committee, and one of its supporters, E Athanassoglou. Notably there are proofs of Sir Compton Mackenzie's The Wind of Freedom (published in London, 1944) and a photocopy of a telegram from Winston Churchill prohibiting favourable mention of EAM-ELAS by the BBC, 1944. The papers of the League itself date from 1945 to 1975 and include a large collection of press cuttings covering all British and some foreign press references to Greece during the period of the League's activity, with some later cuttings concerning Greece to 1992.The College Archives also include the records, 1947-1984, of the League for Democracy in Greece Relief Committee and its successor the Greek Relief Fund, including minutes; administrative, legal and financial material; correspondence with donors and with organisations including branches of the Red Cross, relief funds, and pro-Greek democracy organisations in various overseas countries; material relating to appeals for funds for relief work; press cuttings on the visit of Queen Frederika of Greece to Britain, 1963; papers relating to visits to Greece and to conferences on Greece, including a draft paper, 1979, by Diana Pym on 'The British Philhellenic Movement, 1944-1974'; correspondence concerning the archives of the League for Democracy in Greece; and winding up of the Greek Relief Fund, 1984. The bulk of the material pertains to recipients of aid, including correspondence, and the papers are relevant to the resistance activities and prison records of individual Greeks opposed to the regime in Greece.
Gennadius Library of the American School of Classical Studies at Athens
History and Description
The Gennadius Library is a historic library founded in Athens in 1926. At the core of the collection are 26,000 rare volumes donated to the American School of Classical Studies by diplomat and bibliophile, Joannes (John) Gennadius.
The Gennadius Library now holds a richly diverse collection of over 120,000 books and rare bindings, archives, manuscripts, and works of art illuminating the Hellenic tradition and neighboring cultures. Its Archives hold the personal papers of important politicians and literary figures as well as artists, such as the Dragoumis family and Konstantinos Tsatsos, the papers of archaeologist Heinrich Schliemann, the papers of Odysseus Elytis and George Seferis, the two Nobel laureates of Greece, as well as papers of many representatives of the Generation of the 30’s (Elias Venezis, Angelos Terzakis, Stratis Myrivilis, etc). The latest additions to the Gennadius Archives are the archives of Vassilis Vassilikos and Vangelis Raptopoulos, as well as the papers of Constantinos Vovolinis compiler of the Great Biographical Dictionary.
Located in an architecturally significant building across the street from the main American School campus, the Library has become an internationally renowned center for the study of Greek history, literature, and art, from ancient to modern times. In addition to its role as a library and research institution, “the Gennadeion” is also an active participant in the Athenian and international community through its public lectures, seminars, concerts, exhibitions, and publications.
Harvard College Library
The Modern Greek collection of the Harvard College Library dates back to the early 19th century and is one of the largest and richest collections of its kind outside of Greece. It is difficult to give an accurate estimate of the number of volumes that comprise the Modern Greek collection since they are integrated within the enormous holdings of the Harvard College Library, which is comprised of nine major libraries and together hold in excess of ten million volumes.
Evro Layton (d. 2005), former Harvard librarian, published two important works on the history and description of the Modern Greek collection at Harvard which offer the scholar much in terms of the research potential of the collection, the first a thorough analysis of the history and strengths of the collection and an exhibit catalog featuring a representative sampling of the many treasures housed in Harvard’s renowned rare books and manuscripts library, the Houghton Library (see references below).
The collection’s uniqueness is credited to notable Harvard scholars Cornelius Conway Felton, Evangelinus Apostolides Sophocles, Cedric Whitman, and later to Professor George Savidis, the first incumbent of the George Seferis Chair of Modern Greek Studies. Later bequests of funds for the purchase of Modern Greek books such as the Raphael Demos Fund (1964), the Harry Knowles Messenger and Ada Messenger Fund (1968), the President Cornelius Conway Felton Fund (1966), the Anna Maktos Vance Fund (1982), and most recently, the Charles Demakis Fund (2004) the Kallinikeion Foundation Fund (2007) and annual support from the Costas and Mary Maliotis Foundation, have ensured the continued growth of the Modern Greek collection.
The collection offers an array of resources needed to support research and teaching at Harvard and to the greater scholarly community. Harvard’s holdings in the major areas of Greek bibliography are impressive. They include manuscripts and rare printed editions of liturgical and vernacular texts of the sixteenth to eighteenth centuries from Rome, Venice, Constantinople, Bucharest, and Jerusalem. Materials covering the history and dogma of the Greek Orthodox Church, the Greek Enlightenment, western travelers to Greece and the Levant, and source materials relating to the Philike Hetaireia, the Greek War of Independence, and the Greek Civil War, are numerous.
The collection includes early twentieth century Greek imprints from Alexandria and rare nineteenth-century periodicals from Asia Minor, such as Ho Philokalos Smyrnaios, Εphemeris Konstantinopoleos, and Ho Mentor. The Houghton Library boasts first editions of major poets and prose writers of the nineteenth and twentieth centuries including Laskaratos, Palamas, Cavafy, Sikelianos, Kazantzakis, Seferis, Ritsos, and Elytis.The Greek section of the Harvard College Library Woodberry Poetry Room’s Tape Archive contains tapes of Modern Greek poetry read by their authors, including recordings by Nobel laureates Seferis and Elytis. The section also includes readings of Constantine Cavafy, Takis Papatsonis, Nikephoros Vrettakos, Miltos Sachtoures, Nikos Engonopoulos, Eleni Vakalo, Yannis Ritsos and many other Modern Greek poets.
Funding to preserve and digitize these recordings and make them internet accessible is currently underway.Folklore is strongly represented in the collection with virtually complete set of first editions of folksong and folklore publications (including periodicals) in Greek, French, Italian, German and English. The unique Whitman/Rinvolucri recordings of Karaghiozes (Greek Shadow Theater), the Notopoulos archives of folk music and folk poetry, and the Milman Parry Collection have drawn the attention of scholars worldwide.
The Milman Parry Collection has been the fortunate recipient of funding by Harvard University’s Library Digital Initiative and the Center for Hellenic Studies, to preserve, digitize and make available to the world through its web site. The Whitman/Rinvolucri recordings and the Notopoulos archives have not yet received funding for preservation and digitization. Unfortunately, portions of these collections are not accessible due to their fragile condition. As in the case of the poetry recordings, efforts are also being made to secure funding for the preservation and reformatting of these rare and valuable materials.
The growth of the Modern Greek collection over the past thirty years has been steady. The establishment of a Modern Greek Section in Widener Library in the late 1970’s, with a small staff dedicated to the acquisition, cataloging and processing of Greek materials, has ensured its continued growth. The bibliographer’s goal is to capture Greek civilization in all its aspects, including current political, social, and cultural issues, and strives to be as complete as possible. The Library subscribes to a wide range of scholarly journals in the above described subject areas of the collection. Serial subscriptions also include small press periodicals and newspapers, rich in local history, folklore, literature and linguistics. Our goal as a research library is to collect for current scholarly needs, but more importantly, we acquire what we believe will be of interest to scholars in the future. As such, the collection is never weeded, never defined or limited in any way, by personal or political views. The above merely highlights the many strengths of Harvard’s Modern Greek collection.
Immigration History Research Center Archives, University of Minnesota
The Immigration History Research Center Archives (IHRCA) is a renowned collection for source material on the multi-ethnic immigrant experience in North America. Since its establishment in the 1960s, staff, affiliated scholars, and communities contributed toward the collections. Print and archival holdings reflect the experience of immigrants and ethnic communities in the forms of personal papers and organizational records, books and newspapers. The Greek American holdings contain several extraordinarily rich collections documenting Hellenic immigration on multiple levels. The cornerstone of this collection is the extensive body of personal and professional papers compiled by the eminent historian of Greek immigration, Theodore Saloutos. Also available are the papers of leading journalists Kostis Argoe and Demetrios Callimachos, and records of organizations such as the Order of AHEPA and the Daughters of Penelope, including their oral history project. The rich library of books, pamphlets, and newspapers are largely written by and for Greek Americans and increasingly fully searchable through the library's discovery system. These include a number of titles understood to be rare or unique. Selected digital versions of originals are available through our UMedia portal.
The collections are used by scholars and community members for a great variety of reasons including comparative study, and travel awards are offered to support research visits. The IHRCA engage with community, and produce and support award-winning digital projects and exhibits.
Related material at the University of Minnesota Libraries include the Basil Laourdas Modern Greek Collection of Greek literature within Special Collections and Rare Books, and the general collection provides thousands of books on Greek topics that support the study of Greek culture and immigration.
John Miller Burnam Classics Library, University of Cincinnati
The Byzantine and Modern Greek Collections at the University of Cincinnati include some 1,000 journal titles covering all aspects of Byzantine and post-Byzantine Greece, with special strengths in 19th c. and early 20th c. journals, such as Έρμῆς ὁ λόγιος (1811-21), the journal of the Greek intellectuals dispersed throughout Europe during the pre-Revolutionary period and an important source for the intellectual background to the Revolution as well as the first journal published in modern Greek. Other historical periodicals include:
Βυζαντίς (1909-12), Έλληνικά (1928),
Ἐπετηρὶς Ἑταιρείας Βυζαντινῶν Σπουδῶν (1924), Δελτίων τῆς Ίστορικῆς καὶ Ἐθνολογικῆς Έταιρίας Ἑλλάδος (1883), Ἠπειρωτικὰ χρονικά (1926), Θρακικά (1928), Χιακὰ χρονικά (1911), Μικρασιατικὰ χρονικά (1938-), and Ἀθηνᾶ (1889-), the journal of the Έπιστημονικὴ Έταιρεία in Athens. Further holdings include review publications such as Ἑλληνισμός (1898-), Ἑστία (1876-94), Νέα ἑστία (1927), Νουμᾶς (1903), and Παναθήναια (1901-), the most important organ of the Demoticists.
The collecting of Greek materials at the University of Cincinnati began in earnest with archaeologist Carl W. Blegen, Professor of Classical Archaeology from 1927 to his death in 1971. Blegen excavated extensively in Greece and served as Assistant Director of the American School of Classical Studies at Athens, and was able to acquire many publications for the UC classics library on his frequent stays in Greece, but also on visits to Istanbul, Paris, London, and New York.
The collection focused initially on standard editions of ancient texts published by modern Greek scholars as well as on Greek works in ancient history and archaeology. It subsequently expanded to include also modern Greek linguistics and “the language question,” Byzantine and modern Greek history, geography and topography, as well as Philhellenism.
At that time there were even plans to make the University of Cincinnati the center of medieval and modern Greek studies in the United States and to enable the acquisition of rare books such as first editions and special elegant publications through its Friends’ program to illustrate the history of modern Greek typography and book-making.
In 1953, the University, under the Farmington Plan of the Association of Research Libraries, took responsibility for the preservation in the United States of all scholarly publications originating in Greece. Under this plan, Professor Blegen began the acquisition of contemporary materials in nearly every field of knowledge except for law, medicine and agriculture. Peter Topping in a survey of “Modern Greek Studies and Materials in the United States” in the early 1940s (Byzantion 15 (1940-41): 414-442) referred to the UC modern Greek collection at that time as “the finest and largest” in the United States.
The acquisition of modern Greek journals and monographs at the University of Cincinnati is still comprehensive for titles dealing with the Byzantine period, Frankokratia, Venetokratia, Tourkokratia, Enlightenment Era, the War of Independence, WWII (as it relates to Greece's involvement), the Junta (the Greek military dictatorship 1967-1974), Anglo-American literary philhellenism, western travelers to Greece and the Levant, the language question (Katharevousa vs. Dimotiki), the Eastern question (diplomatic history during the Ottoman reign), and historiography. The coverage is more selective in the areas of general history, politics, language and literature, religion, folklore, music, theater, and the Greek diaspora.
The modern Greek collection also contains hundreds of Greek, U.S., and British Army maps from WWI and WWII detailing the geography of Greece and the entire Mediterranean and Aegean areas, Asia Minor, the Black Sea region as well as thematic maps covering socio-economic, industrial, commercial, and demographic factors, as well as natural resources
The rare 19th century modern Greek journal collection comprises some 120 titles and those from the first half of the 20th century more than 280 titles. In most cases, the UC Classics Library possesses all volumes published of each journal.
The Classics Library’s modern Greek holdings also greatly benefit from the many Greek scholars in the Classics Department, including faculty, Tytus fellows, and graduate students and from the support of Jack L. Davis, the Chair of the Department and Carl W. Blegen Professor of Greek Archaeology since 1993 and Director of the American School of Classical Studies at Athens, 2007-2012.
Modern Greek Literature Collection at the U. of Cincinnati
Modern Greek Journals, 1800-1899
Modern Greek Journals, 1900-1950
Library of Congress, European Division
General Evaluation and Size
The Modern Greek collection comprises about 65,000 volumes of books and bound periodicals, as well as non-print materials such as music scores, maps and atlases, prints and photographs, manuscripts, motion pictures, and sound recordings. For this paper we consider Modern Greece to begin in 1453, with the end of the Byzantine Empire. The European Division's responsibility for building the Modern Greek collection begins with 1821, the onset of the War of Independence from the Ottoman Empire. The collection from or about the period 1821-present amounts to about 50,000 volumes of books and bound periodicals, with about 70% in the Greek language and the remainder primarily in West European languages.
Systematic collecting of materials from or about Greece began in 1969 with the appointment of a specialist for Greece in the Slavic and Central European Division (now the European Division). Before that, materials were received primarily on exchange with Greek academic, governmental, and professional organizations; transfers from other U.S. government agencies; and purchases through various agents. The results were quite good, abetted by events such as the acquisitions trip by Jennings Wood, Assistant Chief of the Exchange & Gift Division to Athens in 1959 to improve official exchanges, and the recommendations for additions to the literature collection made in 1960 by consultant Andonis Decavalles, a Greek poet who reported favorably on the Library's holdings in this field. The acquisitions situation proved volatile in the 1970s, with several changes of blanket-order dealers and unreliable receipts from exchange partners in the Greek government, and from academic and professional organizations. A reliable book dealer for commercial publications was engaged in 1984, following an acquisitions trip by the Assistant Chief of the European Division to Greece, and in 1988 a reliable supplier of non-commercial publications, in the form of a bibliographic services contractor, was employed. Currently, the Library's coverage of Greek publications may be considered excellent.
Strengths
The strength of the general collection in both quality and quantity by subject, is approximately as follows, in descending order: literature, history, philosophy and religion, language, fine arts, politics and government. The strong special collections are to be found in rare books, law, maps and atlases, prints and photographs, and music. In addition, the Library holds about 1,000 Greek serials and 100 newspaper titles, including 12 current newspapers, representing the major political or social forces.
In general, the strength of the Modern Greek collection rests in the strength and extent of its holdings, rather than in rarities. The history collection comprises more than 10,000 volumes; the law collection more than 3,000 volumes; the literature collection about 15,000 volumes; and there are more than 3,000 maps and charts.
Highlights
The Library of Congress' Greek collections are perhaps the largest and most diverse in the United States, and are capable of supporting advanced research in practically all fields of human endeavor. The exceptions are clinical medicine and applied agriculture, which are the domains of the National Library of Medicine and the National Agricultural Library.
Some items of special note in the Library's collections are the exchange of correspondence in 1823 between the Greek scholar, Hellenist, and patriot Adamantios Koraes, and Thomas Jefferson, in which Koraes sought advice on the best constitution for Greece, and Thomas Jefferson responded.
Language and Literature
The Library's collection of works on Modern Greek philology, language, and literature approaches the comprehensive, with all the major Modern Greek authors and literary movements well-represented. The Philhellenism that renewed patriotism in Greeks, and that drew international attention and support for Greek independence from Ottoman rule in the first quarter of the 19th century, was inspired to a considerable extent by Greek literature, for example, the poetry of Dionysius Solomos (1798-1857), the commentaries on classical Greek literature by Adamantios Koraes (1748-1833) that raised the pride of Greek in their heritage. In independent Greece a language controversy prevailed for decades, whether Greek literature should be written in katharevousa, a "high" literary language, the heritage of the ancients in modern form -- or in demotike, the spoken language, and, if in spoken language, then which spoken language in a country that had strong regional dialects and had suffered disunity under 450 years of Turkish rule... Athenian demotike and the descendants of the Ionian school finally prevailed, but not until the 20th century, and demotike did not replace katharevousa in the official press until 1970. To illustrate the emotions that the language controversy raised, the publication of a vernacular translation of the New Testament led to a riot in Athens in 1901.
The Library's literature collection represents all the literary movements of the 19th and 20th centuries. Alexandros Rangabe (1810-1892) and the aforenamed Koraes were outstanding proponents of katharevousa, and Dionysios Solomos and Andreas Kalvos, of the Ionian School, of demotike. Solomos' Ode to Liberty became the Greek national anthem. Statistics for the number of works held by the Library of or about some of the leading Greek authors will give an idea of the strength of our collection: Andreas Kalvos (1792-1867), 23 works; Konstantinos Kavaphes (1863-1933), 34; Kostes Palamas (1859-1943), 80; Angellos Sikelianos (1884-1951), 59; Nikos Kazantzakes (1883-1957), 137.
Two outstanding representatives of the golden age of Greek poetry in the late 20th century are the 1963 winner of the Nobel Prize in Literature, George Seferis (1900-1971), and the 1979 Nobel Prize winner, Odysseus Elytis (1911- ). The Library holds 110 works by or about Seferis and 68 by or about Elytis.
The monograph collection of Greek literature is supported by literary periodicals.
History and Political Science
All periods of Modern Greek history are well covered in both Greek and Western works, with approximately 15,000 volumes. The Library's collections are strong in 15th to 19th century Western accounts of travel to Greece under Ottoman rule. These are important sources of information on many aspects of Greek life, customs, political and economic status for that period of history. An element of strength of the collections for the period of independence (1821+ ) is local and regional history, covering the traditional regions of Greece such as Crete, the Cyclades, Epirus, the Ionian Islands, Macedonia, the Peloponnesos, and Thrace. In the past decade, there has been a flurry of Greek publishing on Macedonia, as the Slav-Greek rivalry in that area has heated up, particularly since 1989 when the newly-independent Yugoslav republic of Macedonia has sought world recognition under that name.
Rare Books
The Library's sizable collection of rare Greek books pertains principally to Ancient Greece, including incunabula produced in Italy after the fall of Constantinople in 1453. Among the Library's holdings one must also mention the first book to be printed entirely in Greek, Konstantinos Lascaris' Epitome ton okto tou logou meron [Summary of the Eight Parts of Speech], published in Milan in 1476, although it concerns Ancient rather than Modern Greek.
Manuscripts
The Library limits its collection of manuscripts to those that have an American connection. Therefore, its papers relating to Greece are mainly those of American statesmen or travelers. The correspondence of President Jefferson and Adamantios Koraes has already been mentioned. President Martin Van Buren's Second Annual Message to Congress (December 3, 1838) contains a copy of the Treaty of Commerce and Navigation between the United States and Greece, ratified in 1837. The papers of Nicholas Biddle contain an account of his travels to Greece in 1806. The papers of President Woodrow Wilson and his Secretary of State Robert Lansing for 1919 include reports on Greek claims in Eastern Thrace. The papers of Henry Morgenthau, senior, Chair of the Greek Settlement Commission in 1923 are particularly important. They describe the tragic transfer of more than one million Greeks from Asia Minor to Eastern Thrace, following the disastrous Greek invasion of Anatolia. The papers of Cordell Hull, Secretary of State during the Franklin Roosevelt era, contain numerous memoranda on Greece during the period 1933-1944.
Prints and Photographs
Perhaps the most interesting Library of Congress holding in this area is the collection of stereographs, 600 in number, showing Greece at the turn of the 20th century -- buildings, archaeological sites, churches, monasteries, street scenes from Athens, views of other towns, localities, and areas. The views of Athens are particularly interesting today because they show the city's historic landmarks before their devastation by atmospheric pollution. Another collection showing the progression of Athens is the Holland (Leicester B. Holland, Chief of the Fine Arts Division of the Library) Views of Greece, 1919-1921. Collections with a noteworthy Greek component are the Riggs and Carpenter collections that are geographical in character. Mention is also due Joseph Pennell's 27 lithographs and eleven etchings showing Greek temples and the monasteries of Meteora. The Greek poster collection amounts to several hundred items dating from 1930 to the present.
Geography and Maps
The first separate map of Greece, Hellados perigraphe [Description of Greece], drawn by Nikolaos Sophianos in 1543, is held by the Library in a 1545 edition issued by Johannus Oporinus in Basel with a descriptive commentary in Latin by Nicolaus Gerbel, and Sophanos' table of ancient and modern place name equivalents. This was part of the Melville Eastham gift presented to the Library of Congress in 1958. The Library's single sheet maps include 16th, 17th, and 18th century maps of mainland Greece and the islands, as well as modern maps that depict regions, provinces, cities, islands, and harbors, and thematic maps that cover economics, weather, natural resources, industry, commerce, demography, in all more than two thousand maps.
The multi-sheet map collection includes official maps made periodically following Greek independence, covering the expansion of Greek territories in its struggle with the Ottoman Empire, and, ironically, the maps of German and British forces in Greece and Crete during World War II, as well as those of the U.S. Army Map Service.
The nautical, that is, hydrographic charts, include all the important Greek harbors -- Piraeus, Saloniki, Patras -- and coastal charts include gulfs, bays, straits, and canals. Once again, the Greek surveys are supplemented by British Admiralty charts of Greek waters.
The Library has a substantial collection of atlases, including industrial and economic atlases as well as geographic ones.
Additional Greek resources at the Library of Congress
European Division Online Publications by Country/Region
Greece Collections in the Archive of Folk Culture
National Documentation Centre, Athens
The mission of EKT (Εθνικό Κέντρο Τεκμηρίωσης) is to collect, document, manage, disseminate and preserve quality digital content and data produced by the Greek scientific, research and cultural communities.
Greek Reference Index for the Social Sciences and Humanities: http://grissh.gr/
Metadata harvester/access point for Greek scientific content: https://www.openarchives.gr/
Aggregator for Greek cultural content (with links to collections that include digitized journals and magazines): https://www.searchculture.gr/
Information system for semantic vocabularies: https://www.semantics.gr/
Publishing platform: https://ejournals.epublishing.ekt.gr/
Princeton University Library
History and Description
The growth of the Modern Greek Collection at Princeton University parallels that of the Program in Hellenic Studies, which was established in 1979 to strengthen teaching and research in all aspects of Byzantine and modern Greek civilization, including their relation to the Classical tradition and the Late Antique world. The current level of collecting is high in order to meet the needs of scholars in Classical, Byzantine, and Modern Greek studies at both the graduate and post-doctoral levels. Most books and bound periodicals are housed in the Harvey S. Firestone Memorial Library (which has open stacks and houses the Rare Books and Special Collections division) with additional materials in branch libraries—Marquand Library of Art and Archaeology, Architecture Library, Mendel Music Library, and the Seeley G. Mudd Manuscript Library. Current periodicals are displayed in the Hellenic Studies Reading Room which also holds a reference collection.
For more information, see "The Modern Greek Collections at Princeton University, JMGS 26:1 (May 2008), 1-17 (requires access to Project Muse to view on-line).
Strengths
The collections in the Firestone Library at Princeton University, supplemented by the Marquand Library in the areas of ancient and Byzantine art and archaeology, are particularly strong in Byzantine manuscripts; Byzantine art, history, literature and culture; history of the Greek book; 20th-century modern Greek literature (in Greek); Anglo-American literary philhellenism; 19th- and 20th-century travel to Greece; Greeks in the Ottoman Empire; the Greek Enlightenment; and United States-Greek relations in the 20th-century.
Holdings in the Manuscript Collection include, among others, George Seferis' manuscripts of works that he wrote in residence at Princeton, his personal library of his own works (annotated) in Greek and other languages, and his correspondence with T.S. Eliot, Henry Miller, and Edmund Keeley; Odysseas Elytis' unpublished manuscripts and correspondence with the Italian critic and translator Mario Vitti; Kimon Friar's correspondence with Nikos Kazantzakis; an almost complete collection of the self-published pamphlets from Alexandria by C.P. Cavafy; the letters and manuscripts of Demetrios Capetanakis contained in the Lehmann Family Papers; and the archives of the Modern Greek Studies Association and the Journal of Modern Greek Studies.
In addition, the Manuscript Collection has significant holdings of ancient Greek and Byzantine texts. It collects codices of texts of classical authors and Greek papyri and Greek Medieval and Renaissance manuscripts from the 9th-16th centuries. It also maintains a Greek and Roman coin collection of some 10,000 coins.
Access to classics-related materials is further strengthened by the libraries of the Princeton Theological Seminary for patristic Greek and the Institute for Advanced Study. Moreover, the University Art Museum possesses a fine collection of Greek and Roman antiquities, including early ceramics, small bronzes, coins, and mosaics.
Tsakopoulos Hellenic Collection, California State University, Sacramento
Consisting of the holdings of the former Speros Basil Vryonis Center for the Study of Hellenism, the Tsakopoulos Hellenic Collection, part of the Donald & Beverly Gerth Special Collections and University Archives, is an internationally significant resource for the campus and Sacramento regional communities, as well as for scholars around the globe. The Vryonis Center was initially established in Los Angeles in 1985 by Prof. Speros Vryonis, Jr., a scholar of Byzantium and Ottoman Studies, in memory of his late son Speros Basil. This early collection formed the core of the Vryonis Center Collection that would in 1989 come to reside in Rancho Cordova, California. There the Collection was further enhanced under successive directors until its donation to Sacramento State in 2002 as the Tsakopoulos Hellenic Collection.
Currently numbering approximately 75,000 volumes, the Collection comprises a large circulating book collection, journal holdings, electronic resources, non-print media, rare books, archival materials, art, and artifacts. With its focus on the Hellenic world, the collection contains early through contemporary materials across the social sciences and humanities relating to Greece, its neighboring countries, and the surrounding region. There is a broad representation of languages in the collection, with a rich assortment of primary source materials. This multidisciplinary collection supports various campus programs and facilitates research by external scholars through a grant-funded Library Research Fellowship Program inaugurated in 2012. The collection curator, George I. Paganelis, is responsible for its overall management and growth.
Some highlights of the collection include:
The libraries/archives of distinguished Greek Americans Dr. Basil Vlavianos, Prof. John P. Anton, Dr. Steve Demakopoulos, and Pyrrhus J. Ruches
An exceptional array of materials on Byzantine and Modern Greek history and culture
A comprehensive collection of government documents from Greek, American, British, and other sources
Robust holdings on Greece’s regional and local history
An extensive range of Modern Greek literature, including signed editions by major literary figures
A sizable corpus of Greek and Greek-American musical scores
Oral histories of Greek Americans in the Sacramento region and beyond
A significant collection of rare books, scarce pamphlets, and other ephemera
For more information, see "The Tsakopoulos Hellenic Collection at Califotnia State University, Sacramento: A Beacon of Hellenism in the Western United States," Journal of Modern Greek Studies 26 no. 1 (2008): 19-27. Visit the Tsakopoulos Hellenic Collection .
University of Patras, Library and Information Centre
The Library and Information Center of University of Patras holds three (3) collections of digitized periodicals. Up to the present day, 76 periodicals have been digitized, processed bibliographically and scientifically, and are now freely available to the public (some under Creative Commons Attribution 3.0 License). The aim was not only to allow open access to these rare and valuable historical resources, but also to promote new research challenges in Greek literature and history. The oldest periodicals date back to the first decades of the 19th century, and the more recent ones are of the late 20th century. The collections Kosmopolis and Pleias hold mainly literary periodicals of special interest to the researchers of Modern Greek Literature, Language and History, whereas Daniilis has a broader discipline cover, with a special focus on the region of Patras.
The indexing covers the title and the name of the contributor -author and/or translator- as they appear on the periodical's page (authority control was used for the newly added periodicals only). For that reason, it is advised to use both the Latin and Greek alphabet for the search query, and to be aware that an alternative name might also be used (for example, a pseudonym).
Optical Character Recognition (OCR) processing was not used during digitization, therefore full text search is not available.
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Odysseus Elytis, winner of the 1979 Nobel Prize for Literature, was born in Heraklion, Crete, in 1911 and died in Athens in 1996. A major poet in the Greek language, Elytis is a...
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Odysseus Elytis
(Greece, 1911 - 1996)
© E.L.I.A.archives
Biography
Odysseus Elytis, winner of the 1979 Nobel Prize for Literature, was born in Heraklion, Crete, in 1911 and died in Athens in 1996. A major poet in the Greek language, Elytis is also one of the most outstanding international figures of 20th-century poetry. In his work, modernist European poetics and Greek literary tradition are fused in a highly original lyrical voice.
Elytis became acquainted with French surrealist poetry in the ´30s and was captivated by surrealism´s affirmation of feeling and the subconscious self, its rejection of traditional forms and rigid modes of poetical expression. An advocate of free verse, he discarded established verse forms and conventions considering them to be "vessels for the containment of the most heterogenous material". He believed that poetical content determines an inventible form and he was dismissive of rhyme which he described as "lulling" and "superficial delight". But he did not adopt surrealism´s free associations and automatic writing as proclaimed by Andre Breton. His is a mild and controlled surrealism, the syntax in his poems is not violated and, thanks to his talent, the juxtaposition of images is coherent and pleasurable. These qualities are manifest in his first collections of poetry (Orientations, 1939, and Sun the First,1943) which are joyous and radiant, celebrating the Greek landscape as an ideal world of sensual enjoyment and moral purity. The blue seas and the azure skies, the explosive light, the Aegean islands with their white cottages and bare rocks, the olive trees and the crickets, ancient amphorae and ruins, summer high noon and the etesian winds define the scene where life is liberated and triumphant, mystical and deeply meaningful. This free functioning of the human self against all restraints imposed by moral, social and aesthetic conventions, the creation of "a countryside of the open heart" is the young poet Elytis´debt to surrealism. But, as he put it, he did not serve surrealism, he asked surrealism to serve him.
In 1940 Elytis was called up as a second lieutenant and served on the Albanian front, where the Greek army checked the Italian invasion. His experience of war marks a departure from the sunny atmosphere of his early youth and poetry, colouring his long poem Heroic and Elegiac Song for the Lost Second Lieutenant of Albania (1943). The figurative language still retains the wealth and boldness, the unexpected metaphors and startling images of his previous works, but the tone is sorrowful, albeit proud, and the context wider: the poet identifies himself with the lost lieutenant and the lamenting voice is the voice of his suffering nation.
The attempt of Elytis to identify himself with his nation and speak for himself and also for his country reaches its peak with Axion Esti (1959), his central and most ambitious work. This is a poetical Bildungsroman, a three-part composition of intricate formal structure, aiming to present modern Greek consiousness through the development of a first-person narrator who is simultaneously the poet himself and the voice of his country. It is at once an interpretation of the world as it is and the valiant proclamation of a belief in what it might be. Its three parts are named characteristically "The Genesis", "The Passions" and "The Gloria", and it culminates in a glorification of all ephemeral things, of what is Axion- that is, Worthy - in "this small, this Great World". Elytis´poetical theory as regards "the view of things" is fully realized in this work. As he said in his address to the Swedish Academy on receiving the Nobel Prize, "apart from the physical side of objects and the ability to percieve them in their every detail, there is also the metaphorical ability to grasp their essence and bring them to such clarity that their metaphysical significance will also be revealed". In Axion Esti, a major poem by any standards, these ideas are materialized poetically.
Elytis´later work consist of ten collections of poems and a substantial number of essays. Outstanding among them are The Monogram (1972), an achievement in the European love poem tradition, and The Oxopetra Elegies (1991), which include some of the most difficult but profound poems written in our times. It is significant that in these mature works the tone is no longer jubilant. Melancholy, reflection and solemnity gradually prevail, although the poet´s faith in the power of imagination and the truth of poetry (a belief that brings him close to the Romantics) is still unshakeable.
In all his poetry Elytis has consistently emphasized man´s primary innocence, dismissing guilt and fate, and professing the redeeming quality of light, the "Judicious Sun". He criticized the vulgarity of contemporary society and culture; showed the possibility of a different relation with the things of this world; corrected our reading of nature and our concept of love; reformulated the fundamental, minimal essentials of life, insisting that History can be written anew, reaffirming Shelley´s famous dictum that poets are the unacknowledged legislators of the world.
In the art of poetry he restored the high romantic expression in a modern and most convincing way, gave fresh vigour to metaphor, image and alliteration, and created his own original forms of versification. Above all, he brought to Greek poetry a clarity and sharpness which it had not known since Solomos.
An ardent apologist of the poet´s vocation, Elytis never ceased from exploring poetry´s role in these materialistic times and it is perhaps apt to conclude this appreciation by quoting a concise statement he once made concerning the aims of his poetry:
"I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my consience cannot accept, precisely so as to bring that world through continual metamorphoses into greater harmony with my dreams. I am referring to a contemporary kind of magic which leads to the discovery of our true reality¡ In the hope of obtaining a freedom from all constraints and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood."
© Aris Berlis
in Greece Books and Writers. Athens, Ministry of Culture-National Boook Centre of Greece and Agra publications, 2001
Publications (selection):
The collected poems of Odysseus Elytis Trans. Jeffrey Carson.Baltimore,John Hopkins University Press. 1997
What I love Trans. Olga Broumas. Port Townsend, Washington, Copper Canyon Press. 1986.
Selected poems Trans. Edmund Keeley. London, Anvil, 1981.
The sovereig sun Trans. Kimon Friar. Newcastle, Bloodaxe Books, 1990.
Journal of an unseen april Trans. David Connoly. Athens, Ypsilon books, 1998.
Carte blanche - Selected writings Trans. David Connoly. Amsterdam, Harwood Academic Publishers, 1999.
Maria Nephele Trans. Athan Anagnostopoulos. Boston, Houghton Mifflin Company, 1981.
The oxopetra Elegies Trans.David Connolly. Amsterdam, Harwood Academic Publishers, 1996.
Lof zij Trans. Hero Hokwerda. Amsterdam, Bert Bakker, 1991.
The Axion esti Trans. Edmund Keeley. Pittsburgh, University of Pittsburgh Press, 1974.
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Posts about odysseas elytis written by Klaus
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Poetry Dispatch No. 226 | April 4, 2008
Odysseas Elytis
The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America writers alone who, in the minds of many knowledgeable people, should have won the Nobel Prize in literature but never did. (Norman Mailer, for one, comes to mind). But we sometimes forget the existence and role of the writer in other cultures. In many countries, a more honorable and recognized a calling than the American scene where the writer has been pretty much reduced to a huckster, from TV talk shows to endless book tours, his success depending on just about everything else than whom he speaks for from his heart and whatever art he may have achieved in a lifetime of learning to say it well.
I have always welcomed the Nobel Prize committee’s contrary nature and particular insight in plucking some totally unknown foreign author (to us), thrusting that author into the world spotlight, giving him/her the attention so well deserved, even though their work may have been barely been translated into a handful of languages.
I remember the Nobel Prize for Literature going to the Greek poet, Odysseas Elytis in 1979 and saying to myself: Odysseas, who? How do they find these writers?
But the more unknown, the more obscure the writer, the more likely I am these days to purchase his or her book immediately—if an English translation exists.
Here is Elytis in prose and poetry. I think you will see why the committee bestowed the world class honor upon him in 1979. Norbert Blei
“Europeans and Westerners always find mystery in obscurity, in the night, while we Greeks find it in light, which is for us an absolute. To illustrate this I give three images. I tell how once, at high noon, I saw a lizard climb upon a stone (it was unafraid since I stood stock-still, ceasing even to breathe) and then, in broad daylight, commence a veritable dance, with a multitude of tiny movements, in honor of light. There and then I deeply sensed the mystery of light. At another time I experienced this mystery while at sea between the islands of Naxos and Paros. Suddenly in the distance I saw dolphins that approached and passed us, leaping above the water to the height of our deck. The final image is that of a young woman on whose naked breast a butterfly descended one day at noon while cicadas filled the air with their noise. This was for me another revelation of the mystery of light. It is a mystery which I think we Greeks can fully grasp and present. It may be something unique to this place. Perhaps it can be best understood here, and poetry can reveal it to the entire world.” –Odysseus Elytis
Calendar of an Invisible April by Odysseas Elytis
Translation from Greek: Marios Dikaiakos
“The wind was whistling continuously, it was
getting darker, and that distant voice was
incessantly reaching my ears : “an entire life”…
“an entire life”…
On the opposite wall, the shadows of the
trees were playing cinema”
“It seems that somewhere people are celebrating;
although there are no houses or human beings
I can listen to guitars and other laughters which
are not nearby
Maybe far away, within the ashes of heavens
Andromeda, the Bear, or the Virgin…
I wonder; is loneliness the same, all over the
worlds ? ”
“Almond-shaped, elongated eyes, lips; perfumes stemming
from a premature sky of great feminine delicacy
and fatal drunkeness.
I leant on my side -almost fell- onto the
hymns to the Virgin and the cold of spacious
gardens.
Prepared for the worst.”
“FRIDAY, 10c
LATE MIDNIGHT my room is moving in the
neighborhood shining like an emerald.
Someone searches it, but truth eludes him
constantly. How to imagine that it is
placed lower
Much lower
That death too, has its own Red sea.”
Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911—March 18, 1996) is a legendary Greek poet,regarded as one of the most important representatives of romantic modernism in Greece and the world. In 1979 he was awarded the Nobel Prize in Literature.
Descendant of the Alepoudhelis, an old industrial family from Lesbos, he was born in Heraklion (Candia) on the island of Crete, 2 November 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as an auditor at the Law School at Athens University. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.Elytis chose exile in Paris for a greater part Greece’s military dictatorship in 1967.He fled to Paris in the late sixties and was romantically linked to the lyricist and musicologist Mariannina Kriezi. Elytis was vehemently private and purposely solitary in pursuing his ideal of poetic truth and the poetic experience.
In 1937 he served his military requirements. Being selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters to later be transferred at the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world. He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
He has twice been Programme Director of the Greek National Radio Foundation (1945-46 and 1953-54), Member of the Greek National Theatre’s Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist’s Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world’s avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti) as Tériade’s most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre,Francoise Gilot, Rene Daumal…) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled “Orientations”. Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome. In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Odysseas Elytis had been completing plans to travel overseas when he died in Athens at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who was bestowed the writ of condolence from the mayor of Athens on behalf of the nation at the funeral.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarified and passionate. He did derive certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted —in a certain way based on psychical and sentimental aspects— to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people’s conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a “worshiper” -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis’ theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Poetry
* Orientations (Προσανατολισμοί, 1939)
* Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
* An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
* To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
* Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
* The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
* The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
* The Trills Of Love (Τα Ρω του Έρωτα, 1973)
* The Monogram (Το Μονόγραμμα, 1972)
* Step-Poems (Τα Ετεροθαλή, 1974)
* Signalbook (Σηματολόγιον, 1977)
* Maria Nefeli (Μαρία Νεφέλη, 1978)
* Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
* Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
* Krinagoras (Κριναγόρας, 1987)
* The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
* The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
* West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
* The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
* 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
* (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
* The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
* The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
* Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
* The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
* Private Way (Ιδιωτική Οδός, 1990)
* «Εν λευκώ» (συλλογή κειμένων), (1992)
* The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
* Second Writing (Δεύτερη γραφή, 1976)
* Sappho (Σαπφώ)
* The Apocalypse (by John) (Η αποκάλυψη, 1985)
Reference works
* Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
* Tasos Lignadis: Elytis’ Axion Esti (1972)
* Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
* Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
* A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis’ Variations on a theme (1982)
* E. Keeley: Elytis and the Greek Tradition (1983)
* Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
* K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
* A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
Translations of Elytis’ work
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Posts about odysseas elytis written by Klaus
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poetry dispatch & other notes from the underground
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https://poetrydispatch.wordpress.com/tag/odysseas-elytis/
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Poetry Dispatch No. 226 | April 4, 2008
Odysseas Elytis
The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America writers alone who, in the minds of many knowledgeable people, should have won the Nobel Prize in literature but never did. (Norman Mailer, for one, comes to mind). But we sometimes forget the existence and role of the writer in other cultures. In many countries, a more honorable and recognized a calling than the American scene where the writer has been pretty much reduced to a huckster, from TV talk shows to endless book tours, his success depending on just about everything else than whom he speaks for from his heart and whatever art he may have achieved in a lifetime of learning to say it well.
I have always welcomed the Nobel Prize committee’s contrary nature and particular insight in plucking some totally unknown foreign author (to us), thrusting that author into the world spotlight, giving him/her the attention so well deserved, even though their work may have been barely been translated into a handful of languages.
I remember the Nobel Prize for Literature going to the Greek poet, Odysseas Elytis in 1979 and saying to myself: Odysseas, who? How do they find these writers?
But the more unknown, the more obscure the writer, the more likely I am these days to purchase his or her book immediately—if an English translation exists.
Here is Elytis in prose and poetry. I think you will see why the committee bestowed the world class honor upon him in 1979. Norbert Blei
“Europeans and Westerners always find mystery in obscurity, in the night, while we Greeks find it in light, which is for us an absolute. To illustrate this I give three images. I tell how once, at high noon, I saw a lizard climb upon a stone (it was unafraid since I stood stock-still, ceasing even to breathe) and then, in broad daylight, commence a veritable dance, with a multitude of tiny movements, in honor of light. There and then I deeply sensed the mystery of light. At another time I experienced this mystery while at sea between the islands of Naxos and Paros. Suddenly in the distance I saw dolphins that approached and passed us, leaping above the water to the height of our deck. The final image is that of a young woman on whose naked breast a butterfly descended one day at noon while cicadas filled the air with their noise. This was for me another revelation of the mystery of light. It is a mystery which I think we Greeks can fully grasp and present. It may be something unique to this place. Perhaps it can be best understood here, and poetry can reveal it to the entire world.” –Odysseus Elytis
Calendar of an Invisible April by Odysseas Elytis
Translation from Greek: Marios Dikaiakos
“The wind was whistling continuously, it was
getting darker, and that distant voice was
incessantly reaching my ears : “an entire life”…
“an entire life”…
On the opposite wall, the shadows of the
trees were playing cinema”
“It seems that somewhere people are celebrating;
although there are no houses or human beings
I can listen to guitars and other laughters which
are not nearby
Maybe far away, within the ashes of heavens
Andromeda, the Bear, or the Virgin…
I wonder; is loneliness the same, all over the
worlds ? ”
“Almond-shaped, elongated eyes, lips; perfumes stemming
from a premature sky of great feminine delicacy
and fatal drunkeness.
I leant on my side -almost fell- onto the
hymns to the Virgin and the cold of spacious
gardens.
Prepared for the worst.”
“FRIDAY, 10c
LATE MIDNIGHT my room is moving in the
neighborhood shining like an emerald.
Someone searches it, but truth eludes him
constantly. How to imagine that it is
placed lower
Much lower
That death too, has its own Red sea.”
Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911—March 18, 1996) is a legendary Greek poet,regarded as one of the most important representatives of romantic modernism in Greece and the world. In 1979 he was awarded the Nobel Prize in Literature.
Descendant of the Alepoudhelis, an old industrial family from Lesbos, he was born in Heraklion (Candia) on the island of Crete, 2 November 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as an auditor at the Law School at Athens University. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.Elytis chose exile in Paris for a greater part Greece’s military dictatorship in 1967.He fled to Paris in the late sixties and was romantically linked to the lyricist and musicologist Mariannina Kriezi. Elytis was vehemently private and purposely solitary in pursuing his ideal of poetic truth and the poetic experience.
In 1937 he served his military requirements. Being selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters to later be transferred at the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world. He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
He has twice been Programme Director of the Greek National Radio Foundation (1945-46 and 1953-54), Member of the Greek National Theatre’s Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist’s Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world’s avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti) as Tériade’s most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre,Francoise Gilot, Rene Daumal…) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled “Orientations”. Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome. In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Odysseas Elytis had been completing plans to travel overseas when he died in Athens at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who was bestowed the writ of condolence from the mayor of Athens on behalf of the nation at the funeral.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarified and passionate. He did derive certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted —in a certain way based on psychical and sentimental aspects— to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people’s conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a “worshiper” -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis’ theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Poetry
* Orientations (Προσανατολισμοί, 1939)
* Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
* An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
* To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
* Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
* The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
* The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
* The Trills Of Love (Τα Ρω του Έρωτα, 1973)
* The Monogram (Το Μονόγραμμα, 1972)
* Step-Poems (Τα Ετεροθαλή, 1974)
* Signalbook (Σηματολόγιον, 1977)
* Maria Nefeli (Μαρία Νεφέλη, 1978)
* Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
* Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
* Krinagoras (Κριναγόρας, 1987)
* The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
* The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
* West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
* The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
* 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
* (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
* The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
* The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
* Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
* The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
* Private Way (Ιδιωτική Οδός, 1990)
* «Εν λευκώ» (συλλογή κειμένων), (1992)
* The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
* Second Writing (Δεύτερη γραφή, 1976)
* Sappho (Σαπφώ)
* The Apocalypse (by John) (Η αποκάλυψη, 1985)
Reference works
* Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
* Tasos Lignadis: Elytis’ Axion Esti (1972)
* Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
* Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
* A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis’ Variations on a theme (1982)
* E. Keeley: Elytis and the Greek Tradition (1983)
* Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
* K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
* A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
Translations of Elytis’ work
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https://www.newgreektv.com/news-in-english-for-greeks/greece/item/33725-nobel-laureate-poet-odysseas-elytis-was-born-on-this-day
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Nobel laureate poet Odysseas Elytis was born on this day
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2021-11-02T08:13:55
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Odysseus Elytis was one of the most important Greeks. He was awarded the Nobel Prize in Literature in 1979. He was one of the select members of the so...
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https://www.newgreektv.com/news-in-english-for-greeks/greece/item/33725-nobel-laureate-poet-odysseas-elytis-was-born-on-this-day
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Odysseas Alepoudelis, as his real name was, was born on November 2, 1911 in Heraklion, Crete. He was the youngest of the six children of businessman Panagiotis Alepoudelis and his wife Maria Vrana, also from Lesvos. His father settled in Heraklion in 1895, where he founded a soap and kernel factory, and two years later he married his mother.
During the First World War in 1914, Panagiotis Alepoudelis moved his business to Athens and settled with his family at 98a Solonos Street. At the age of six, Odysseus enrolled in the private Lyceum of Makri, which was then located on Ippokratous Street. In 1918, his older sister Myrsini died at the age of just 20. In 1923, one year after the Asia Minor Catastrophe, the Alepoudelis family travelled abroad, to Italy, Switzerland, Germany, Yugoslavia. In 1924, in Lausanne, he met Eleftherios Venizelos, who was the political idol of his family.
In the autumn of 1924 he transferred to the 3rd High School for Boys in Athens. The next year his father died.
During his student years he collaborated with the magazine Diaplasis ton Paidon, he read Greek and French literature and in 1927 he came in contact with Cavafy's poetry. In 1928 he graduated from high school and came to know the poetry of Kostas Karyotakis. All these years Odysseus visited almost every summer one of the Aegean islands, a fact that will affect the lyrical background of his poetry.
In 1929 he discovered surrealism and read Lorca and Eliard. He wrote his first poems and sent them to magazines under a pseudonym. In 1930 he enrolled in the Law School of the University of Athens and his family moved to 146 Moschonision Street, in America Square. In 1933 he became a member of the Ideocratic Philosophical Group of the University and participated in events and discussions with Ioannis Sykoutris, Ioannis Theodorakopoulos, Panagiotis Kanellopoulos and Konstantinos Tsatsos.
In 1935 he will meet the poet and psychoanalyst Andreas Empirikos and the folk painter Theofilos. At the same time, his friend and colleague George Sarantaris brought him in contact with the literary company, published by the pioneering magazine Nea Grammata. It consisted, among others, of George Seferis, George Theotokas, George Katsimbalis and Andreas Karantonis. His first essay poem entitled Tou Agaiou, under his signature, Elytis was published in Nea Grammata.
In 1936 he met the poet Nikos Gatsos with whom he would be connected by a long and close friendship. Their company includes the painters Nikos Chatzikyriakos-Gikas and Giannis Moralis, as well as the poet Nikos Karydis, creator of the Ikaros publishing house, who will publish most of Elytis' books. At the same time he will stop his studies in Law and will enlist in the Hellenic Army. He was dismissed as a reserve officer in 1938.
In December 1939, in World War II, he published in 300 copies his first collection of poems entitled Orientations. In 1940 Samuel Beau-Bovi translated the first poems of Elytis into French.
With the outbreak of the Greek-Italian war, he was recruited as a lieutenant and in the winter of '40, he found himself in the front line of fire. In December 1940 he was advanced with his company inside the Albanian territory. At the beginning of 1941 he contracted typhoid and was transported, at death's door, to the hospital of Ioannina. He managed to escape the danger and was transported to Athens. His long recovery coincided with the German invasion of Greece and the Occupation.
In 1943 he published his second poetry collection "The Sovereign Sun" together with the "Variations on a ray", an allegorical resistance during the Occupation, camouflaged in a surrealist form, such as Amorgos of Gatsos and Bolivar of Eggonopoulos, which were published in the same year.
In 1945 he collaborated with the surrealist magazine Tetradio. He publishes translations of Lorca's poems and one of his own works, the "An Heroic And Funeral Chant For The Lieutenant Lost In Albania". In the same year, at the suggestion of George Seferis, he was appointed program director of the National Radio Foundation (EIR), a position from which he resigned after a while. During this period he engaged in painting, which was an old occupation of his, complementary to his poetry.
In 1948, during the Civil War, he left for Switzerland and from there to Paris, where he settled. There he became acquainted with the avant-garde of the French intelligentsia (Breton, Eliard, Jara, Camus) and came in contact with visual artists such as Picasso, Matisse, Chagall and Giacometti. In 1950 he visited Spain and at the end of the same year he settled in London, where he collaborated with the BBC.
In 1952 he returned to Greece and the following year returned to the EIR as program director, a position he would hold for only one year. In 1959 Axion Esti was released, a leading moment in Greek literature. This work of Elytis will be widely recognized and will become "the property of the people", when it will be set to music by Mikis Theodorakis in 1964.
In 1967, the coup of April 21 found him translating excerpts from Sappho, at his new residence at 23 Skoufa Street. After the fall of the dictatorship, he was appointed chairman of the Board of Directors of E.I.R.T. and a member for the second time of the Board of Directors of the National Theater (1974 - 1977). Despite the proposal of New Democracy to include him in the ballot of the deputies of the State, Elytis refuses, remaining faithful to his principle not to be actively involved in political practice. In 1977 he also refused to be named an Academician.
On October 18, 1979, the Swedish Academy announced that he would be awarded the Nobel Prize in Literature "for his poetry, which, based on the Greek tradition, describes with aesthetic power and high intellectual discretion, the struggle of modern man for freedom and creation." . The announcement of the Swedish Academy points out that Axion Esti is one of the masterpieces of 20th century poetry. Elytis attended the traditional award ceremony on December 10, 1979 in Stockholm, receiving the award from King Carl Gustav of Sweden.
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https://waterbloggedbooks.wordpress.com/2017/06/09/sailing-the-aegean-with-odysseas-elytis/
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Sailing the Aegean with Odysseas Elytis
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2017-06-09T00:00:00
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Of the Aegean The poem below - published in 1939 - marks the beginning of a long poetic career. Given that this was the beginning, does it come as a surprise that the poet won the Nobel-Prize in literature? Of the Aegean Eros The archipelago And the prow of its foams And the gull of…
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en
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https://secure.gravatar.com/blavatar/7c4f391fa37862e460778600d49234ff493279e32bd5c26f1526c68fc86d7458?s=32
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Waterblogged
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https://waterbloggedbooks.wordpress.com/2017/06/09/sailing-the-aegean-with-odysseas-elytis/
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Of the Aegean
The poem below – published in 1939 – marks the beginning of a long poetic career. Given that this was the beginning, does it come as a surprise that the poet won the Nobel-Prize in literature?
Of the Aegean
Eros
The archipelago
And the prow of its foams
And the gull of its dreams
On its highest mast the sailor waves
A song
Eros
Its song
And the horizons of its voyage
And the echo of its nostalgia
On her wettest rock the betrothed awaits
A ship
Eros
Its ship
And the nonchalance of its summer winds
And the jib of its hope
On its highest undulation an island cradles
The coming
Odysseas Elytis
(transl. Jeffrey Carson)
Του Αιγαίου
Ο έρωτας
Το αρχιπέλαγος
Κι η πρώρα των αφρών του
Κι οι γλάροι των ονείρων του
Στο πιο ψηλό κατάρτι του ο ναύτης ανεμίζει
Ένα τραγούδι
Ο έρωτας
Το τραγούδι του
Κι οι ορίζοντες του ταξιδιού του
Κι η ηχώ της νοσταλγίας του
Στον πιο βρεμένο βράχο της η αρραβωνιαστικιά προσμένει
Ένα καράβι
Ο έρωτας
Το καράβι του
Κι η αμεριμνησία των μελτεμιών του
Κι ο φλόκος της ελπίδας του
Στον πιο ελαφρό κυματισμό του ένα νησί λικνίζει
Τον ερχομό
Οδυσσέας Ελύτης
If you know the poem, then you realised that the lines above merely constitute the first part – the rest will follow below (unfortunately I couldn’t find the Greek original of the other two parts.)
But personally I like to pause at the end of the first part. Literature – art – is always a very personal experience and of all forms of literature poetry is perhaps the most personal: I like my poems short, vivid in their imagery and suggestive, rather than prescriptive, in their meaning – leaving space for the imagination. To me parts II and III merely develop a theme that has already been perfectly formed and therefore cannot possibly be improved upon. What do you think?
II
The playing waters
In shady passages
Speak the dawn with their kisses
Which begins
Horizon—
And the wild doves vibrate
A sound in their cave
Blue waking in the fount
Of day
Sun—
The northwester gives the sail
To the sea
Caresses of hair
To the carefreeness of its dream
Dew—
Wave in the light
Again gives birth to the eyes
Where Life sails toward
Far-seeing
Life—
III
Sea surf kiss on its caressed sand—Eros
The gull gives the horizon
Its blue liberty
Waves go come
Foaming answering in the ears of shells
Who took the blond sunburnt girl?
The sea breeze with its transparent blowing
Tilts the sail of dream
Far out
Eros murmurs its promise—Sea surf.
Poetry in Translation – A Game of Chinese Whispers
Considering Elytis won the Nobel Prize for literature in 1979, he seems to be very little known. (Or maybe I’m just moving in the wrong circles.)
Perhaps it’s because we have to read him in translation; poets always seem to have a harder time to become internationally famous than writers. In his Nobel Lecture, Elytis said:
…you know us through the 20 or 30 per cent that remains of a work after translation.
Poetry is as much about sound and rhythm as about meaning; it’s impossible to render a poem perfectly in translation. Not only that, but there is always going to be a translator between you and the poet. Instead of engaging directly with the poet via his poem, you’re participating in a game of Chinese whispers. Carson’s translation reads very well to me (although personally I wouldn’t have substituted Eros for love in the first line of each verse). In this case I’m lucky that I can, just about, read sufficient Greek to be able to appreciate some of the cadence of Elytis’s original lines; I wish I could read more.
Sailing the Aegean with Odysseas Elytis
Elytis is a ‘very Greek’ poet, if you can say such a thing. Jeffrey Carson, the translator responsible for the collected poems of Elytis – the first such collection, predating even a Greek one – wrote in his introduction that,
… it is the Aegean world that provides Elytis with his images.
He was writing about part I of Of the Aegean but it’s a fair description of Elytis’s poetry in general. Elytis has a clearly recognisable style, with very vivid images of Greece that arrest you. It’s the kind of poetry that you can turn to when you’re feeling sad; with its affirmation of life, love, its images of the sea and the sun, its evocations of more than three thousand years of history. It’s difficult not to like Elytis’s poetry if you love Greece.
Still talking about part I of Of the Aegean, Carson went on to say:
This maiden strophe closes with an image of a sea-voyaging sailor singing to the wind and waves: it is Elytis proclaiming his life’s course, a course he was still proclaiming in the last book he brought out, written in his eighties.
I like the idea of life as a sea voyage – especially through the Greek archipelago – and the notion that Elytis spent a lifetime turning this into poetry sounds good to me. I need to read more of his poetry – I’d love to lay my hands on a bilingual version of his collected poems and sail the Aegean alongside him.
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https://cyathens.org/academics/november-2-a-day-to-remember-poetry/
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November 2: A Day to Remember Poetry
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2020-11-02T18:10:01+02:00
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A Day to Remember Poetry - On 109th anniversary of his birthday, CYA honors famed Greek poet Odysseas Elytis and his massive influence on not just poetry in Greece, but internationally.
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en
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CYA - College Year in Athens
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https://cyathens.org/academics/november-2-a-day-to-remember-poetry/
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Odysseus Elytis (1911-1996)
On 109th anniversary of his birthday, CYA honors famed Greek poet Odysseas Elytis and his massive influence on not just poetry in Greece, but internationally.
“Poetry is the truth beyond reality” Stéphane Mallarmé “Because, when all is said and done, this is poetry: the art of leading you toward what goes beyond you”. Odysseus Elytis “Poets are the Memory of their nation” Octavio Paz
Odysseus Elytis, poet, essayist, and art critic, was born on November 2, 1911. His first collection of poems, Orientations, published in 1939, established him as one of the major contemporary Greek poets. Twenty years later, the Axion Esti, one of the most complex poems written in the 20th century, placed him among the prominent poets in Europe. In 1979 he was awarded the Nobel Prize in Literature “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness.”
“Odysseus Elytis is possibly the most praised poet of the second half of the twentieth century; asked to name our Rilke, our Yeats, our Eliot, poets, and critics more and more turn to him”, says Jeffrey Carson, poet, and co-translator with Nikos Sarris of Elytis’s Collected Poems. “Throughout his long career as a poet, he remained true to his vision of a poetry that addresses the power of language and links Greece’s two thousand years of myth and history with the social and psychological demands of the modern age. Renowned for their astonishing lyricism and profound optimism, Elytis’s poems employ surreal imagery and a remarkable variety of forms to capture the natural, sun-soaked beauty of Greece and to give voice to the contemporary Greek -and to a more universally human- consciousness.”
His poems are spells, and they conjure up that eternal Greek world which has haunted and continues to haunt the European consciousness with its hints of a perfection that remains always a possibility. The Greek poet aims his heart and his gift directly at the sublime–for nothing else will do. [Lawrence Durrell]
Respecting Copyright law, we will not publish sections of Elytis' poetry here. If you would wish to enjoy some of his poetry online, please visit dedicated sections in PoetryInternational.org and PoetryFoundation.org
Throughout CYA’s long engagement with Greek art, culture, and poetry, Elytis has been the subject of many classes and lectures.
Mimika Dimitra, beloved Professor of Modern Greek, had known Elytis personally. In 2011, Dimitra gave a lecture at CYA about Elytis’ work, examining the symbolism in his poetry, as well as the cultural context in which they were written. Dimitra began working at CYA in 1972. Until her retirement in 2008, Professor Dimitra impacted the lives of her over 1,100 students through her kindness and passion for Modern Greek language and culture, a passion that she transmitted to many of her students:
“When I first came to CYA in the fall of 1997, I had very definite ideas about what I thought Hellenism was, shaped by study of the Classics. After spending two semesters with Professor Dimitra, my old ideas were replaced by an understanding of the living culture of Greece…In her role as mentor and friend, I experienced the beauty of contemporary Greek poetry and art, always accompanied by glimpses of the past. In part, my experiences with Mimika inspired me to become the devoted Hellenist that I am today.”
Jennifer Reilly Kellogg, CYA ’97
Professor Mimika Dimitra, along with her close friend and colleague, fellow Modern Greek Professor Marinetta Papachimona, who still teaches at CYA, wrote the foundational textbook for learners of modern Greek, Greek 1+1 and 2+2, both of which are used in classes of Modern Greek around the world.
Through her wit, sense of humor, and passion for language and poetry, Professor Dimitra has left her mark on CYA as an institution and on all of her students, who still carry on lessons learned from her class to this day, including love for the work of Elytis:
“I loved Mimika’s Modern Greek Poetry class—I have my collection of Seferis’ and Elytis’ poems close at hand on my bookshelf.”
Susan Pomerleau, CYA ’89.
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https://en.wikisource.org/wiki/Portal:Nobel_Prize_in_Literature
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Year Laureate Country Language Citation Genre(s) 1901 Sully Prudhomme France French "in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect" poetry, essay 1902 Theodor Mommsen Germany German "the greatest living master of the art of historical writing, with special reference to his monumental work, A History of Rome" history, law 1903 Bjørnstjerne Bjørnson Norway Norwegian "as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit" poetry, novel, drama 1904 Frédéric Mistral France Occitan "in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist" poetry, philology José Echegaray Spain Spanish "in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama" drama 1905 Henryk Sienkiewicz Poland Polish "because of his outstanding merits as an epic writer" novel 1906 Giosuè Carducci Italy Italian "not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces" poetry 1907 Rudyard Kipling United Kingdom English "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author" novel, short story, poetry 1908 Rudolf Christoph Eucken Germany German "in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life" philosophy 1909 Selma Lagerlöf Sweden Swedish "in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings" novel, short story 1910 Paul von Heyse Germany German "as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories" poetry, drama, novel, short story 1911 Maurice Maeterlinck Belgium French "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations" drama, poetry, essay 1912 Gerhart Hauptmann Germany German "primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art" drama, novel 1913 Rabindranath Tagore India Bengali "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West" poetry, novel, drama, short story, music 1914 Not awarded 1915 Romain Rolland France French "as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings" novel 1916 Verner von Heidenstam Sweden Swedish "in recognition of his significance as the leading representative of a new era in our literature" poetry, novel 1917 Karl Adolph Gjellerup Denmark Danish "for his varied and rich poetry, which is inspired by lofty ideals" poetry Henrik Pontoppidan Denmark Danish "for his authentic descriptions of present-day life in Denmark" novel 1918 Not awarded 1919 Carl Spitteler Switzerland German "in special appreciation of his epic, Olympian Spring" poetry 1920 Knut Hamsun Norway Norwegian "for his monumental work, Growth of the Soil" novel 1921 Anatole France France French "in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament" novel, poetry 1922 Jacinto Benavente Spain Spanish "for the happy manner in which he has continued the illustrious traditions of the Spanish drama" drama 1923 William Butler Yeats Ireland English "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation" poetry 1924 Władysław Reymont Poland Polish "for his great national epic, The Peasants" novel 1925 George Bernard Shaw Ireland English "for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty" drama, literary criticism 1926 Grazia Deledda Italy Italian "for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general" poetry, novel 1927 Henri Bergson France French "in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented" philosophy 1928 Sigrid Undset Norway Norwegian "principally for her powerful descriptions of Northern life during the Middle Ages" novel 1929 Thomas Mann Germany German "principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature" novel, short story, essay 1930 Sinclair Lewis United States English "for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters" novel, short story, drama 1931 Erik Axel Karlfeldt Sweden Swedish "The poetry of Erik Axel Karlfeldt" poetry 1932 John Galsworthy United Kingdom English "for his distinguished art of narration which takes its highest form in The Forsyte Saga" novel 1933 Ivan Bunin Stateless (born in Russia, living in France) Russian "for the strict artistry with which he has carried on the classical Russian traditions in prose writing" short story, poetry, novel 1934 Luigi Pirandello Italy Italian "for his bold and ingenious revival of dramatic and scenic art" drama, novel, short story 1935 Not awarded 1936 Eugene O'Neill United States English "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy" drama 1937 Roger Martin du Gard France French "for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel cycle Les Thibault" novel 1938 Pearl S. Buck United States English "for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces" novel 1939 Frans Eemil Sillanpää Finland Finnish "for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature" novel 1940 Not awarded 1941 Not awarded 1942 Not awarded 1943 Not awarded 1944 Johannes Vilhelm Jensen Denmark Danish "for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style" poetry 1945 Gabriela Mistral Chile Spanish "for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world" poetry 1946 Hermann Hesse Switzerland (born in Germany) German "for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style" novel, poetry 1947 André Gide France French "for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight" novel, essay 1948 T. S. Eliot United Kingdom English "for his outstanding, pioneer contribution to present-day poetry" poetry 1949 William Faulkner United States English "for his powerful and artistically unique contribution to the modern American novel" novel, short story 1950 Bertrand Russell United Kingdom English "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought" philosophy 1951 Pär Lagerkvist Sweden Swedish "for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind" poetry, novel, short story, drama 1952 François Mauriac France French "for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life" novel, short story 1953 Winston Churchill United Kingdom English "for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values" history, essay, memoirs 1954 Ernest Hemingway United States English "for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style" novel, short story, screenplay 1955 Halldór Laxness Iceland Icelandic "for his vivid epic power which has renewed the great narrative art of Iceland" novel, short story, drama, poetry 1956 Juan Ramón Jiménez Spain Spanish "for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity" poetry 1957 Albert Camus France French "for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times" novel, short story, drama, philosophy, essay 1958 Boris Pasternak Soviet Union Russian "for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition" novel, poetry, translation 1959 Salvatore Quasimodo Italy Italian "for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times" poetry 1960 Saint-John Perse France French "for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time" poetry 1961 Ivo Andrić Yugoslavia Serbo-Croatian "for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country" novel, short story 1962 John Steinbeck United States English "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception" novel, short story, screenplay 1963 Giorgos Seferis Greece Greek "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture" poetry 1964 Jean-Paul Sartre France French "for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age" novel, philosophy, drama, literary criticism, screenplay 1965 Mikhail Sholokhov Soviet Union Russian "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people" novel 1966 Shmuel Yosef Agnon Israel Hebrew "for his profoundly characteristic narrative art with motifs from the life of the Jewish people" novel, short story Nelly Sachs Germany (exiled to Sweden) German "for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength" poetry, drama 1967 Miguel Ángel Asturias Guatemala Spanish "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America" novel, poetry 1968 Yasunari Kawabata Japan Japanese "for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind" novel, short story 1969 Samuel Beckett Ireland English and French "for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation" novel, drama, poetry 1970 Aleksandr Solzhenitsyn Russia Russian "for the ethical force with which he has pursued the indispensable traditions of Russian literature" novel 1971 Pablo Neruda Chile Spanish "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams" poetry 1972 Heinrich Böll Germany German "for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature" novel, short story 1973 Patrick White Australia English "for an epic and psychological narrative art which has introduced a new continent into literature" novel, short story, drama 1974 Eyvind Johnson Sweden Swedish "for a narrative art, farseeing in lands and ages, in the service of freedom" novel Harry Martinson Sweden Swedish "for writings that catch the dewdrop and reflect the cosmos" poetry, novel, drama 1975 Eugenio Montale Italy Italian "for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions" poetry 1976 Saul Bellow United States English "for the human understanding and subtle analysis of contemporary culture that are combined in his work" novel, short story 1977 Vicente Aleixandre Spain Spanish "for a creative poetic writing which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars" poetry 1978 Isaac Bashevis Singer United States Yiddish "for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life" novel, short story, memoirs 1979 Odysseas Elytis Greece Greek "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness" poetry 1980 Czesław Miłosz Poland, United States Polish "who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts" poetry, essay 1981 Elias Canetti Bulgaria, United Kingdom German "for writings marked by a broad outlook, a wealth of ideas and artistic power" novel, drama, memoirs, essay 1982 Gabriel García Márquez Colombia Spanish "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts" novel, short story, screenplay 1983 William Golding United Kingdom English "for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today" novel, poetry, drama 1984 Jaroslav Seifert Czechoslovakia Czech "for his poetry which endowed with freshness, and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man" poetry 1985 Claude Simon France French "who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition" novel 1986 Wole Soyinka Nigeria English "who in a wide cultural perspective and with poetic overtones fashions the drama of existence" drama, novel, poetry 1987 Joseph Brodsky Soviet Union, United States English and Russian "for an all-embracing authorship, imbued with clarity of thought and poetic intensity" poetry 1988 Naguib Mahfouz Egypt Arabic "who, through works rich in nuance—now clear-sightedly realistic, now evocatively ambiguous—has formed an Arabian narrative art that applies to all mankind" novel 1989 Camilo José Cela Spain Spanish "for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability" novel, short story 1990 Octavio Paz Mexico Spanish "for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity" poetry, essay, 1991 Nadine Gordimer South Africa English "who through her magnificent epic writing has—in the words of Alfred Nobel—been of very great benefit to humanity" novel, short story, essay 1992 Derek Walcott Saint Lucia English "for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment" poetry 1993 Toni Morrison United States English "who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality" novel 1994 Kenzaburō Ōe Japan Japanese "who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today" novel, short story 1995 Seamus Heaney Ireland English "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past" poetry 1996 Wisława Szymborska Poland Polish "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality" poetry 2001 V. S. Naipaul United Kingdom, Trinidad & Tobago English "for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories" novel, essay 2002 Imre Kertész Hungary Hungarian "for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history" novel 2003 J. M. Coetzee South Africa, Australia English "who in innumerable guises portrays the surprising involvement of the outsider" novel, essay, translation 2004 Elfriede Jelinek Austria German "for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power" novel, drama 2005 Harold Pinter United Kingdom English "who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms" drama 2006 Orhan Pamuk Turkey Turkish "who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures" novel, screenplay, essay 2007 Doris Lessing United Kingdom English "that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny" novel, drama, poetry, short story, memoirs 2008 J. M. G. Le Clézio France, Mauritius French "author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization" novel, short story, essay, translation 2009 Herta Müller Germany, Romania German "who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed" novel, poetry 2010 Mario Vargas Llosa Peru, Spain Spanish "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat". novel, short story, essay, drama 2011 Tomas Tranströmer Sweden Swedish "because, through his condensed, translucent images, he gives us fresh access to reality". poetry, translation 2012 Mo Yan China Chinese "who with hallucinatory realism merges folk tales, history and the contemporary". novel, short story 2013 Alice Munro Canada English "master of the contemporary short story". short story 2014 Patrick Modiano France French "for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation". novel 2015 Svetlana Alexievich Belarus Russian "for her polyphonic writings, a monument to suffering and courage in our time" History, essay 2016 Bob Dylan United States English "for having created new poetic expressions within the great American song tradition" Poetry, songwriting 2017 Kazuo Ishiguro United Kingdom (born in Japan) English "who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world" Novel, screenplay, short story 2018 Olga Tokarczuk Poland Polish “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life” Novel, short story, poetry, essay, screenplay 2019 Peter Handke Austria German "for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience." novel, short story, drama, translation, screenplay 2020 Louise Glück United States English "for her unmistakable poetic voice that with austere beauty makes individual existence universal." poetry, essay 2021 Abdulrazak Gurnah United Kingdom (born in Zanzibar) English "for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents" 2022 Annie Ernaux France French "for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory"
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https://www.abebooks.com/books/nobel-prize-in-literature-winners
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Nobel Prize in Literature winners
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2022-09-21T00:00:00
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The Nobel Prize for Literature is the world’s most important international literary honor. Browse the complete list of winning authors since 1901.
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https://www.abebooks.com/favicon.ico
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AbeBooks
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https://www.abebooks.com/books/nobel-prize-in-literature-winners
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The Nobel Prize for Literature is the world’s most important international literary honor. Alfred Nobel - the Swedish scientist, engineer, and inventor - left his fortune to establish awards for physics, chemistry, physiology/medicine, peace, and literature.
The prizes began in 1901, and the first winner for literature was the French poet and essayist Sully Prudhomme. The winner is decided by a committee consisting of members from the Swedish Academy, which was founded in 1786. The Swedish Academy features 18 people of note – such as writers, scholars, and historians - who have the role for life. The prize is awarded for a writer’s overall body of work although individual works of importance have been cited at times.
Past winners include Annie Ernaux, Ernest Hemingway, Albert Camus, Hermann Hesse, José Saramago, Pablo Neruda, Kazuo Ishiguro, and Aleksandr Solzhenitsyn. Swedish author Selma Lagerlöf was the first woman to win the Nobel Prize for Literature in 1909.
The Nobel Prize looks for excellence in more than just fiction. Non-fiction authors (Winston Churchill and Bertrand Russell), poets (such as T.S. Eliot), playwrights (such as Harold Pinter and Nelly Sachs), a short story writer (Alice Munro), and even a singer/songwriter, Bob Dylan, have been honored.
The 2023 winner is Jon Fosse, one of Norway’s most prominent and celebrated playwrights and novelists. His works, often marked by their minimalist style and deep existential themes, explore the interior lives of rather solitary characters. He published his first novel, “Red, Black,” in 1983, and his debut play Someone Is Going to Come followed in 1992. His work A New Name: Septology VI-VII was a finalist for the International Booker Prize in 2022 and his other major works include Melancholy; Morning and Evening and Aliss at the Fire.
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Elytis, Odysseus
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"Heraklion",
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"Athens",
"GreeceNATIONALITY: GreekGENRE: Poetry",
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Odysseus ElytisBORN: 1911, Heraklion, Crete, GreeceDIED: 1996, Athens, GreeceNATIONALITY: GreekGENRE: Poetry, nonfictionMAJOR WORKS:Orientations (1939)The Axion Esti (1959)Maria Nefeli (1978)The Little Mariner (1988)West of Sadness (1995) Source for information on Elytis, Odysseus: Gale Contextual Encyclopedia of World Literature dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Odysseus Elytis
BORN: 1911, Heraklion, Crete, Greece
DIED: 1996, Athens, Greece
NATIONALITY: Greek
GENRE: Poetry, nonfiction
MAJOR WORKS:
Orientations (1939)
The Axion Esti (1959)
Maria Nefeli (1978)
The Little Mariner (1988)
West of Sadness (1995)
Overview
An internationally acclaimed poet who is considered among the foremost Greek literary figures of the twentieth century, Odysseus Elytis celebrated the splendors of nature while affirming humanity's ability to embrace hope over despair. Combining his interest in surrealism with lyrical evocations of Greek landscape, history, and culture, Elytis created poems that exalt the virtues of sensuality, innocence, and imagination while striving to reconcile these attributes with life's tragic aspects. A recipient of the 1979 Nobel Prize in Literature, Elytis was cited by the Swedish Academy for writing “poetry which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativity.”
Works in Biographical and Historical Context
Childhood Summers by the Sea The youngest of six children, Elytis was born in Heraklion, Crete, to a wealthy industrialist and his wife. He attended primary and secondary schools in Athens before enrolling at the University of Athens School of Law. As a youth, Elytis spent his summer vacations on the Aegean Islands, absorbing the seaside atmosphere that deeply informs the imagery of his verse. Also essential to Elytis's poetic development was his attraction to surrealism, which he developed during the late 1920s through the works of French poet Paul Éluard.
Artistic Awakening In 1935, after leaving law school, Elytis displayed several visual collages at the First International Surrealist Exhibition in Athens and began publishing poems in various Greek periodicals. His first collection of verse, Orientations, focuses on the beauty of the Aegean landscape. These poems also display Elytis's affinity for such surrealistic devices as the portrayal of supernatural occurrences, exploration of the unconscious, and personification of abstract ideas and natural phenomena. In his next volume, Sun the First, Elytis confirmed his predilection for examining nature's intrinsic relationship with human spirituality.
Reflections of War in Poetry During World War II, Italy and Germany were allied. Italy's dictator, Benito Mussolini, grew anxious to emulate the territorial expansion of Germany's leader Adolf Hitler, and resolved to seized Greece. During the Italian invasion of Greece in 1940 and 1941, Elytis served on the Albanian front as a second lieutenant in Greece's First Army Corps. The heroism he witnessed amid the tragedy and suffering of combat is reflected in his long poem Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign. Centering on the death of a young Greek soldier whose transfiguration and resurrection serves as an affirmation of justice and liberty, this work advances Elytis's concerns with the merging of physical and spiritual existence and pays tribute to those individuals who resist oppression and defend freedom.
Immersion in Civic and Cultural Affairs Following the publication of Heroic and Elegiac Song, Elytis ceased producing poetry for more than a decade, immersing himself in civic and cultural affairs. From 1948 to 1953, during a period of civil war and subsequent civil unrest in Greece, Elytis lived in Paris, where he studied at the Sorbonne and wrote articles in French for Verve magazine. Several years after returning to Greece, Elytis published The Axion Esti, an intricately structured cycle alternating prose and verse. Indebted for much of its tone, language, symbolism, and structure to the liturgy of the Greek Orthodox Church, The Axion Esti incorporates elements of Christianity and images of Grecian landscapes and culture while augmenting Elytis's concern for the spirituality of the material world.
In the 1960s, translators abroad began to take notice of Elytis's poetry, and translations of his poems appeared in German, English, Italian, and French. During this period, Elytis traveled extensively. In 1961 he journeyed to the United States as a guest of the State Department; in 1962 he visited the Soviet Union; in 1965 he toured Bulgaria; in 1967, just before the military coup, he visited Egypt; and in 1969 he moved to Paris.
1979 Nobel Prize in Literature In 1975 Elytis was offered an honorary doctorate from the Philosophical School of the University of Thessaloníki, and he was proclaimed an honorary citizen of Lesbos. In 1979 he was proclaimed an honorary citizen of Heracleion, Crete. In 1975 Books Abroad dedicated an entire issue to his poetry. The greatest surprise for the poet, however, came in October 1979, when the secretary of the Swedish Academy announced the awarding of the 1979 Nobel Prize in Literature to Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness.” Other candidates for the 1979 Nobel Prize in Literature included Graham Greene, Jorge Luis Borges, Gabriel García Márquez, and Simone de Beauvoir. The announcement was received with tremendous enthusiasm in Greece.
Post-Nobel Popularity Elytis lived and continued to create for seventeen years after receiving the Nobel Prize
in Literature. His post-Nobel popularity kept him busy. The few years that immediately followed the Nobel presentation were spent almost entirely on award receptions, presentations, and speeches around the globe. In 1980 he was presented with an honorary doctorate from the Sorbonne in France, and in 1981 he received an honorary doctorate from the University of London. He was also declared an honorary citizen of Larnaca and Paphos (Cyprus), and he was invited by the Spanish prime minister Adolfo Suárez González to visit Spain, where he was declared an honorary citizen of Toledo (in the fall of 1980). The Royal Society of Literature (United Kingdom) presented him with the Benson Medal in 1981, an award given as lifetime recognition in poetry, fiction, history, and belles lettres. Also in 1981, Rutgers University, in the United States, established the Elytis Chair of Modern Greek Studies in honor of the poet, and in March 1982 he was presented, by Mayor D. Beis of Athens, with the Gold Medal of Honor of the City of Athens. During the 1980s Elytis published three collections of poetry: Tria Poiîmata me sîmaia Eykairias (1982, Three Poems Under a Flag of Convenience), Îmerologio enos Atheatou Apriliou (1984; translated as Journal of an Unseen April, 1998), and O Mikros Nautilos (1986; translated as The Little Mariner, 1999).
West of Sadness Elytis's final collection, Dytika tîs Lypîs (1995, translated West of Sadness) was written in the summer of 1995 in Porto Rafti, Greece, where the poet was vacationing with fellow poet Ioulita Iliopoulou, who had been his partner for about a decade (he had never married nor had children). The seven poems of the collection are “more dense,” as Elytis wrote, “and for this reason more difficult, but closer to my ideal.” The title of the collection signals its mood: on one hand, the life of the eighty-three-year-old poet is moving westward toward its setting; but on the other hand, it also moves “west of sorrow,” that is, beyond where sorrow itself sets. The biographical events in the poet's life are insignificant: “what remains,” the collection concludes, “is poetry alone.”
Elytis died of a stroke in his apartment in Athens on March 18, 1996. A posthumous collection titled Ek tou Plîsion (From Nearby) was put together by his heir, Iliopoulou, and was published in 1998.
Works in Literary Context
Elytis's poetry is often read in the context of surrealism, the artistic movement known for its rejection of objective reality. Indeed, he is the translator of numerous surrealist texts into Greek and has written extensively on the subject, many of these essays collected in the volume The Open Book. Significantly, in 1991 an exhibition of Greek poetry and painting, including work by Elytis, was staged at the Georges Pompidou Centre Paris, titled “Surrealist Greeks.” This title is especially accurate in describing Elytis, because although Elytis's work does incorporate many of the elements of surrealism, it is equally important to remember where Elytis comes from, as he infuses his writing with the rich culture, heritage, landscapes, and literary traditions of his native Greece.
“Greek Reality” Although Elytis engages with contemporary surrealism in his poems, it would be misleading to exaggerate the extent of the poet's commitment to any movement. Even in the early verse, surrealism is adapted (to borrow Elytis's own term) as the poet confronts “Greek reality,” drawing upon the resources of a native poetic tradition. In fact Elytis has been outspoken in stressing his intimate poetic relationship to Greek literary figures as diverse as Andreas Kalvos (1946) and Alexandros Papadiamantis (1976). Moreover, echoes from Greek folk poetry, Byzantine hymns, and liturgical texts reverberate through his poetry. As Elytis remarked in his Nobel acceptance speech in 1979, the poet must simultaneously “recast the elements to the social and psychological requirements of [his] age.” Echoes from the German poets Friedreich Holderlin and Novalis interact with allusions to the national Greek poet Dionysios Solomos.
LITERARY AND HISTORICAL CONTEMPORARIES
Elytis's famous contemporaries include:
George Seferis (1900–1971): Greek poet who became the first Greek to win the Nobel Prize in Literature in 1963.
Mikis Theodorakis (1925–): One of Greece's best-known composers, Theodorakis scored films such as Zorba the Greek (1969) and Serpico (1973), and also put Elytis's The Axion Esti to music.
Panagiotis Kanellopoulos (1902–1986): Greek author and politician who briefly served as prime minister of Greece twice, in 1945 and in 1967.
André Breton (1896–1966): French writer often credited as the main founder of the surrealist movement.
PaulÉluard (1895–1952): This French poet, partially influenced by the American author Walt Whitman, was associated with the founding of the surrealist movement.
Surrealism and the Free Association of Ideas Elytis adapted only selected principles of surrealism to his Greek reality. Some other characteristics of surrealism, such as automatic writing, were considered unacceptable to Elytis. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood
of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Orientations, published in 1936, was Elytis's first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis's work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
Popularity Today Resists Classification Odysseus Elytis's popularity in Greece remains astounding. He became a national commodity after the Nobel Prize, as evident in a continuous inclusion of his name in cultural and national symbolism: More than a dozen streets in Greece and Cyprus are named after him; a life-size statue sculpted by Yiannis Papas was placed in one of Kolonaki's most central squares (Plateia Dexamenis); and a cruise ship, a theater on the island of Ios, and a hotel in Thessaly have all been given his name. Biographical information and scattered lines from his poetry adorn tourist pamphlets enticing visitors to travel to the Greek islands. Such cultural incorporation comes as a stark contrast not only in relation to the deeper essence of his poetry but also to the ascetic life he had led in his small apartment. Elytis's poetry clearly resists superficial classifications. His multifaceted style of writing, along with his lucid theoretical formulations, earned him an enduring place in modern Greek literature.
Works in Critical Context
When Maria Nefeli was first published in 1978, it met with a curious yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti,” and for that reason viewed this new work as “an experimental and not-so-attractive creation of rather ephemeral value.”
The Eternal Female The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet … not directly [transcribing] actual events,” as he once stated, Maria Nefeli is based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis's poem has changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis's youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blasé representative of today's young woman…. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
COMMON HUMAN EXPERIENCE
Surrealism is often remembered as a movement in the visual arts—painting, in particular. But as its striking images and the way the juxtaposition of seemingly unrelated images impressed viewers of the visual arts in the early years of the movement, it is easy to forget that surrealists developed out of a literary school—the Dadaist school—that emphasized sound over reason in their poems. Here are a few more works of surrealism that were produced at the time Elytis worked in the form:
The Magnetic Fields (1920), a novel by André Breton and Philippe Soupault. This work is considered the first surrealist novel because its authors utilized the “automatic writing” technique characteristic of surrealism. In “automatic writing,” a writer attempts to write continuously while purposely trying not to think about the words he or she is writing.
Night of Loveless Nights (1926), a poem by Robert Desnos. Desnos is considered one of the founding fathers of literary surrealism, and this extended poem about unrequited love is one of his finest.
Le Paysan de Paris (1926), a surrealist text by Louis Aragon. This work represents a loving portrayal of the places and people that make up the surrealist movement—a kind of literary portrait—written at the peak of surrealism's influence.
The Persistence of Memory (1931), a painting by Salvador Dalí. In this surrealist work, clocks are depicted as melting and hanging over a tree, a horse, and a desk, thereby exemplifying surrealism's interest in juxtapositions of unlikely images
Lyrical Humanism Despite the initial reservations voiced by some critics, Maria Nefeli has come to be regarded as the best of Elytis's later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Responses to Literature
Surrealism is a fairly unique artistic movement insofar as it has influenced artists of various media, including both visual and literary arts. Read Elytis's Orientations and look at Salvador Dali's The Persistence of Memory. In what ways do both works use surrealist elements similarly? In what ways do the two works display different surrealist traits?
Read The Axion Esti. This text has been said to be indebted to the Greek Orthodox Church. How does Elytis use the themes and language of the church in these poems, either to evoke a tradition or to critique that tradition? In your response, make sure to cite specific passages from Elytis's work to support your claim.
Many authors who otherwise were in tune with the artistic ideals of surrealism eventually moved away from the movement because of its communist ethics. Using the Internet and the library, research the surrealist movement's relationship to communism. Then, in a short essay, analyze how surrealist authors—including but not limited to Elytis—and artists use their work to support or refute communist ideals.
Elytis loved his home country of Greece and wanted to express its beauty through his poems. Because of the effectiveness of these poems in expressing the beauty of Greece and the Aegean Sea, Elytis has been called a “sun-drinking” poet. Think about your own hometown. If you were a poet who was interested in describing the physical terrain and culture of your hometown, what would critics call you? Why? In order to answer these questions, you might try writing a few lines of verse in honor of your hometown to get you going.
BIBLIOGRAPHY
Books
Decavalles, Andonis. Odysseus Elytis: From the Golden to the Silver Poem. New York: Pella, 1994.
Demou, Nikos. Odysseus Elytis. Athens: Ekdoseis Nefeli, 1992.
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Winners of the Nobel Prize in Literature
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A comprehensive list of Nobel Prize Laureates in Literature, at the Nobel Prize Internet Archive.
| null |
2022
ANNIE ERNAUX for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory
2021
ABDULRAZAK GURNAH for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents
2020
LOUISE GLÜCK for her unmistakable poetic voice that with austere beauty makes individual existence universal.
2019
PETER HANDKE for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience.
2018
OLGA TOKARCZUK for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life.
2017
KAZUO ISHIGURO who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world
2016
BOB DYLAN for having created new poetic expressions within the great American song tradition
2015
SVETLANA ALEXIEVICH for her polyphonic writings, a monument to suffering and courage in our time.
2014
PATRICK MODIANO for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation.
2013
ALICE MUNRO, master of the contemporary short story.
2012
MO YAN who with hallucinatory realism merges folk tales, history and the contemporary.
2011
TOMAS TRANSTRÖMER because, through his condensed, translucent images, he gives us fresh access to reality.
2010
MARIO VARGAS LLOSA for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat.
2009
HERTA MÜLLER who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed.
2008
JEAN-MARIE GUSTAVE LE CLÉZIO author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization.
2007
DORIS LESSING that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny.
2006
ORHAN PAMUK who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures.
2005
HAROLD PINTER who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms.
2004
ELFRIEDE JELINEK for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clich s and their subjugating power
2003
JOHN MAXWELL COETZEE who in innumerable guises portrays the surprising involvement of the outsider
2002
IMRE KERTÉSZ for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history
2001
V. S. NAIPAUL for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories.
2000
GAO XINGJIAN for an oeuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama.
1999
GUNTER GRASS whose frolicsome black fables portray the forgotten face of history.
1998
JOSE SARAMAGO who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality.
1997
DARIO FO who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.
1996
WISLAWA SZYMBORSKA for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality.
1995
SEAMUS HEANEY for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past.
1994
KENZABURO OE who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today.
1993
TONI MORRISON who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality.
1992
DEREK WALCOTT for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment.
1991
NADINE GORDIMER who through her magnificent epic writing has - in the words of Alfred Nobel - been of very great benefit to humanity.
1990
OCTAVIO PAZ for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity.
1989
CAMILO JOSÉ CELA for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability.
1988
NAGUIB MAHFOUZ who, through works rich in nuance-now clearsightedly realistic, now evocatively ambigous-has formed an Arabian narrative art that applies to all mankind.
1987
JOSEPH BRODSKY for an all-embracing authorship, imbued with clarity of thought and poetic intensity.
1986
WOLE SOYINKA who in a wide cultural perspective and with poetic overtones fashions the drama of existence.
1985
CLAUDE SIMON who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition.
1984
JAROSLAV SEIFERT for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man.
1983
SIR WILLIAM GOLDING for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today.
1982
GABRIEL GARCÍA MÁRQUEZ for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts.
1981
ELIAS CANETTI for writings marked by a broad outlook, a wealth of ideas and artistic power.
1980
CZESLAW MILOSZ who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts.
1979
ODYSSEUS ELYTIS (pen-name of ODYSSEUS ALEPOUDHELIS ), for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness.
1978
ISAAC BASHEVIS SINGER for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life.
1977
VICENTE ALEIXANDRE for a creative poetic writing which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry beween the wars.
1976
SAUL BELLOW for the human understanding and subtle analysis of contemporary culture that are combined in his work.
1975
EUGENIO MONTALE for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions.
1974
The prize was divided equally between:
EYVIND JOHNSON for a narrative art, farseeing in lands and ages, in the service of freedom.
HARRY MARTINSON for writings that catch the dewdrop and reflect the cosmos.
1973
PATRICK WHITE for an epic and psychological narrative art which has introduced a new continent into literature.
1972
HEINRICH BÖLL for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature.
1971
PABLO NERUDA for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams.
1970
ALEKSANDR ISAEVICH SOLZHENITSYN for the ethical force with which he has pursued the indispensable traditions of Russian literature.
1969
SAMUEL BECKETT for his writing, which - in new forms for the novel and drama - in the destitution of modern man acquires its elevation.
1968
YASUNARI KAWABATA for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind.
1967
MIGUEL ANGEL ASTURIAS for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America.
1966
The prize was divided equally between:
SHMUEL YOSEF AGNON for his profoundly characteristic narrative art with motifs from the life of the Jewish people.
NELLY SACHS for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength.
1965
MICHAIL ALEKSANDROVICH SHOLOKHOV for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people.
1964
JEAN-PAUL SARTRE for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a farreaching influence on our age. (Declined the prize.)
1963
GIORGOS SEFERIS (pen-name of GIORGOS SEFERIADIS ), for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture.
1962
JOHN STEINBECK for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception.
1961
IVO ANDRI´C for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country.
1960
SAINT-JOHN PERSE (pen-name of ALEXIS LÉGER ), for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time.
1959
SALVATORE QUASIMODO for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times.
1958
BORIS LEONIDOVICH PASTERNAK for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition. (Accepted first, later caused by the authorities of his country to decline the prize.)
1957
ALBERT CAMUS for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times.
1956
JUAN RAMÓN JIMÉNEZ for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity.
1955
HALLDÓR KILJAN LAXNESS for his vivid epic power which has renewed the great narrative art of Iceland.
1954
ERNEST MILLER HEMINGWAY for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea ,and for the influence that he has exerted on contemporary style.
1953
SIR WINSTON LEONARD SPENCER CHURCHILL for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values.
1952
FRANÇOIS MAURIAC for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life.
1951
PÄR FABIAN LAGERKVIST for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind.
1950
EARL BERTRAND ARTHUR WILLIAM RUSSELL in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought.
1949
WILLIAM FAULKNER for his powerful and artistically unique contribution to the modern American novel.
1948
THOMAS STEARNS ELIOT for his outstanding, pioneer contribution to present-day poetry.
1947
ANDRÉ PAUL GUILLAUME GIDE for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight.
1946
HERMANN HESSE for his inspired writings which, while growing in boldness and penetration, exemplify the classical humaitarian ideals and high qualities of style.
1945
GABRIELA MISTRAL (pen-name of LUCILA GODOY Y ALCA-YAGA ), for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world.
1944
JOHANNES VILHELM JENSEN for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style.
1943-1940
The prize money was allocated to the Main Fund (1/3) and to the Special Fund (2/3) of this prize section. 1939
FRANS EEMIL SILLANPÄÄ for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature.
1938
PEARL BUCK (pen-name of PEARL WALSH née SYDENSTRICKER ), for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces.
1937
ROGER MARTIN DU GARD for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novelcycle Les Thibault.
1936
EUGENE GLADSTONE O'NEILL for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy.
1935
The prize money was allocated to the Main Fund (1/3) and to the Special Fund (2/3) of this prize section.
1934
LUIGI PIRANDELLO for his bold and ingenious revival of dramatic and scenic art.
1933
IVAN ALEKSEYEVICH BUNIN for the strict artistry with which he has carried on the classical Russian traditions in prose writing.
1932
JOHN GALSWORTHY for his distinguished art of narration which takes its highest form in The Forsythe Saga.
1931
ERIK AXEL KARLFELDT The poetry of Erik Axel Karlfeldt.
1930
SINCLAIR LEWIS for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters.
1929
THOMAS MANN principially for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature.
1928
SIGRID UNDSET principially for her powerful descriptions of Northern life during the Middle Ages.
1927
HENRI BERGSON in recognition of his rich and vitalizing ideas and the brillant skill with which they have been presented.
1926
GRAZIA DELEDDA (pen-name of GRAZIA MADESANI née DELEDDA) , for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general.
1925
GEORGE BERNARD SHAW for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty.
1924
WLADYSLAW STANISLAW REYMONT (pen-name of REYMENT ), for his great national epic, The Peasants.
1923
WILLIAM BUTLER YEATS for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation.
1922
JACINTO BENAVENTE for the happy manner in which he has continued the illustrious traditions of the Spanish drama.
1921
ANATOLE FRANCE (pen-name of JACQUES ANATOLE THIBAULT ), in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament.
1920
KNUT PEDERSEN HAMSUN for his monumental work, Growth of the Soil.
1919
CARL FRIEDRICH GEORG SPITTELER in special appreciation of his epic, Olympian Spring.
1918
The prize money for 1918 was allocated to the Special Fund of this prize section.
1917
The prize was divided equally between:
KARL ADOLPH GJELLERUP for his varied and rich poetry, which is inspired by lofty ideals.
HENRIK PONTOPPIDAN for his authentic descriptions of present-day life in Denmark.
1916
CARL GUSTAF VERNER VON HEIDENSTAM in recognition of his significance as the leading representative of a new era in our literature.
1915
ROMAIN ROLLAND as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings.
1914
The prize money for 1914 was allocated to the Special Fund of this prize section.
1913
RABINDRANATH TAGORE because of his profoundly sensitive, fresh and beautiful verse, by which, with comsummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.
1912
GERHART JOHANN ROBERT HAUPTMANN primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art.
1911
COUNT MAURICE (MOORIS) POLIDORE MARIE BERNHARD MAETERLINCK , in appreciation of his manysided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations.
1910
PAUL JOHANN LUDWIG HEYSE as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories.
1909
SELMA OTTILIA LOVISA LAGERLÖF in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings.
1908
RUDOLF CHRISTOPH EUCKEN in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life.
1907
RUDYARD KIPLING in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author.
1906
GIOSUÈ CARDUCCI not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces.
1905
HENRYK SIENKIEWICZ because of his outstanding merits as an epic writer.
1904
The prize was divided equally between:
FRÉDÉRIC MISTRAL in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist.
JOSÉ ECHEGARAY Y EIZAGUIRRE in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama.
1903
BJØRNSTJERNE MARTINUS BJØRNSON as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit.
1902
CHRISTIAN MATTHIAS THEODOR MOMMSEN the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome.
1901
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https://www.scribd.com/document/226471848/odysseas-elytis-april14booklet
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Odysseas Elytis April14booklet
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"Natalia Figueroa"
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odysseas-elytis-april14booklet - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. Odysseas Elytis was a Greek poet born in 1911 in Crete. He received many honors for his poetry including the Nobel Prize for Literature in 1979. Elytis wrote poems inspired by themes of the sun, sea, and love. He is considered one of the most significant Greek poets for rejuvenating Greek poetry and connecting his works deeply to Greek culture, people, and spirit.
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https://s-f.scribdassets.com/scribd.ico?668e60fe0?v=5
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Scribd
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https://www.scribd.com/document/226471848/odysseas-elytis-april14booklet
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correct_award_00067
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https://www.shinygreece.com/post/odysseas-elytis-famous-poet
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Odysseas Elytis
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[
"Shiny Greece"
] |
2017-07-30T23:31:33+00:00
|
Odysseas Elytis [1911 – 1996] was a famous poet, considered as a major international representative of romantic modernism globally.
|
en
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shinygreece
|
https://www.shinygreece.com/post/odysseas-elytis-famous-poet
|
Authors
George P. Papadellis | SG Head
with some good tips from AI
Odysseas Elytis was a Greek poet and a prominent figure in the Greek literary world. He was one of the most important poets of the 20th century, a major international representative of romantic modernism globally, and the first Greek to receive the Nobel Prize in Literature in 1979. Elytis was known for his ability to transform ordinary experiences into extraordinary poetry, which was characterized by a unique style, rich language, and vivid imagery. His poetry emphasized on the expression of passion, borrowing from the Ancient Greece and the Byzantium, but focusing on Hellenism. He was also a painter, and his poetic vision was heavily influenced by his love for art. In this article, we explore the life, works, and legacy of Odysseas Elytis.
Odysseas Elytis in Rome, Photo by: in the public domain (according to Wikimedia Commons)
Early Life
Odysseas Elytis was born in Heraklion, Crete (1911), and he grew up in Athens. His father was a businessman, and his mother was an art lover. Elytis showed an early interest in literature and art, and he began writing poetry at a young age. He studied law at the University of Athens, but his passion for poetry was stronger, and he dropped out of college to pursue his artistic career.
Career of Odysseas Elytis
Elytis published his first collection of poems "Orientations" in 1939, which was followed by "Sun the First" in 1943. These collections established him as a leading poet in Greece. In 1948, Elytis published "Axion Esti", a poetic masterpiece that has been translated into many languages and is considered one of the most important works of modern Greek literature. "Axion Esti" is a lyrical tribute to Greece, its people, and its history, and it is characterized by a rich language, vivid imagery, and a musical quality that is reminiscent of ancient Greek poetry. Elytis continued to write poetry throughout his life, and his works include "The Sovereign Sun" (1954), "Maria Nefeli" (1978), and "West of Sorrow" (1985).
Photo by: Sp!ros, Odysseas Elytis 11 34 39 063000, cropped by Shiny Greece, CC BY-SA 4.0
He also wrote essays and articles on literature, art, and politics, and he was a passionate advocate for Greek culture. Elytis was also a painter, and his paintings were heavily influenced by his love for poetry. He created a series of paintings based on his poem "To Axion Esti", which are considered some of his best works. His paintings are characterized by bright colors, bold lines, and abstract forms, and they reflect his poetic vision of the world.
Legacy
Elytis on Coin | Photo by: Jorge-11, Elytis, Odysseas (1911-1996), CC BY 2.0
Odysseas Elytis was a prominent figure in the Greek literary world, and his contributions to Greek culture are immeasurable. His poetry was characterized by a unique style, rich language, and vivid imagery, and it has inspired generations of Greek poets. His paintings were also an important part of his artistic legacy, and they have been exhibited in museums and galleries around the world. Elytis was also a cultural ambassador for Greece, and he promoted Greek culture and literature on the international stage. He was awarded numerous honors for his contributions to Greek culture, including the Nobel Prize in Literature in 1979.
Inspiration
Odysseas Elytis was a poet of light and color, whose works continue to inspire and enchant readers around the world. He was a cultural ambassador for Greece and a passionate advocate for Greek culture, literature, and art. His contributions to Greek culture are immeasurable, and his legacy will continue to inspire generations to come.
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correct_award_00067
|
FactBench
|
3
| 9
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https://www.aiorabooks.com/product/in-the-name-of-luminosity-and-transparency/
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en
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In the Name of Luminosity and Transparency
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2018-08-28T12:36:43+00:00
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ODYSSEUS ELYTIS 1979 NOBEL PRIZE FOR LITERATURE With an Introduction by Dimitris Daskalopoulos The poetry of Odysseus Elytis owes as much to the ancients and Byzantium, as to the surrealists of the 1930s and the architecture of the Cyclades, bringing romantic modernism and structural experimentation to Greece. Collected here are the two speeches Elytis gave on his acceptance of the 1979 Nobel Prize for Literature, which are still strikingly relevant today. He addresses a hypertrophic and atrophic Europe in moral chaos, with as many coexisting values as languages-and to this he offers the "common language" that is found in poetry, in art, and in their base materials of sense, aesthetic, intuition. Ultimately, his is a powerful ode to beauty amid utilitarianism, and the need for poetry as "the art of approaching that which surpasses us" and "puts us at the threshold of the deepest truth". "And, lo and behold, here I am today in Stockholm, my only treasure a few Greek words. Humble words but alive, because they are on the lips of a whole people. They are three thousand years old, but as fresh as if just drawn from the sea, from the pebbles and sea-weed of an Aegean shore: from the deep blue and total transparency of the aether." From Odysseus Elytis' speech at the Nobel Banquet City Hall, Stockholm, December 10, 1979 This is my Sunday read, a luminous little book containing a beautiful poets beautiful words. He believed that poetry should permit the breath of Immortality. Blessed is the air it breeds. ―Patti Smith Poet and songwriter @thisispattismith
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en
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Aiora Press
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https://www.aiorabooks.com/product/in-the-name-of-luminosity-and-transparency/
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ODYSSEUS ELYTIS
1979 NOBEL PRIZE FOR LITERATURE
With an Introduction by Dimitris Daskalopoulos
The poetry of Odysseus Elytis owes as much to the ancients and Byzantium, as to the surrealists of the 1930s and the architecture of the Cyclades, bringing romantic modernism and structural experimentation to Greece. Collected here are the two speeches Elytis gave on his acceptance of the 1979 Nobel Prize for Literature, which are still strikingly relevant today. He addresses a hypertrophic and atrophic Europe in moral chaos, with as many coexisting values as languages-and to this he offers the “common language” that is found in poetry, in art, and in their base materials of sense, aesthetic, intuition. Ultimately, his is a powerful ode to beauty amid utilitarianism, and the need for poetry as “the art of approaching that which surpasses us” and “puts us at the threshold of the deepest truth”.
“And, lo and behold, here I am today in Stockholm, my only treasure a few Greek words. Humble words but alive, because they are on the lips of a whole people. They are three thousand years old, but as fresh as if just drawn from the sea, from the pebbles and sea-weed of an Aegean shore: from the deep blue and total transparency of the aether.”
From Odysseus Elytis’ speech at the Nobel Banquet
City Hall, Stockholm, December 10, 1979
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correct_award_00067
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FactBench
|
3
| 93
|
https://stylianis.wordpress.com/2014/07/16/axion-esti-worthy-it-is-nobel-prize-for-literature-1979-odysseas-elytis/
|
en
|
Axion Esti (Worthy, It Is) | Nobel Prize for Literature 1979 | Odysseas Elytis
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2014-07-16T00:00:00
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Read part of the poem, and information about Odysseas Elytis, here Part of the poem As Odysseas Elytis said in his address to the Swedish Academy on receiving the Nobel Prize for Literature: "Apart from the physical side of objects and the ability to perceive them in their every material detail, there is also the…
|
en
|
ΡΟ Π ΤΡ Ο Ν
|
https://stylianis.wordpress.com/2014/07/16/axion-esti-worthy-it-is-nobel-prize-for-literature-1979-odysseas-elytis/
|
Read part of the poem, and information about Odysseas Elytis, here
Part of the poem
As Odysseas Elytis said in his address to the Swedish Academy on receiving the Nobel Prize for Literature:
“Apart from the physical side of objects and the ability to perceive them in their every material detail, there is also the metaphorical ability to grasp their essence and bring them to such clarity that their metaphysical significance will also be revealed”. In Axion Esti, a major poem by any standards, these ideas are materialized poetically.”
Odysseus Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy of Letters had in recent years bestowed the honor upon other previously little-known writers—among them Eugenio Montale, Vicente Aleixandre, and Harry Martison—their choice of Elytis came as a surprise nonetheless. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness. . . . [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
The poem dressed in music by Mikis Theodorakis:
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correct_award_00067
|
FactBench
|
0
| 91
|
https://thecradlemagazine.com/odysseus-elytis-1911-1996/
|
en
|
Odysseus Elytis (1911–1996)
|
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2021-04-17T21:12:41+00:00
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Odysseus Elytis (1911–1996) Natasa Dinic
|
en
|
https://thecradlemagazine.com/odysseus-elytis-1911-1996/
|
Odysseus Elytis (November 2, 1911 – March 18, 1996) was a Greek poet, essayist and translator, regarded as a major exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century, with his Axion Esti “regarded as a monument of contemporary poetry”. In 1979, he was awarded the Nobel Prize in Literature.
Odysseus Elytis was born in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy of Letters had bestowed the honor upon other previously little-known writers – among them Eugenio Montale, Vicente Aleixandre, and Harry Martison – their choice of Elytis came as a surprise nonetheless. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness … [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition. Elytis later explained the motivations behind his embracing of the French ideals: “Many facets of surrealism I cannot accept, such as its paradoxical side, its championing of automatic writing; but after all, it was the only school of poetry – and, I believe, the last in Europe – which aimed at spiritual health and reacted against the rationalist currents which had filled most Western minds. Since surrealism had destroyed this rationalism like a hurricane, it had cleared the ground in front of us, enabling us to link ourselves physiologically with our soil and to regard Greek reality without the prejudices that have reigned since the Renaissance.”
Thus, Elytis adapted only selected principles of surrealism to his Greek reality. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.” In a review of a later work, O ilios o iliatoras (1971, translated as The Sovereign Sun, 1974), a writer for the Virginia Quarterly Review echoed Keeley’s eloquent praise: “An intuitive poet, who rejects pessimism and engages in his surrealistic images the harsh realities of life, Elytis is a voice of hope and naked vigor. There is light and warmth, an awakening to self, body, and spirit, in Elytis.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong. I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.”
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
Elytis’s To axion esti (1959, translated as Worthy It Is, 1974), came after a period of more than 10 years of silence. Widely held to be his chef d’oeuvre, it is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. Keeley, the translator of the volume into English, suggested that To axion esti “can perhaps be taken best as a kind of spiritual autobiography that attempts to dramatize the national and philosophical extensions of the poet’s personal sensibility. Elytis’s strategy in this work … is to present an image of the contemporary Greek consciousness through the developing of a persona that is at once the poet himself and the voice of his country.”
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. When Maria Nefeli was first published in 1978, it met with a curious, yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti, so they [approached] Maria Nefeli with cautious hesitation as an experimental and not-so-attractive creation of rather ephemeral value.”
The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet … not directly actual events,” he once stated, Maria Nefeli was based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis’s poem had changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis’s youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blase representative of today’s young woman … This urban Nefeli is the offspring, not the sibling, of the women of Elytis’s youth. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
The poem consists of the juxtaposed statements of Maria Nefeli, who represents the ideals of today’s emerging woman, and Antifonitis, or the Responder, who stands for more traditional views. Through Maria, the Responder is confronted with issues which, though he would like to ignore them, he is forced to come to terms with. Rather than flat, lifeless characters who expound stale and stereotyped maxims, however, “both are sophisticated and complex urbanites who express themselves in a wide range of styles, moods, idioms and stanzaic forms,” maintained Raizis.
Despite the initial reservations voiced by some critics, Maria Nefeli came to be regarded as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Robert Shannan Peckham in the Times Literary Supplement noted that Elytis’s reputation as a major poet was ensured when he received the Nobel Prize for Literature in 1979. Elytis, though, was also a prolific essayist, writing a variety of nonfiction criticism translated and collected in Carte Blanche: Selected Writings in 2000. Peckham argued that the essays need to read “as an extension of the poetry, exuberantly lyrical and self-consciously metaphysical … The essays cohere through an associative, poetic logic, rather than developing any sustained critical argument.” Peckham concluded that the collection would not “secure Elytis a place among the outstanding essayists of the twentieth century,” but praised the translation by David Connolly.
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.”
Elytis died in Athens, Greece on March 18, 1996.
Poetry
– Orientations (Προσανατολισμοί, 1939)
– Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
– An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
– To Axion Esti – It Is Worthy (Το Άξιον Εστί, 1959)
– Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
– The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
– The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
– The Trills of Love (Τα Ρω του Έρωτα, 1973)
– The Monogram (Το Μονόγραμμα, 1972)
– Step-Poems (Τα Ετεροθαλή, 1974)
– Signalbook (Σηματολόγιον, 1977)
– Maria Nefeli (Μαρία Νεφέλη, 1978)
– Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
– Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984) Krinagoras (Κριναγόρας, 1987)
– The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
– The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
– West of Sadness (Δυτικά της λύπης, 1995)
– Eros, Eros, Eros: Selected and Last Poems (Copper Canyon Press, 1998) (translated by Olga Broumas)
Prose, essays
– The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
– 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
– (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
– The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
– The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
– Report to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
– Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
– Private Way (Ιδιωτική Οδός, 1990)
– Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
– The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
– Open Papers: Selected Essays (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
Art books
– The Room with the Pictures (Το δωμάτιο με τις εικόνες, 1986) – collages by Odysseus Elytis, text by Evgenios Aranitsis
Translations
– Second Writing (Δεύτερη γραφή, 1976)
– Sappho (Σαπφώ)
– The Apocalypse (by John) (Η αποκάλυψη, 1985)
Translations of Elytis’ work
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Odysseus Elytis | Nobel Prize, Modern Greek Poetry & Mediterranean Landscapes
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Odysseus Elytis was a Greek poet and winner of the 1979 Nobel Prize for Literature. Born the scion of a prosperous family from Lesbos, he abandoned the family name as a young man in order to dissociate his writing from the family soap business. Elytis studied law at Athens University. Intrigued by
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Encyclopedia Britannica
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https://www.britannica.com/biography/Odysseus-Elytis
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Odysseus Elytis (born Nov. 2, 1911, Iráklion, Crete [now in Greece]—died March 18, 1996, Athens, Greece) was a Greek poet and winner of the 1979 Nobel Prize for Literature.
Born the scion of a prosperous family from Lesbos, he abandoned the family name as a young man in order to dissociate his writing from the family soap business. Elytis studied law at Athens University. Intrigued by French Surrealism, and particularly by the poet Paul Éluard, he began publishing verse in the 1930s, notably in Nea grammata. This magazine was a prime vehicle for the “Generation of the ’30s,” an influential school that included George Seferis, who in 1963 became the first Greek Nobel laureate for literature. Elytis’ earliest poems exhibited a strong individuality of tone and setting within the Surrealist mode. The volume Prosanatolismoi (Orientations), published in 1940, is a collection of his works to that date.
Britannica Quiz
Famous Poets and Poetic Form
When Nazi Germany occupied Greece in 1941, Elytis fought against the Italians in Albania. He became something of a bard among young Greeks; one of his poems, Asma hērōiko kai penthimo gia ton chameno anthypolochago tēs Alvanias (1945; “Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign”), became an anthem to the cause of freedom. During and after the Greek Civil War, he lapsed into literary silence for almost 15 years, returning to print in 1959 with To Axion Esti (“Worthy It Is”; Eng. trans. The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize.
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http://www.greek-islands.us/greek-people/elytis/
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Elytis wan Noble prize for Literature in 1979
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Odysseus Elytis, Greek nobelist poet, is one of the famous people of Greece, I have added to my guide. Coming from Lesvos but born in Crete. In Elytis poems Greek islands are praised...
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Odysseas Elytis
Odysseas Elytis was a Greek poet, born in Heraklio city of Crete in 1911.
Elytis is one of the most important representatives of modernism in Greece and was awarded with the Nobel Prize for Literature in 1979.
Elytis is a descendant of the old Alepoudelis family from the island of Lesvos, but he has always used the pseudonym Elytis. His work as a poet started in 1935 with the publication of his first poem at a literature magazine.
His first collection of poems, Orientations, was published during the Second World War, in 1940. Himself Elytis was appointed Second Lieutenant and was for a short on the first-line of the battlefields. The war did not stop his artistic work and he continued publishing poetry anthologies and essays during and after the German Occupation and the Civil War than followed. Meanwhile Odysseas Elytis had various prominent jobs, such as President of the Administrative Council of the Greek Radio and Television.
Elytis also traveled a lot, and has even settled in Paris during the years 1948-1952 and 1969-1972 he settled in Paris. There he got in touch with the world's avant-garde, such as Reverdy, Breton, Matisse, Ungaretti, Picasso, Chagall and others.
The poetry of Elytis is characterized by his personal special style and spectrum. Unlike other poets, the fourty years of his active presence at the Greek Literature scene, Elitis has devoted his works to Hellenism ( from the ancient greek, the Byzantine up to the modern). Greece and its sceneries, especially those of the Greek islands has been frequently the inspiration and main concept of his poems. Worthy It is is the work that brought international recognition to this Greek poet. Mikis Theodorakis has set to music this work of Elytis and spread it along all Greeks.
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https://www.nobelprize.org/prizes/literature/1979/elytis/lecture/
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Odysseus Elytis – Nobel Lecture
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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https://www.nobelprize.org/prizes/literature/1979/elytis/lecture/
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Odysseus Elytis
Nobel Lecture
Nobel Lecture, December 8, 1979
(Translation)
May I be permitted, I ask you, to speak in the name of luminosity and transparency. The space I have lived in and where I have been able to fulfill myself is defined by these two states. States that I have also perceived as being identified in me with the need to express myself.
It is good, it is right that a contribution be made to art, from that which is assigned to each individual by his personal experience and the virtues of his language. Even more so, since the times are dismal and we should have the widest possible view of things.
I am not speaking of the common and natural capacity of perceiving objects in all their detail, but of the power of the metaphor to only retain their essence, and to bring them to such a state of purity that their metaphysical significance appears like a revelation.
I am thinking here of the manner in which the sculptors of the Cycladic period used their material, to the point of carrying it beyond itself. I am also thinking of the Byzantine icon painters, who succeeded, only by using pure color, to suggest the “divine”.
It is just such an intervention in the real, both penetrating and metamorphosing, which has always been, it seems to me, the lofty vocation of poetry. Not limiting itself to what is, but stretching itself to what can be. It is true that this step has not always been received with respect. Perhaps the collective neuroses did not permit it. Or perhaps because utilitarianism did not authorize men to keep their eyes open as much as was necessary.
Beauty, Light, it happens that people regard them as obsolete, as insignificant. And yet! The inner step required by the approach of the Angel’s form is, in my opinion, infinitely more painful than the other, which gives birth to Demons of all kinds.
Certainly, there is an enigma. Certainly, there is a mystery. But the mystery is not a stage piece turning to account the play of light and shadow only to impress us.
It is what continues to be a mystery, even in bright light. It is only then that it acquires that refulgence that captivates and which we call Beauty. Beauty that is an open path – the only one perhaps – towards that unknown part of ourselves, towards that which surpasses us. There, this could be yet another definition of poetry: the art of approaching that which surpasses us.
Innumerable secret signs, with which the universe is studded and which constitute so many syllables of an unknown language, urge us to compose words, and with words, phrases whose deciphering puts us at the threshold of the deepest truth.
In the final analysis, where is truth? In the erosion and death we see around us, or in this propensity to believe that the world is indestructible and eternal? I know, it is wise to avoid redundancies. The cosmogonic theories that have succeeded each other through the years have not missed using and abusing them. They have clashed among themselves, they have had their moment of glory, then they have been erased.
But the essential has remained. It remains.
The poetry that raises itself when rationalism has laid down its arms, takes its relieving troops to advance into the forbidden zone, thus proving that it is still the less consumed by erosion. It assures, in the purity of its form, the safeguard of those given facts through which life becomes a viable task. Without it and its vigilance, these given facts would be lost in the obscurity of consciousness, just as algae become indistinct in the ocean depths.
That is why we have a great need of transparency. To clearly perceive the knots of this thread running throughout the centuries and aiding us to remain upright on this earth.
These knots, these ties, we see them distinctly, from Heraclitus to Plato and from Plato to Jesus. Having reached us in various forms they tell us the same thing: that it is in the inside of this world that the other world is contained, that it is with the elements of this world that the other world is recombined, the hereafter, that second reality situated above the one where we live unnaturally. It is a question of a reality to which we have a total right, and only our incapacity makes us unworthy of it.
It is not a coincidence that in healthy times, Beauty is identified with Good, and Good with the Sun. To the extent that consciousness purifies itself and is filled with light, its dark portions retract and disappear, leaving empty spaces – just as in the laws of physics – are filled by the elements of the opposite import. Thus what results of this rests on the two aspects, I mean the “here” and the “hereafter”. Did not Heraclitus speak of a harmony of opposed tensions?
It is of no importance whether it is Apollo or Venus, Christ or the Virgin who incarnate and personalize the need we have to see materialized what we experience as an intuition. What is important is the breath of immortality that penetrates us at that moment. In my humble opinion, Poetry should, beyond all doctrinal argumentation, permit this breath.
Here I must refer to Hölderlin, that great poet who looked at the gods of Olympus and Christ in the same manner. The stability he gave a kind of vision continues to be inestimable. And the extent of what he has revealed for us is immense. I would even say it is terrifying. It is what incites us to cry out – at a time when the pain now submerging us was just beginning – : “What good are poets in a time of poverty”. Wozu Dichter in dürftiger Zeit?
For mankind, times were always dürftig, unfortunately. But poetry has never, on the other hand, missed its vocation. These are two facts that will never cease to accompany our earthly destiny, the first serving as the counter-weight to the other. How could it be otherwise? It is through the Sun that the night and the stars are perceptible to us. Yet let us note, with the ancient sage, that if it passes its bounds the Sun becomes “ “. For life to be possible, we have to keep a correct distance to the allegorical Sun, just as our planet does from the natural Sun. We formerly erred through ignorance. We go wrong today through the extent of our knowledge. In saying this I do not wish to join the long list of censors of our technological civilization. Wisdom as old as the country from which I come has taught me to accept evolution, to digest progress “with its bark and its pits”.
But then, what becomes of Poetry? What does it represent in such a society? This is what I reply: poetry is the only place where the power of numbers proves to be nothing. Your decision this year to honor, in my person, the poetry of a small country, reveals the relationship of harmony linking it to the concept of gratuitous art, the only concept that opposes nowadays the all-powerful position acquired by the quantitative esteem of values.
Referring to personal circumstances would be a breach of good manners. Praising my home, still more unsuitable. Nevertheless it is sometimes indispensable, to the extent that such interferences assist in seeing a certain state of things more clearly. This is the case today.
Dear friends, it has been granted to me to write in a language that is spoken only by a few million people. But a language spoken without interruption, with very few differences, throughout more than two thousand five hundred years. This apparently surprising spatial-temporal distance is found in the cultural dimensions of my country. Its spatial area is one of the smallest; but its temporal extension is infinite. If I remind you of this, it is certainly not to derive some kind of pride from it, but to show the difficulties a poet faces when he must make use, to name the things dearest to him, of the same words as did Sappho, for example, or Pindar, while being deprived of the audience they had and which then extended to all of human civilization.
If language were not such a simple means of communication there would not be any problem. But it happens, at times, that it is also an instrument of “magic”. In addition, in the course of centuries, language acquires a certain way of being. It becomes a lofty speech. And this way of being entails obligations.
Let us not forget either that in each of these twenty-five centuries and without any interruption, poetry has been written in Greek. It is this collection of given facts which makes the great weight of tradition that this instrument lifts. Modern Greek poetry gives an expressive image of this.
The sphere formed by this poetry shows, one could say, two poles: at one of these poles is Dionysios Solomos, who, before Mallarmé appeared in European literature, managed to formulate, with the greatest rigor and coherency, the concept of pure poetry: to submit sentiment to intelligence, ennoble expression, mobilize all the possibilities of the linguistic instrument by orienting oneself to the miracle. At the other pole is Cavafy, who like T. S. Eliot reaches, by eliminating all form of turgidity, the extreme limit of concision and the most rigorously exact expression.
Between these two poles, and more or less close to one or the other, our other great poets move: Kostis Palamas, Angelos Sikelianos, Nikos Kazantzakis, George Seferis.
Such is, rapidly and schematically drawn, the picture of neo-Hellenic poetic discourse.
We who have followed have had to take over the lofty precept which has been bequeathed to us and adapt it to contemporary sensibility. Beyond the limits of technique, we have had to reach a synthesis, which, on the one hand, assimilated the elements of Greek tradition and, on the other, the social and psychological requirements of our time.
In other words, we had to grasp today’s European-Greek in all its truth and turn that truth to account. I do not speak of successes, I speak of intentions, efforts. Orientations have their significance in the investigation of literary history.
But how can creation develop freely in these directions when the conditions of life, in our time, annihilate the creator? And how can a cultural community be created when the diversity of languages raises an unsurpassable obstacle? We know you and you know us through the 20 or 30 per cent that remains of a work after translation. This holds even more true for all those of us who, prolonging the furrow traced by Solomos, expect a miracle from discourse and that a spark flies from between two words with the right sound and in the right position.
No. We remain mute, incommunicable.
We are suffering from the absence of a common language. And the consequences of this absence can be seen – I do not believe I am exaggerating – even in the political and social reality of our common homeland, Europe.
We say – and make the observation each day – that we live in a moral chaos. And this at a moment when – as never before – the allocation of that which concerns our material existence is done in the most systematic manner, in an almost military order, with implacable controls. This contradiction is significant. Of two parts of the body, when one is hypertrophic, the other atrophies. A praise-worthy tendency, encouraging the peoples of Europe to unite, is confronted today with the impossibility of harmonization of the atrophied and hypertrophic parts of our civilization. Our values do not constitute a common language.
For the poet – this may appear paradoxical but it is true – the only common language he still can use is his sensations. The manner in which two bodies are attracted to each other and unite has not changed for millennia. In addition, it has not given rise to any conflict, contrary to the scores of ideologies that have bloodied our societies and have left us with empty hands.
When I speak of sensations, I do not mean those, immediately perceptible, on the first or second level. I mean those which carry us to the extreme edge of ourselves. I also mean the “analogies of sensations” that are formed in our spirits.
For all art speaks through analogy. A line, straight or curved, a sound, sharp or low-pitched, translate a certain optical or acoustic contact. We all write good or bad poems to the extent that we live or reason according to the good or bad meaning of the term. An image of the sea, as we find it in Homer, comes to us intact. Rimbaud will say “a sea mixed with sun”. Except he will add: “that is eternity.” A young girl holding a myrtle branch in Archilochus survives in a painting by Matisse. And thus the Mediterranean idea of purity is made more tangible to us. In any case, is the image of a virgin in Byzantine iconography so different from that of her secular sisters? Very little is needed for the light of this world to be transformed into supernatural clarity, and inversely. One sensation inherited from the Ancients and another bequeathed by the Middle Ages give birth to a third, one that resembles them both, as a child does its parents. Can poetry survive such a path? Can sensations, at the end of this incessant purification process, reach a state of sanctity? They will return then, as analogies, to graft themselves on the material world and to act on it.
It is not enough to put our dreams into verse. It is too little. It is not enough to politicize our speech. It is too much. The material world is really only an accumulation of materials. It is for us to show ourselves to be good or bad architects, to build Paradise or Hell. This is what poetry never ceases affirming to us – and particularly in these dürftiger times – just this: that in spite of everything our destiny lies in our hands.
I have often tried to speak of solar metaphysics. I will not try today to analyse how art is implicated in such a conception. I will keep to one single and simple fact: the language of the Greeks, like a magic instrument, has – as a reality or a symbol – intimate relations with the Sun. And that Sun does not only inspire a certain attitude of life, and hence the primeval sense to the poem. It penetrates the composition, the structure, and – to use a current terminology – the nucleus from which is composed the cell we call the poem.
It would be a mistake to believe that it is a question of a return to the notion of pure form. The sense of form, as the West has bequeathed it to us, is a constant attainment, represented by three or four models. Three or four moulds, one could say, where it was suitable to pour the most anomalous material at any price. Today that is no longer conceivable. I was one of the first in Greece to break those ties.
What interested me, obscurely at the beginning, then more and more consciously, was the edification of that material according to an architectural model that varied each time. To understand this there is no need to refer to the wisdom of the Ancients who conceived the Parthenons. It is enough to evoke the humble builders of our houses and of our chapels in the Cyclades, finding on each occasion the best solution. Their solutions. Practical and beautiful at the same time, so that in seeing them Le Corbusier could only admire and bow.
Perhaps it is this instinct that woke in me when, for the first time, I had to face a great composition like “Axion Esti.” I understood then that without giving the work the proportions and perspective of an edifice, it would never reach the solidity I wished.
I followed the example of Pindar or of the Byzantine Romanos Melodos who, in each of their odes or canticles, invented a new mode for each occasion. I saw that the determined repetition, at intervals, of certain elements of versification effectively gave to my work that multifaceted and symmetrical substance which was my plan.
But then is it not true that the poem, thus surrounded by elements that gravitate around it, is transformed into a little Sun? This perfect correspondence, which I thus find obtained with the intended contents, is, I believe, the poet’s most lofty ideal.
To hold the Sun in one’s hands without being burned, to transmit it like a torch to those following, is a painful act but, I believe, a blessed one. We have need of it. One day the dogmas that hold men in chains will be dissolved before a consciousness so inundated with light that it will be one with the Sun, and it will arrive on those ideal shores of human dignity and liberty.
From Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993
Copyright © The Nobel Foundation 1979
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https://www.nobelprize.org/prizes/literature/1979/summary/
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The Nobel Prize in Literature 1979
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/summary/
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
To cite this section
MLA style: The Nobel Prize in Literature 1979. NobelPrize.org. Nobel Prize Outreach AB 2024. Mon. 22 Jul 2024. <https://www.nobelprize.org/prizes/literature/1979/summary/>
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Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
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https://waterbloggedbooks.wordpress.com/2017/06/09/sailing-the-aegean-with-odysseas-elytis/
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Sailing the Aegean with Odysseas Elytis
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2017-06-09T00:00:00
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Of the Aegean The poem below - published in 1939 - marks the beginning of a long poetic career. Given that this was the beginning, does it come as a surprise that the poet won the Nobel-Prize in literature? Of the Aegean Eros The archipelago And the prow of its foams And the gull of…
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https://secure.gravatar.com/blavatar/7c4f391fa37862e460778600d49234ff493279e32bd5c26f1526c68fc86d7458?s=32
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Waterblogged
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https://waterbloggedbooks.wordpress.com/2017/06/09/sailing-the-aegean-with-odysseas-elytis/
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Of the Aegean
The poem below – published in 1939 – marks the beginning of a long poetic career. Given that this was the beginning, does it come as a surprise that the poet won the Nobel-Prize in literature?
Of the Aegean
Eros
The archipelago
And the prow of its foams
And the gull of its dreams
On its highest mast the sailor waves
A song
Eros
Its song
And the horizons of its voyage
And the echo of its nostalgia
On her wettest rock the betrothed awaits
A ship
Eros
Its ship
And the nonchalance of its summer winds
And the jib of its hope
On its highest undulation an island cradles
The coming
Odysseas Elytis
(transl. Jeffrey Carson)
Του Αιγαίου
Ο έρωτας
Το αρχιπέλαγος
Κι η πρώρα των αφρών του
Κι οι γλάροι των ονείρων του
Στο πιο ψηλό κατάρτι του ο ναύτης ανεμίζει
Ένα τραγούδι
Ο έρωτας
Το τραγούδι του
Κι οι ορίζοντες του ταξιδιού του
Κι η ηχώ της νοσταλγίας του
Στον πιο βρεμένο βράχο της η αρραβωνιαστικιά προσμένει
Ένα καράβι
Ο έρωτας
Το καράβι του
Κι η αμεριμνησία των μελτεμιών του
Κι ο φλόκος της ελπίδας του
Στον πιο ελαφρό κυματισμό του ένα νησί λικνίζει
Τον ερχομό
Οδυσσέας Ελύτης
If you know the poem, then you realised that the lines above merely constitute the first part – the rest will follow below (unfortunately I couldn’t find the Greek original of the other two parts.)
But personally I like to pause at the end of the first part. Literature – art – is always a very personal experience and of all forms of literature poetry is perhaps the most personal: I like my poems short, vivid in their imagery and suggestive, rather than prescriptive, in their meaning – leaving space for the imagination. To me parts II and III merely develop a theme that has already been perfectly formed and therefore cannot possibly be improved upon. What do you think?
II
The playing waters
In shady passages
Speak the dawn with their kisses
Which begins
Horizon—
And the wild doves vibrate
A sound in their cave
Blue waking in the fount
Of day
Sun—
The northwester gives the sail
To the sea
Caresses of hair
To the carefreeness of its dream
Dew—
Wave in the light
Again gives birth to the eyes
Where Life sails toward
Far-seeing
Life—
III
Sea surf kiss on its caressed sand—Eros
The gull gives the horizon
Its blue liberty
Waves go come
Foaming answering in the ears of shells
Who took the blond sunburnt girl?
The sea breeze with its transparent blowing
Tilts the sail of dream
Far out
Eros murmurs its promise—Sea surf.
Poetry in Translation – A Game of Chinese Whispers
Considering Elytis won the Nobel Prize for literature in 1979, he seems to be very little known. (Or maybe I’m just moving in the wrong circles.)
Perhaps it’s because we have to read him in translation; poets always seem to have a harder time to become internationally famous than writers. In his Nobel Lecture, Elytis said:
…you know us through the 20 or 30 per cent that remains of a work after translation.
Poetry is as much about sound and rhythm as about meaning; it’s impossible to render a poem perfectly in translation. Not only that, but there is always going to be a translator between you and the poet. Instead of engaging directly with the poet via his poem, you’re participating in a game of Chinese whispers. Carson’s translation reads very well to me (although personally I wouldn’t have substituted Eros for love in the first line of each verse). In this case I’m lucky that I can, just about, read sufficient Greek to be able to appreciate some of the cadence of Elytis’s original lines; I wish I could read more.
Sailing the Aegean with Odysseas Elytis
Elytis is a ‘very Greek’ poet, if you can say such a thing. Jeffrey Carson, the translator responsible for the collected poems of Elytis – the first such collection, predating even a Greek one – wrote in his introduction that,
… it is the Aegean world that provides Elytis with his images.
He was writing about part I of Of the Aegean but it’s a fair description of Elytis’s poetry in general. Elytis has a clearly recognisable style, with very vivid images of Greece that arrest you. It’s the kind of poetry that you can turn to when you’re feeling sad; with its affirmation of life, love, its images of the sea and the sun, its evocations of more than three thousand years of history. It’s difficult not to like Elytis’s poetry if you love Greece.
Still talking about part I of Of the Aegean, Carson went on to say:
This maiden strophe closes with an image of a sea-voyaging sailor singing to the wind and waves: it is Elytis proclaiming his life’s course, a course he was still proclaiming in the last book he brought out, written in his eighties.
I like the idea of life as a sea voyage – especially through the Greek archipelago – and the notion that Elytis spent a lifetime turning this into poetry sounds good to me. I need to read more of his poetry – I’d love to lay my hands on a bilingual version of his collected poems and sail the Aegean alongside him.
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https://allpoetry.com/Odysseas-Elytis
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Poems by the Famous Poet
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Poems by Odysseas Elytis. Won the Nobel prize for literature in 1979.
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I know that all this is worthless and that the language
I speak doesn't have an alphabet
Since the sun and the waves are a syllabic script
which can be deciphered only in the years of sorrow and exile
And the motherland a fresco with successive overlays
frankish or slavic which, should you try to restore,
you are immediately sent to prison and
held responsible
To a crowd of foreign Powers always through
the intervention of your own
As it happens for the disasters
But let's imagine that in an old days' threshing-floor
which might be in an apartment-complex children
are playing and whoever loses
Should, according to the rules, tell the others
and give them a truth
Then everyone ends up holding in his
hand a small
Gift, silver poem.
© by owner. provided at no charge for educational purposes
I know the night no longer, the terrible anonymity of death
A fleet of stars moors in the haven of my heart
O Hesperos, sentinel, that you may shine by the side
Of a skyblue breeze on an island which dreams
Of me anouncing the dawn from its rocky heights
My twin eyes set you sailing embraced
With my true heart's star: I know the night no longer
I know the names no longer of a world which disavows me
I read seashells, leaves, and the stars clearly
My hatred is superfluous on the roads of the sky
Unless it is the dream which watches me again
As I walked by the sea of immortality in tears
O Hesperos, under the arc of your golden fire
I know the night no longer that is a night only.
© by owner. provided at no charge for educational purposes
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https://www.nobelprize.org/prizes/literature/1979/ceremony-speech/
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Award ceremony speech
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/ceremony-speech/
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Presentation Speech by Doctor Karl Ragnar Gierow, of the Swedish Academy.
Translation from the Swedish text
Your Majesties, Your Royal Highnesses, Ladies and Gentlemen,
When Giorgos Seferis, compatriot of this year’s Nobel prizewinner in literature, came here in 1963 to receive the same award, he presented at the airport a bunch of hyacinths each to the then Secretary of the Swedish Academy and to its officiating director that winter as a greeting to their respective wives. He had picked them himself on Hymettus, the mountain a few miles east of Athens where Aphrodite had her miraculous spring and where, ever since antiquity, hyacinths grow wild in a profusion which makes the whole mountain smell of honey.
The episode comes naturally to mind now that we have the pleasure of welcoming Odysseus Elytis, the Greek writer who in his youth made his name with the collection The Concert of Hyacinths, in which he calls to his beloved: “Take with you the light of hyacinths and baptize it in the wellspring of day” and assures her that “when you glitter in the sun that on you glides waterdrops, and deathless hyacinths, and silences, I proclaim you the only reality.”
But there is a more immediate reason today to think of the chivalrous gesture in the inhospitable sleet of the airport. The hyacinths Seferis gave us were not at all like those we are accustomed to see. And, freshly picked as they were, they became symbols not only of the climatic difference between the giver’s sunny south and our snowy north. If Odysseus Elytis, the author of The Concert of Hyacinths, had wished to use that flower as one of the analogies between environment and perception that are an essential part of his cultural outlook, he could have said that our potplants are a west-European rationalization of something which in his country grows wild, thereby acquiring its everlasting beauty. To this beauty he has devoted most of what he has written, and a recurrent theme is the prevalent west-European misconception of all that goes to make up the distinctive world of ideas whose legitimate heir he is.
He has arrived at his critical view of our all too rationalistic picture of Greece, which he traces back to the Renaissance’s ideal of antiquity, by his own familiarity with western Europe’s poetry, art and way of thinking. It may seem like a paradox – one which he himself has pointed out-that it was this western Europe, branded by him for its sterile rationalism, which gave Elytis the impulse that all at once set free his own writing: surrealism, which cannot be said to exaggerate reason.
The paradox is, if not apparent, at any rate not entirely unusual. Like a rebellious pulse of exuberant life surrealism broke through the hardened arteries of calcified forms. Outside France too poetry was dominated by a school which called itself “Les Parnassiens” but which never reached even the foot of Parnassus, if we share Elytis’s view of what Greece has been and still is. But also on the Greek Parnassus of that time sat the same connoisseurs of degeneration who, in ornate words, declared their pessimistic conviction that nothing in this world was worth anything except their ability to express perfectly this very thought. If such an atmosphere is to be called captivating, surrealism came as a liberation, a religious revival, even if the sign of the saved here and there was a mere speaking with tongues.
But much of the best that happens when an art form is rejuvenated is not the result of a definite program but the fruit of an unforeseen cross. For Greek poetry the contact with surrealism meant a flowering which allows us to call the last fifty years Hellas’s second highwater mark. In none of the numerous important poets who have created this age of greatness can we see more clearly than in Elytis what this vigorous cross signified: the exciting meeting between epoch-making modernism and inherited myth.
A cursory presentation of a poet hard to understand should, then, first establish his relationship to these two components – surrealism and myth. The task is not as easy as it looks. We have his own word for it: “I considered surrealism,” he says on the one hand, “as the last available oxygen in a dying world, dying, at least, in Europe.” On the other hand he states definitely: “I never was a disciple of the surrealist school.” Nor was he. Elytis will have nothing to do with its fundamental poetry, the automatic writing with its unchecked torrent of chance associations. His explorations in poetry’s means of expression lead him to surrealism’s antipodes. Even if its violent display of unproven combinations released his own writing, he is a man of strict form, the master of deliberate creation.
Read his To Axion Estí, by many regarded as his most representative work. With its painstaking composition and stately rhetoric it leaves not one syllable to chance. Or take his love poem Monogram, with its ingenious mathematical basis; it has few counterparts in the literature we know. It comprises seven songs, each with seven lines or multiples of seven in a rising scale 7-2 l-35 up to the middle song’s culmination of 49, where the poem turns round and descends the staircase with exactly the same number of lines, 35-21 – down to the final song’s 7, the starting point. This is nothing that need worry the poem’s readers; it has its beauty without our having to count its steps. But poetry with this structure like an Euclidean linear drawing does not take after surrealism’s écriture automatique.
Elytis’s relationship to the other component, to Greek myth, also calls for clarification. We are used to seeing Greece’s treasure of myths melted down and remoulded to contemporary west-European patterns. We have an Antigone à la Racine, an Antigone à la Anouilh and we shall have more. For Elytis such treatment is odious, a rationalistic pot-cultivation of wildflowers. He himself writes no Antigone à la Breton. He imitates no myths at all and attacks those compatriots who do. In this world of ideas he also has his share of responsibility, though his writing is a repetition not of ancient tales from the Greek past but of the way in which myths are produced.
He sees his Greece with its glorious traditions, its mountains whose peaks with their very names remind us how high the human spirit has attained, and its waters the Aegean Sea, Elytis’s home, whose waves for thousands of years have washed ashore the riches that the West has been able to gather in and pride itself on. For him this Greece is still a living, ever-active myth, and he depicts it just as the old mythmakers did, by personifying it and giving it human form. It lends a sensuous nearness to his visions, and the myth that is the creed of his poetry is incarnated by beautiful young people in an enchanting landscape who love life and each other in dazzling sunshine where the waves break on the shore.
We can call this an optimistic idealization and, despite the concreteness, a flight from the present moment and reality. Elytis’s very language, ritually solemn, is constantly striving to get away from everyday life with its pettiness. The idealization explains both the rapture and the criticism that his poetry has aroused. Elytis himself has given his view of the matter, point by point. Greek as a language, he says, opposes a pessimistic description of life, and for la poésie maudite it has no expressions. For west- Europeans all mysticism is associated with the darkness and the night, but for the Greeks light is the great mystery and every radiant day its recurrent miracle. The sun, the sea and love are the basic and purifying elements.
Those who maintain that all true poetry must be a reflection of its age and a political act he can refer to his harrowing poem about the second lieutenant who fell in the Albanian war. Elytis, himself a second lieutenant, chanced to be one of the two officers who opened the secret order of general mobilization. He took part at the front in the passionate and hopeless fight against Mussolini’s crushing superiority, and his lament over the fallen brother-in-arms, who personifies Greece’s never-completed struggle for existence, is committed poetry in a much more literal and harsher sense than that familiar to those who usually clamour for literature’s commitment.
Elytis’s conclusions from his participation were of a different nature. The poet, he says, does not necessarily have to express his time. He can also heroically defy it. His calling is not to jot down items about our daily life with its social and political situations and private griefs. On the contrary, his only way leads “from what is to what may be”. In its essence, therefore, Elytis’s poetry is not logically clear as we see it but derives its light from the limpidity of the present moment against a perspective behind it. His myth has its roots by the Aegean Sea, which was his cradle, but the myth is about humanity, drawing its nourishment not from a vanished golden age but from one which can never be realized. It is pointless to call this either optimism or pessimism. For, if I have understood him aright, only our future is worth bearing in mind and the unattainable alone is worth striving for.
Cher Maitre,
Malheureusement, mais sans doute au soulagement de l’auditoire, je ne parle pas votre langue. Pour employer la locution anglaise spécifique à quelque chose d’etrange: “It’s Greek to me”. Mais votre poésie n’est certainement pas étrangère, portée par la mer, qui est en même temps la mere de la civilisation européenne. Dans cette descendance nous mettons notre gloire, et, par consequent, il faut que je contredise votre diagnostic de notre état deplorable. Ce dont nous sommes atteints, ce n’est pas du tout d’un excès de rationalisme. Au contraire, la maladie de l’Europe occidentale c’est justement que le rationalisme est rationné. Et le peu que nous en détenons encore, ce ne sont pas les devoirs que nous ont donnés à apprendre nos philosophes de la renaissance. La sagesse claire et la logique pure de Platon et d’Aristote, peut-être aussi de Protagoras, de Gorgias et de Socrate lui-même, voilà les racines du rationalisme, dont nous ne voyons aujourd’hui que les épaves pitoyables.
Néanmoins Socrate, quand la raison ne lui donnait pas de gouverne, a écouté la voix de son daimon, et, cher maître, c’est avec une admiration très profonde que nous avons écouté se faire entendre en votre poésie la même voix de mystère, le daimonde votre pays.
J’ai grand plaisir à vous transmettre les felicitations les plus cordiales de l’Académie suédoise et à vous demander de recevoir des mains de Sa Majesté le Roi le Prix Nobel de litérature de cette année.
From Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993
Copyright © The Nobel Foundation 1979
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| 33
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https://www.nobelprize.org/prizes/literature/1979/ceremony-speech/
|
en
|
Award ceremony speech
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/ceremony-speech/
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Presentation Speech by Doctor Karl Ragnar Gierow, of the Swedish Academy.
Translation from the Swedish text
Your Majesties, Your Royal Highnesses, Ladies and Gentlemen,
When Giorgos Seferis, compatriot of this year’s Nobel prizewinner in literature, came here in 1963 to receive the same award, he presented at the airport a bunch of hyacinths each to the then Secretary of the Swedish Academy and to its officiating director that winter as a greeting to their respective wives. He had picked them himself on Hymettus, the mountain a few miles east of Athens where Aphrodite had her miraculous spring and where, ever since antiquity, hyacinths grow wild in a profusion which makes the whole mountain smell of honey.
The episode comes naturally to mind now that we have the pleasure of welcoming Odysseus Elytis, the Greek writer who in his youth made his name with the collection The Concert of Hyacinths, in which he calls to his beloved: “Take with you the light of hyacinths and baptize it in the wellspring of day” and assures her that “when you glitter in the sun that on you glides waterdrops, and deathless hyacinths, and silences, I proclaim you the only reality.”
But there is a more immediate reason today to think of the chivalrous gesture in the inhospitable sleet of the airport. The hyacinths Seferis gave us were not at all like those we are accustomed to see. And, freshly picked as they were, they became symbols not only of the climatic difference between the giver’s sunny south and our snowy north. If Odysseus Elytis, the author of The Concert of Hyacinths, had wished to use that flower as one of the analogies between environment and perception that are an essential part of his cultural outlook, he could have said that our potplants are a west-European rationalization of something which in his country grows wild, thereby acquiring its everlasting beauty. To this beauty he has devoted most of what he has written, and a recurrent theme is the prevalent west-European misconception of all that goes to make up the distinctive world of ideas whose legitimate heir he is.
He has arrived at his critical view of our all too rationalistic picture of Greece, which he traces back to the Renaissance’s ideal of antiquity, by his own familiarity with western Europe’s poetry, art and way of thinking. It may seem like a paradox – one which he himself has pointed out-that it was this western Europe, branded by him for its sterile rationalism, which gave Elytis the impulse that all at once set free his own writing: surrealism, which cannot be said to exaggerate reason.
The paradox is, if not apparent, at any rate not entirely unusual. Like a rebellious pulse of exuberant life surrealism broke through the hardened arteries of calcified forms. Outside France too poetry was dominated by a school which called itself “Les Parnassiens” but which never reached even the foot of Parnassus, if we share Elytis’s view of what Greece has been and still is. But also on the Greek Parnassus of that time sat the same connoisseurs of degeneration who, in ornate words, declared their pessimistic conviction that nothing in this world was worth anything except their ability to express perfectly this very thought. If such an atmosphere is to be called captivating, surrealism came as a liberation, a religious revival, even if the sign of the saved here and there was a mere speaking with tongues.
But much of the best that happens when an art form is rejuvenated is not the result of a definite program but the fruit of an unforeseen cross. For Greek poetry the contact with surrealism meant a flowering which allows us to call the last fifty years Hellas’s second highwater mark. In none of the numerous important poets who have created this age of greatness can we see more clearly than in Elytis what this vigorous cross signified: the exciting meeting between epoch-making modernism and inherited myth.
A cursory presentation of a poet hard to understand should, then, first establish his relationship to these two components – surrealism and myth. The task is not as easy as it looks. We have his own word for it: “I considered surrealism,” he says on the one hand, “as the last available oxygen in a dying world, dying, at least, in Europe.” On the other hand he states definitely: “I never was a disciple of the surrealist school.” Nor was he. Elytis will have nothing to do with its fundamental poetry, the automatic writing with its unchecked torrent of chance associations. His explorations in poetry’s means of expression lead him to surrealism’s antipodes. Even if its violent display of unproven combinations released his own writing, he is a man of strict form, the master of deliberate creation.
Read his To Axion Estí, by many regarded as his most representative work. With its painstaking composition and stately rhetoric it leaves not one syllable to chance. Or take his love poem Monogram, with its ingenious mathematical basis; it has few counterparts in the literature we know. It comprises seven songs, each with seven lines or multiples of seven in a rising scale 7-2 l-35 up to the middle song’s culmination of 49, where the poem turns round and descends the staircase with exactly the same number of lines, 35-21 – down to the final song’s 7, the starting point. This is nothing that need worry the poem’s readers; it has its beauty without our having to count its steps. But poetry with this structure like an Euclidean linear drawing does not take after surrealism’s écriture automatique.
Elytis’s relationship to the other component, to Greek myth, also calls for clarification. We are used to seeing Greece’s treasure of myths melted down and remoulded to contemporary west-European patterns. We have an Antigone à la Racine, an Antigone à la Anouilh and we shall have more. For Elytis such treatment is odious, a rationalistic pot-cultivation of wildflowers. He himself writes no Antigone à la Breton. He imitates no myths at all and attacks those compatriots who do. In this world of ideas he also has his share of responsibility, though his writing is a repetition not of ancient tales from the Greek past but of the way in which myths are produced.
He sees his Greece with its glorious traditions, its mountains whose peaks with their very names remind us how high the human spirit has attained, and its waters the Aegean Sea, Elytis’s home, whose waves for thousands of years have washed ashore the riches that the West has been able to gather in and pride itself on. For him this Greece is still a living, ever-active myth, and he depicts it just as the old mythmakers did, by personifying it and giving it human form. It lends a sensuous nearness to his visions, and the myth that is the creed of his poetry is incarnated by beautiful young people in an enchanting landscape who love life and each other in dazzling sunshine where the waves break on the shore.
We can call this an optimistic idealization and, despite the concreteness, a flight from the present moment and reality. Elytis’s very language, ritually solemn, is constantly striving to get away from everyday life with its pettiness. The idealization explains both the rapture and the criticism that his poetry has aroused. Elytis himself has given his view of the matter, point by point. Greek as a language, he says, opposes a pessimistic description of life, and for la poésie maudite it has no expressions. For west- Europeans all mysticism is associated with the darkness and the night, but for the Greeks light is the great mystery and every radiant day its recurrent miracle. The sun, the sea and love are the basic and purifying elements.
Those who maintain that all true poetry must be a reflection of its age and a political act he can refer to his harrowing poem about the second lieutenant who fell in the Albanian war. Elytis, himself a second lieutenant, chanced to be one of the two officers who opened the secret order of general mobilization. He took part at the front in the passionate and hopeless fight against Mussolini’s crushing superiority, and his lament over the fallen brother-in-arms, who personifies Greece’s never-completed struggle for existence, is committed poetry in a much more literal and harsher sense than that familiar to those who usually clamour for literature’s commitment.
Elytis’s conclusions from his participation were of a different nature. The poet, he says, does not necessarily have to express his time. He can also heroically defy it. His calling is not to jot down items about our daily life with its social and political situations and private griefs. On the contrary, his only way leads “from what is to what may be”. In its essence, therefore, Elytis’s poetry is not logically clear as we see it but derives its light from the limpidity of the present moment against a perspective behind it. His myth has its roots by the Aegean Sea, which was his cradle, but the myth is about humanity, drawing its nourishment not from a vanished golden age but from one which can never be realized. It is pointless to call this either optimism or pessimism. For, if I have understood him aright, only our future is worth bearing in mind and the unattainable alone is worth striving for.
Cher Maitre,
Malheureusement, mais sans doute au soulagement de l’auditoire, je ne parle pas votre langue. Pour employer la locution anglaise spécifique à quelque chose d’etrange: “It’s Greek to me”. Mais votre poésie n’est certainement pas étrangère, portée par la mer, qui est en même temps la mere de la civilisation européenne. Dans cette descendance nous mettons notre gloire, et, par consequent, il faut que je contredise votre diagnostic de notre état deplorable. Ce dont nous sommes atteints, ce n’est pas du tout d’un excès de rationalisme. Au contraire, la maladie de l’Europe occidentale c’est justement que le rationalisme est rationné. Et le peu que nous en détenons encore, ce ne sont pas les devoirs que nous ont donnés à apprendre nos philosophes de la renaissance. La sagesse claire et la logique pure de Platon et d’Aristote, peut-être aussi de Protagoras, de Gorgias et de Socrate lui-même, voilà les racines du rationalisme, dont nous ne voyons aujourd’hui que les épaves pitoyables.
Néanmoins Socrate, quand la raison ne lui donnait pas de gouverne, a écouté la voix de son daimon, et, cher maître, c’est avec une admiration très profonde que nous avons écouté se faire entendre en votre poésie la même voix de mystère, le daimonde votre pays.
J’ai grand plaisir à vous transmettre les felicitations les plus cordiales de l’Académie suédoise et à vous demander de recevoir des mains de Sa Majesté le Roi le Prix Nobel de litérature de cette année.
From Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993
Copyright © The Nobel Foundation 1979
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FactBench
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1
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https://www.alamy.com/stock-photo/elytis.html
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en
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Find the perfect elytis stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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Alamy
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https://www.alamy.com/stock-photo/elytis.html
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 22/07/2024 Alamy Ltd. All rights reserved.
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correct_award_00067
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FactBench
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3
| 5
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https://en.wikipedia.org/wiki/1979_Nobel_Prize_in_Literature
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en
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1979 Nobel Prize in Literature
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https://en.wikipedia.org/wiki/1979_Nobel_Prize_in_Literature
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Award
Award
1979 Nobel Prize in LiteratureOdysseas ElytisDate
18 October 1979 ( ) (announcement)
10 December 1979
(ceremony)
LocationStockholm, SwedenPresented bySwedish AcademyFirst awarded1901WebsiteOfficial website
← 1978 · Nobel Prize in Literature · 1980 →
The 1979 Nobel Prize in Literature was awarded to the Greek poet Odysseas Elytis (1911–1996) "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness."[1][2] He is the second Greek recipient of the literature prize after another poet Giorgos Seferis in 1963.[3][4]
Laureate[edit]
Main article: Odysseas Elytis
Influences of surrealism meet traditional Greek literature in the poetry of Odysseas Eytis. Most of his poems celebrates light, the sun, his native country's historic ruins, the blue sea, and the rocky terrain of Greece. Elytis' experiences during World War II introduced a darker element and tone into his poetic world. One of his most prominent works is Άξιον Εστί ("It Is Worthy", 1959), in which poetry and prose intermingle as in old Byzantine liturgy. His other significant oeuvres include Έξη και μια τύψεις για τον ουρανό ("Six Plus One Remorses For The Sky", 1960), Ο ήλιος ο ηλιάτορας ("The Sovereign Sun", 1971), Τα Ρω του Έρωτα ("The Trills of Love", 1973).[3][5][6]
References[edit]
[edit]
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https://nordstjernan.com/news/organizations/1710/
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Nordstjernan
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Dr. Alfred Bernhard Nobel
Nobel by name, noble by nature
The last will and testament of Dr. Alfred Bernhard Nobel guaranteed the engineer a permanent place in history and, in the process, gave Sweden arguably the most exclusive brand name on the planet.
"The whole of my remaining realizable estate shall be dealt with in the following way: the capital, invested in safe securities by my executors, shall constitute a fund, the interest on which shall be annually distributed in the form of prizes to those who, during the preceding year, shall have conferred the greatest benefit to mankind."
Oe Kenzaburo receives the Nobel Prize in Literature in 1994, awarded by H.R.H. Carl XVI Gustaf, the King of Sweden. Published in Nordic Reach/Sweden & America, 2001.
Even in his wildest dreams, the author of these words could hardly have realized the impact his bequest would have on the world. Dated November 27, 1895, the last will and testament of Dr. Alfred Bernhard Nobel guaranteed the engineer a permanent place in history and, in the process, gave Sweden arguably the most exclusive brand name on the planet.
This is what the certificate looks like. Odysseas Elytis was awarded the Nobel Prize in Literature in 1974. Published in Nordic Reach/Sweden & America, 2001.
In a society where success is judged predominately in commercial terms, there is thankfully at least one institution standing that still recognizes and rewards the finest human and humane endeavors. Nobel Prize laureates might not receive the same publicity as Olympic champions or Oscar winners, but then again, the Nobel Prize is not about transient achievements. Its founder made clear that he desired his patronage be bestowed only on the extraordinary in fields outside of the realms of popular culture; a small band of people who have helped to define and often change the course of history for the common good. He may have been shooting for the stars, but were he alive today, he would probably be content to see that his wishes largely have been fulfilled.
Each year, the banquet at Stockholm City Hall is the event of the year. Published in Nordic Reach/Sweden & America, 2001.
As the inventor of dynamite and other explosives, Nobel has a legacy often questioned. Did he, as a person responsible for accelerating the destructive powers of mankind, seek to salve his conscience by redirecting the major portion of his vast fortune into what could be considered one of the most expensive public relations campaigns ever staged?
The table setting a fine example of recent Scandinavian design through and through. Published in Nordic Reach/Sweden & America, 2001.
Because the Swede, who died in Italy in 1896, never outlined his personal reasons for inaugurating the Prizes, commentators can only guess. But the PR theory fails to paint the full picture. Nobel was more than just a brilliant inventor and successful business tycoon.
The Nobel monument in New York City's Theodore Roosevelt Park honoring all American Nobel Laureates unveiled by New York's Mayor Michael R. Bloomberg and Sweden's Deputy Prime Minister at the time, Ms. Margareta Winberg, on October 14, 2003. Published in Nordic Reach, 2003.
Born in Stockholm in 1833, Alfred Nobel was one of four sons born to Immanuel and Caroline Nobel. Alfred showed a keen interest in engineering early on, and learned the basics from his father. In 1837, his father left Stockholm after several business failures for St. Petersburg, where he built a successful company that manufactured explosives and machine tools. In 1842, Immanuel brought Alfred and the rest of the family to join him in Russia. Such was Immanuel’s new wealth that he was able to have his sons educated by private tutors.
By the age of sixteen, Alfred spoke five languages fluently and was a budding chemist. In 1850, he moved to Paris to study this discipline, and it there that the seeds that would one day become the Nobel Prizes began to germinate.
It is knowledge, and mankind’s appreciation of it, be it social or scientific, that lie at the very root of the ideology of the Nobel prizes. The selection of Laureates is, as one might imagine a complex task, the selection machinery itself mirroring the overall structure of the Prize’s multifaceted approach, as can be seen not the least by this years winner of the Nobel Peace Prize, the nomination and selection of Nobel Prize winners varies accordingly to category and prize-awarding institutions.
Many Americans among winners
A number of Americans received Nobel Prizes in recent years. This year's Nobel Chemistry Prize was split between a UK-, an Israel-, and a U.S. based researcher (http://www.nordstjernan.com/news/sweden/1707/) and the Nobel Prize in Medicine went to three American researchers (http://www.nordstjernan.com/news/sweden/1700/).
In the year 2000, Sweden’s Dr. Arvid Carlsson shared this prize with Paul Greengard and Eric R. Kandel, both from the U.S. Their selection fell nicely in line with Nobel’s wish that, “no consideration shall be given to the nationality of the candidates, but that the most worthy shall receive it, whether he be Scandinavian or not.” Winners from other categories that year included Jack S. Kilby from Texas Instruments in Physics; and Alan J. Heeger and Alan G. MacDiarmid from the University of California at Santa Barbara and University of Pennsylvania, respectively, who shared the Prize in Chemistry with Dr. Shirakawa from the University of Tsukuba in Japan. Americans James J. Heckman and Daniel L. McFadden received the Bank of Sweden Prize in Economic Sciences in memory of Alfred Nobel, for a total of seven U.S. citizens honored in the year 2000.
Winners of the this year's Nobel Prizes will receive SEK 10M (about $1.4 million), compared to SEK 115,000 back in 1923. The greatest increase in prize money came in 1969, when the Prize in Economic Sciences was added. Winners also receive an impressive medal and a certificate as well as the knowledge that they are likely to go down in history as one of this world’s most talented individuals.
These celebrations mark a milestone in what most of us have come to see as an accolade for individuals who have widened the domains of research and understanding to new higher levels. As a result, Nobel will for many of us be ever synonymous with the quest for peace, of brave struggle against the face of evil, and of hope.
In the words of a fine man, a great orator and one of America’s brightest sons, “I think Alfred Nobel would know what I mean when I say that I accept this award in the spirit of a curator of some precious heirloom which he holds in trust for its true owners – all those to whom beauty is truth, and truth is beauty – and in whose eyes the beauty of genuine brotherhood and peace is more precious than diamonds, or silver, or gold.’ (From the Nobel Prize acceptance speech given by Dr. Martin Luther King, Dec. 10, 1964).
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FactBench
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2
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https://en.wikipedia.org/wiki/List_of_Greek_Nobel_laureates_and_nominees
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en
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List of Greek Nobel laureates and nominees
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"Contributors to Wikimedia projects"
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2023-12-22T22:22:46+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/List_of_Greek_Nobel_laureates_and_nominees
|
1963 Giorgos [Seferiadis] Seferis 13 May 1900 in Urla, İzmir, Ottoman Empire 20 September 1971 in Athens, Greece Literature "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture."[1] 1979 Odysseas [Alepoudellis] Elytis 2 November 1911 in Heraklion, Crete, Greece 18 March 1996 in Athens, Greece Literature "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness."[2]
|
||||
correct_award_00067
|
FactBench
|
2
| 47
|
https://www.powells.com/awards/nobel
|
en
|
Nobel Prize for Literature
|
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en
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/Portals/0/favicon.ico
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Jon Fosse
The Nobel Prize for Literature is awarded to an individual based on the body of their published work. In his will, Swedish scientist Alfred Nobel stipulated that a portion of his estate be awarded "to the person who shall have produced in the field of literature the most outstanding work of an idealistic tendency."
The Nobel Prize in Literature for 2023 was awarded to Jon Fosse, "For his innovative plays and prose which give voice to the unsayable."
|
||||||
correct_award_00067
|
FactBench
|
3
| 32
|
https://thecradlemagazine.com/odysseus-elytis-1911-1996/
|
en
|
Odysseus Elytis (1911–1996)
|
http://thecradlemagazine.com/wp-content/uploads/2021/04/elytis-odysseas-683x1024.jpg
|
http://thecradlemagazine.com/wp-content/uploads/2021/04/elytis-odysseas-683x1024.jpg
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2021-04-17T21:12:41+00:00
|
Odysseus Elytis (1911–1996) Natasa Dinic
|
en
|
https://thecradlemagazine.com/odysseus-elytis-1911-1996/
|
Odysseus Elytis (November 2, 1911 – March 18, 1996) was a Greek poet, essayist and translator, regarded as a major exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century, with his Axion Esti “regarded as a monument of contemporary poetry”. In 1979, he was awarded the Nobel Prize in Literature.
Odysseus Elytis was born in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy of Letters had bestowed the honor upon other previously little-known writers – among them Eugenio Montale, Vicente Aleixandre, and Harry Martison – their choice of Elytis came as a surprise nonetheless. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness … [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition. Elytis later explained the motivations behind his embracing of the French ideals: “Many facets of surrealism I cannot accept, such as its paradoxical side, its championing of automatic writing; but after all, it was the only school of poetry – and, I believe, the last in Europe – which aimed at spiritual health and reacted against the rationalist currents which had filled most Western minds. Since surrealism had destroyed this rationalism like a hurricane, it had cleared the ground in front of us, enabling us to link ourselves physiologically with our soil and to regard Greek reality without the prejudices that have reigned since the Renaissance.”
Thus, Elytis adapted only selected principles of surrealism to his Greek reality. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.” In a review of a later work, O ilios o iliatoras (1971, translated as The Sovereign Sun, 1974), a writer for the Virginia Quarterly Review echoed Keeley’s eloquent praise: “An intuitive poet, who rejects pessimism and engages in his surrealistic images the harsh realities of life, Elytis is a voice of hope and naked vigor. There is light and warmth, an awakening to self, body, and spirit, in Elytis.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong. I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.”
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
Elytis’s To axion esti (1959, translated as Worthy It Is, 1974), came after a period of more than 10 years of silence. Widely held to be his chef d’oeuvre, it is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. Keeley, the translator of the volume into English, suggested that To axion esti “can perhaps be taken best as a kind of spiritual autobiography that attempts to dramatize the national and philosophical extensions of the poet’s personal sensibility. Elytis’s strategy in this work … is to present an image of the contemporary Greek consciousness through the developing of a persona that is at once the poet himself and the voice of his country.”
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. When Maria Nefeli was first published in 1978, it met with a curious, yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti, so they [approached] Maria Nefeli with cautious hesitation as an experimental and not-so-attractive creation of rather ephemeral value.”
The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet … not directly actual events,” he once stated, Maria Nefeli was based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis’s poem had changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis’s youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blase representative of today’s young woman … This urban Nefeli is the offspring, not the sibling, of the women of Elytis’s youth. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
The poem consists of the juxtaposed statements of Maria Nefeli, who represents the ideals of today’s emerging woman, and Antifonitis, or the Responder, who stands for more traditional views. Through Maria, the Responder is confronted with issues which, though he would like to ignore them, he is forced to come to terms with. Rather than flat, lifeless characters who expound stale and stereotyped maxims, however, “both are sophisticated and complex urbanites who express themselves in a wide range of styles, moods, idioms and stanzaic forms,” maintained Raizis.
Despite the initial reservations voiced by some critics, Maria Nefeli came to be regarded as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Robert Shannan Peckham in the Times Literary Supplement noted that Elytis’s reputation as a major poet was ensured when he received the Nobel Prize for Literature in 1979. Elytis, though, was also a prolific essayist, writing a variety of nonfiction criticism translated and collected in Carte Blanche: Selected Writings in 2000. Peckham argued that the essays need to read “as an extension of the poetry, exuberantly lyrical and self-consciously metaphysical … The essays cohere through an associative, poetic logic, rather than developing any sustained critical argument.” Peckham concluded that the collection would not “secure Elytis a place among the outstanding essayists of the twentieth century,” but praised the translation by David Connolly.
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.”
Elytis died in Athens, Greece on March 18, 1996.
Poetry
– Orientations (Προσανατολισμοί, 1939)
– Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
– An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
– To Axion Esti – It Is Worthy (Το Άξιον Εστί, 1959)
– Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
– The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
– The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
– The Trills of Love (Τα Ρω του Έρωτα, 1973)
– The Monogram (Το Μονόγραμμα, 1972)
– Step-Poems (Τα Ετεροθαλή, 1974)
– Signalbook (Σηματολόγιον, 1977)
– Maria Nefeli (Μαρία Νεφέλη, 1978)
– Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
– Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984) Krinagoras (Κριναγόρας, 1987)
– The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
– The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
– West of Sadness (Δυτικά της λύπης, 1995)
– Eros, Eros, Eros: Selected and Last Poems (Copper Canyon Press, 1998) (translated by Olga Broumas)
Prose, essays
– The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
– 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
– (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
– The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
– The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
– Report to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
– Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
– Private Way (Ιδιωτική Οδός, 1990)
– Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
– The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
– Open Papers: Selected Essays (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
Art books
– The Room with the Pictures (Το δωμάτιο με τις εικόνες, 1986) – collages by Odysseus Elytis, text by Evgenios Aranitsis
Translations
– Second Writing (Δεύτερη γραφή, 1976)
– Sappho (Σαπφώ)
– The Apocalypse (by John) (Η αποκάλυψη, 1985)
Translations of Elytis’ work
|
||||
correct_award_00067
|
FactBench
|
0
| 67
|
https://www.ellines.com/en/myths/27654-a-nobel-prize-awarded-greek-poet/
|
en
|
A Nobel Prize awarded Greek poet
|
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2016-02-28T19:22:25+02:00
|
George Seferis is one of the most important Greek poets. Seferis received the Nobel Prize in Literature in 1963.
His real name was Georgios Seferiades. He was born on 13 March 1900 in Smyrna,..
|
ellines.com - Η πρώτη διαδικτυακή χώρα στον κόσμο
|
https://www.ellines.com/en/myths/27654-a-nobel-prize-awarded-greek-poet/
|
I feel at this moment that I am a living contradiction. The Swedish Academy has decided that my efforts in a language famous through the centuries but not widespread in its present form are worthy of this high distinction. It is paying homage to my language – and in return I express my gratitude in a foreign language. I hope you will accept the excuses I am making to myself.
I belong to a small country. A rocky promontory in the Mediterranean, it has nothing to distinguish it but the efforts of its people, the sea, and the light of the sun. It is a small country, but its tradition is immense and has been handed down through the centuries without interruption. The Greek language has never ceased to be spoken. It has undergone the changes that all living things experience, but there has never been a gap. This tradition is characterized by love of the human; justice is its norm. In the tightly organized classical tragedies the man who exceeds his measure is punished by the Erinyes. And this norm of justice holds even in the realm of nature.
«Helios will not overstep his measure»; says Heraclitus, «otherwise the Erinyes, the ministers of Justice, will find him out». A modern scientist might profit by pondering this aphorism of the Ionian philosopher. I am moved by the realization that the sense of justice penetrated the Greek mind to such an extent that it became a law of the physical world. One of my masters exclaimed at the beginning of the last century, «We are lost because we have been unjust» He was an unlettered man, who did not learn to write until the age of thirty-five. But in the Greece of our day the oral tradition goes back as far as the written tradition, and so does poetry. I find it significant that Sweden wishes to honour not only this poetry, but poetry in general, even when it originates in a small people. For I think that poetry is necessary to this modern world in which we are afflicted by fear and disquiet. Poetry has its roots in human breath – and what would we be if our breath were diminished? Poetry is an act of confidence – and who knows whether our unease is not due to a lack of confidence?
Last year, around this table, it was said that there is an enormous difference between the discoveries of modern science and those of literature, but little difference between modern and Greek dramas. Indeed, the behaviour of human beings does not seem to have changed. And I should add that today we need to listen to that human voice which we call poetry, that voice which is constantly in danger of being extinguished through lack of love, but is always reborn. Threatened, it has always found a refuge; denied, it has always instinctively taken root again in unexpected places. It recognizes no small nor large parts of the world; its place is in the hearts of men the world over. It has the charm of escaping from the vicious circle of custom. I owe gratitude to the Swedish Academy for being aware of these facts; for being aware that languages which are said to have restricted circulation should not become barriers which might stifle the beating of the human heart; and for being a true Areopagus, able «to judge with solemn truth life’s ill-appointed lot», to quote Shelley, who, it is said, inspired Alfred Nobel, whose grandeur of heart redeems inevitable violence.
In our gradually shrinking world, everyone is in need of all the others. We must look for man wherever we can find him. When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: «Man». That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.
|
||||||
correct_award_00067
|
FactBench
|
2
| 91
|
https://www.soka.edu/about/faculty-staff/robert-allinson
|
en
|
Soka University of America
|
https://www.soka.edu/themes/custom/soka_theme/favicon.ico
|
https://www.soka.edu/themes/custom/soka_theme/favicon.ico
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en
|
/themes/custom/soka_theme/favicon.ico
|
https://www.soka.edu/about/faculty-staff/robert-allinson
|
Professor Allinson has published more than 200 single-author academic papers. As of 2000 (the last year calculated), he had more than 40 citations to his works in the Philosopher’s Index in addition to more than 400 citations to his work in refereed books and refereed journal articles to date.
He is editor or referee for nine international journals including the Journal for Chinese Philosophy, Asian Philosophy, Philosophy East & West, Business Ethics Quarterly, Journal for Business Ethics, International Journal for Management and Decision Making, Business Ethics Yearbook, and Philosophical Inquiry. Fellow Editorial Board Members of the Journal of Chinese Philosophy include Tu Wei Ming, Karl Apel, Donald Munroe, Alasdair Maclntyre and Herbert Fingarette. His work has been published in the Encyclopaedia of Chinese Philosophy and such journals as Philosophy, East & West, Philosophical Inquiry, Journal of Chinese Philosophy, Monumenta Serica, Revue Internationale de Philosophie, Revue Indépendante de Philosophie, Journal of Religion, Zen Buddhism Today, The Eastern Buddhist, Dao: A Journal of Comparative Philosophy (in the December, 2003 edition with Richard Rorty), The Journal of Fudan University (in Chinese translation), History and Theory, Chinese Academy of Social Sciences, The Institute of World History, Beijing, China, Business Ethics Quarterly, and Journal of Business Ethics. He has published seven articles in the Journal of Chinese Philosophy alone including one for the Special Double Issue, Thirtieth Anniversary Edition, Chinese Philosophy as Knowledge and Value: 30 Years (1973-2003) and Beyond, December 2003. His philosophic poetry has been awarded an Academy of American Poet’s Award (Octavio Paz, Nobel Laureate, judge) and has been published in the same international edition with poems by Nobel Prizewinners, Odysseus Elytis, and Boris Pasternak.
In 2004, Business Ethics Quarterly, on which he serves as editor, received the Golden Page Award (chosen from 400 journals together with the Harvard Business Review, for editorial excellence and the quality of refereeing).
His books have been reviewed in publications as wide-ranging as The Far Eastern Economic Review to The Journal of Chinese Philosophy, Iyyan, the Jerusalem Philosophical Quarterly, and Philosophy published by the Royal Institute of Philosophy at Cambridge University. His Understanding the Chinese Mind has been acclaimed in a review in Philosophy, East & West, by David Wong of Duke University as making “a substantial contribution to the field” and by the late Ninian Smart, formerly president of American Academy of Religion, in a rare second review in Philosophy, East & West, “as an important book.” His Chuang-Tzu for Spiritual Transformation has been termed by Mark Elvin, formerly of Oxford University, as “an exceptional achievement.” In a 2005 review of his A Metaphysics for the Future, by the well-known philosopher Robert Neville of Boston University it is stated that “Allinson has written a brilliant defense of a rigorous phenomenological approach to metaphysics … The reference circle for Allinson’s argument is classical Western philosophy of the ancient and modern periods. The footnotes are a wonderful source of continuing commentary on contemporary problems of reading the history of Western philosophy … No one has made the case for phenomenological certainty as well as Allinson.”
He has been invited to be the keynote speaker for the plenary session of the first conference of the European Society for Asian Philosophy, held at the University of Nottingham, U.K. He has been invited by Tang Yi-jie to lecture at the International Academy of Chinese Culture in Beijing and for the graduate students in Philosophy at the Department of Philosophy at Peking University.
He was an official Exchange Professor from the Chinese University of Hong Kong to the Department of Philosophy at Fudan University. He was official Exchange Visiting Scholar at Soka University of Japan. He was invited to deliver a seminar for the Department of Philosophy at Nanjing University, Nanjing, People’s Republic of China. He was Visiting Professor to Waseda University in Tokyo. He has been invited twice to take part in seminars at the Collegium Phaenomenologicum in Italy (1998, 2002) and contributed a chapter to Intercultural Phenomenology, Munich, Germany: ludicium Press, 1998.
In 2002 he was invited to present a paper in the European Parliament for the European Ethics Summit. In 2003, he was selected by the United Nations to represent Asia as part of a small group of international experts to conduct a symposium on responsibility in world business in Sao Paulo, Brazil. In 2004, his chapter on Hong Kong, China was published in the book, Responsibility in World Business published by the United Nations University. In 2004 he was invited to address the Chinese Academy of Social Sciences in Shanghai and to offer a paper with Richard Rorty at a special meeting of the International Society for the study of Chinese and Western philosophy.
He has been a co-participant in a workshop with Hilary Putnam, Alisdair Maclntyre, Richard Rorty, and Karl-Otto Apel He has been invited to be Visiting Fellow or Senior Associate Member at St. Antony’s College, University of Oxford, Balliol College, University of Oxford, Holywell Manor, the Graduate School of the University of Oxford, personally invited by Joseph Needham to the Needham Research Institute of Cambridge University and by John Smith to the Graduate School of the Department of Philosophy, Yale University. In 2002, he was invited to be co-consultant with Richard Rorty of Stanford University and the late, distinguished Donald Davidson of the University of California at Berkeley to the International Society for Comparative Philosophy (USA).
His Chuang-Tzu for Spiritual Transformation has been cited in the 2005 Encyclopedia Britannica as one of two leading reference sources for the study of Chuang-Tzu. In 2004 Professor Allinson was invited to nominate candidates for the Kyoto Prize in the Humanities. Professor Allinson was invited to nominate candidates for the Kyoto Prize in Arts and Philosophy in the field of Ethics and Thought (former awardees have included Noam Chomsky, Sir Karl Popper, William Van Orman Quine, and Paul Ricoeur).
In 2005 Professor Allinson was invited to become a member of the American Biographical Institute’s distinguished Research Board of Advisors (the Institute publishes such volumes as 500 Leaders of Influence, Leading Intellectuals of the World, Great Minds of the 21st Century).
|
||||
correct_award_00067
|
FactBench
|
3
| 65
|
https://upittpress.org/books/9780822953180/
|
en
|
The Axion Esti
|
https://upittpress.org/wp-content/themes/pittspress/images/favicon.ico
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https://upittpress.org/wp-content/themes/pittspress/images/favicon.ico
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2020-10-14T03:18:38+00:00
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|9780822953180|The Axion Esti is probably the most widely read volume of verse to have appeared in Greece since World War II and remains a classic today. Those who follow the music of Greek composer Mikis Theodorakis have been especially drawn to Odysseus Elytis’s work, his prose is widely considered a mirror to the revolutionary music of Theodorakis. The “autobiographical” elements are constantly colored by allusion to the history of Greece, thus, the poems express a contemporary consciousness fully resonant with those echoes of the past that have served most to shape the modern Greek experience.| Odysseus Elytis| Pitt Poetry Series|...
|
https://upittpress.org/wp-content/themes/pittspress/images/favicon.ico
|
University of Pittsburgh Press
|
https://upittpress.org/books/9780822953180/
|
The Axion Esti is probably the most widely read volume of verse to have appeared in Greece since World War II and remains a classic today. Those who follow the music of Greek composer Mikis Theodorakis have been especially drawn to Odysseus Elytis’s work, his prose is widely considered a mirror to the revolutionary music of Theodorakis. The “autobiographical” elements are constantly colored by allusion to the history of Greece, thus, the poems express a contemporary consciousness fully resonant with those echoes of the past that have served most to shape the modern Greek experience.
|
|||
correct_award_00067
|
FactBench
|
1
| 93
|
https://www.newworldencyclopedia.org/entry/Giorgos_Seferis
|
en
|
New World Encyclopedia
|
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https://static.newworldencyclopedia.org/favicon.ico
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https://www.newworldencyclopedia.org/entry/Giorgos_Seferis
|
Giorgos Seferis (Γιώργος Σεφέρης) was the pen name of Geōrgios Seferiádēs (March 13, 1900 - September 20, 1971), one of the most important Greek poets of the twentieth century and a Nobel laureate. He was also a career diplomat in the Greek Foreign Service, culminating in his appointment as Ambassador to the UK, a post which he held from 1957 to 1962.
Seferis helped to introduce the poetry of Symbolism to the Greek language. The Symbolist poets wished to liberate techniques of versification in order to allow greater room for "fluidity," and as such were aligned with the movement towards free verse. Symbolist poems sought to evoke, rather than to describe; symbolic imagery was used to signify the state of the poet's soul.
Biography
Seferis was born in Urla (Greek: Βουρλά) near Smyrna in Asia Minor, Ottoman Empire (now İzmir, Turkey). His father, Stelios Seferiadis, was a lawyer, and later a professor at the University of Athens, as well as a poet and translator in his own right. He was also a staunch Venizelist and a supporter of the demotic Greek language over the formal, official language (katharevousa). Both of these attitudes influenced his son. In 1914, the family moved to Athens, where Seferis completed his secondary school education. He continued his studies in Paris from 1918 to 1925, studying law at the Sorbonne. While he was there, in September 1922, Smyrna was recaptured by the Turks after a two year Greek occupation and its Greek population, including Seferis' family, fled. Seferis would not visit Smyrna again until 1950; the sense of being an exile from his childhood home would inform much of Seferis' poetry, showing itself particularly in his interest in the story of Odysseus. Seferis was also greatly influenced by Kavafis, T. S. Eliot and Ezra Pound.
He returned to Athens in 1925, and was admitted to the Royal Greek Ministry of Foreign Affairs in the following year. This was the beginning of a long and successful diplomatic career, during which he held posts in England (1931-1934) and Albania (1936-1938 ). He married Maria Zannou ("Maro") on April 10, 1941, on the eve of the German invasion of Greece. During the Second World War, Seferis accompanied the Free Greek Government in exile to Crete, Egypt, South Africa, and Italy, and returned to liberated Athens in 1944. He continued to serve in the Ministry of Foreign Affairs, holding diplomatic posts in Ankara, Turkey (1948-1950) and London (1951-1953). He was appointed minister to Lebanon, Syria, Jordan, and Iraq (1953-1956), and was Royal Greek Ambassador to the United Kingdom from 1957 to 1961, the last post before his retirement in Athens.
Cyprus
Seferis first visited Cyprus in November 1953. He immediately fell in love with the island, partly because of its resemblance—in its landscape, mixture of populations, and in its traditions—to his childhood summer home in Larnaca. His book of poems, Imerologio Katastromatos III, was inspired by the island, and mostly written there–bringing to an end a period of six or seven years in which Seferis had not produced any poetry. Its original title was Cyprus, Where it was Ordained for me… a quotation from Euripides’ Helen, in which Teucer states that Apollo has decreed that Cyprus shall be his home; it made clear the optimistic sense of homecoming Seferis felt on discovering the island. Seferis changed the title in the 1959 edition of his poems.
Politically, Cyprus was entangled in the dispute between the UK, Greece, and Turkey over its international status. Over the next few years, Seferis made use of his position in the diplomatic service to strive towards a resolution of the Cyprus dispute, investing a great deal of personal effort and emotion. This was one of the few areas in his life in which he allowed the personal and the political to mix.
The Nobel Prize
In 1963, Seferis was awarded the Nobel Prize for Literature "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture." Seferis was the first Greek to receive the prize (followed later by Odysseas Elytis,who became a Nobel laureate in 1979). His nationality, and the role he had played in the twentieth century renaissance of Greek literature and culture, were probably a large contributing factor to the award decision. But in his acceptance speech, Seferis chose to emphasize his own humanist philosophy, concluding: "When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: 'Man.' That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus." While Seferis has sometimes been considered a nationalist poet, his "Hellenism" had more to do with identifying a unifying strand of humanism in the continuity of Greek culture and literature.
Statement of 1969
In 1967, the repressive nationalist, right-wing Regime of the Colonels took power in Greece after a coup d'état. After two years marked by widespread censorship, political detentions and torture, Seferis took a stand against the regime. On March 28, 1969, he made a statement on the BBC World Service, with copies simultaneously distributed to every newspaper in Athens. In authoritative and absolute terms, he stated, "This anomaly must end."
Seferis did not live to see the end of the junta in 1974, the direct result of Turkey’s invasion of Cyprus, which had been prompted by the junta’s attempt to overthrow Cyprus’ Archbishop Makarios.
At his funeral, huge crowds followed his coffin through the streets of Athens, singing Mikis Theodorakis’ setting of Seferis’ poem "Denial" (then banned); he had become a popular hero for his resistance to the regime.
Legacy
Seferis was among the most honored Greek poets of his generation. He was honored by the Academy of Athens in 1947 and is considered to be the most distinguished Greek poet of 'the generation of the 30s,' which introduced Symbolism to modern Greek literature. His work is permeated by a deep feeling for the human predicament.
In addition to the Nobel Prize for Literature, Seferis received many honors and prizes, among them honorary doctoral degrees from the universities of Cambridge (1960), Oxford (1964), Salonika (1964), and Princeton (1965). There are commemorative blue plaques on two of his London homes—51 Upper Brook Street, and in Sloane Avenue.
Monuments
In 1999, there was a dispute over the naming of a street in Ízmir Yorgos Seferis Sokagi (a Turkification of Giorgos Seferis), due to continuing ill-feeling around the Greco-Turkish War in the 1920s.
In 2004, the band Sigmatropic released "16 Haiku & Other Stories," an album dedicated to and lyrically derived from Seferis' work. Vocalists included recording artists Laetitia Sadier, Alejandro Escovedo, Cat Power, and Robert Wyatt. Seferis' famous stanza from Mythistorema was featured in the Opening Ceremony of the 2004 Athens Olympic Games:
I woke with this marble head in my hands;
It exhausts my elbows and I don't know where to put it down.
It was falling into the dream as I was coming out of the dream
So our life became one and it will be very difficult for it to separate again.
He is buried at First Cemetery of Athens.
Works
Poetry
Strofi Στροφή (Strophe, 1931)
Sterna Στέρνα (The Cistern, 1932)
Mythistorima Μυθιστόρημα (Tale of Legends, 1935)
Tetradio Gymnasmaton Τετράδιο Γυμνασμάτων (Exercise Book, 1940)
Imerologio Katastromatos I Ημερολόγιο Καταστρώματος Ι (Deck Diary I, 1940)
Imerologio Katastromatos II Ημερολόγιο Καταστρώματος ΙΙ (Deck Diary II, 1944)
Kichli Κίχλη (The Thrush, 1947)
Imerologio Katastromatos III Ημερολόγιο Καταστρώματος ΙΙΙ (Deck Diary III, 1955)
Tria Kryfa Poiimata Τρία Κρυφά Ποιήματα (Three Hidden Poems, 1966)
Prose
Dokimes (Essays) 3 vols. (vols 1-2, 3rd ed. (ed. G.P. Savidis) 1974, vol 3 (ed. Dimitri Daskalopoulos) 1992)
Antigrafes (Translations) (1965)
Meres (Days–diaries) (7 vols., published post-mortem, 1975-1990)
Exi nyxtes stin Akropoli (Six Nights at the Acropolis) (published post-mortem, 1974)
Varvavas Kalostefanos. Ta sxediasmata (Varnavas Kalostefanos. The drafts.) (published post-mortem, 2007)
English translations
Complete Poems trans. Edmund Keeley and Philip Sherrard. (1995) London: Anvil Press Poetry.
A Poet's Journal: Days of 1945-1951 trans. Athan Anagnostopoulos. (1975) London: Harvard University Press.
On the Greek Style: Selected Essays on Poetry and Hellenism trans. Rex Warner and Th.D. Frangopoulos. (1966) London: Bodley Head, reprinted (1982, 1992, 2000) Limni (Greece): Denise Harvey (Publisher), ISBN 960-7120-03-5.
References
ISBN links support NWE through referral fees
|
||||||
correct_award_00067
|
FactBench
|
0
| 30
|
https://www.loc.gov/item/prn-12-003/odysseas-elytis-the-hispanic-world/2012-01-04/
|
en
|
Greek Poet Odysseas Elytis and the Hispanic World, Jan. 27
|
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2012-01-04T00:00:00
|
Surrealist poet Odysseas Elytis, the leading Greek poet of his generation and a Nobel Prize winner, influenced Hispanic literature in the late 1930s and in the 1940s. Poets Pedro Serrano and Rei Berroa will discuss the Nobel laureate’s importance at the Library on Jan. 27.
|
en
|
The Library of Congress
|
https://www.loc.gov/item/prn-12-003/odysseas-elytis-the-hispanic-world/2012-01-04/
|
Surrealist poet Odysseas Elytis, the leading Greek poet of his generation and a Nobel Prize winner, influenced Hispanic literature in the late 1930s and in the 1940s.
Poets Pedro Serrano and Rei Berroa will discuss the Nobel laureate’s importance in a presentation “Odysseas Elytis and the Hispanic World” at the Library of Congress at 6:30 p.m. on Friday, Jan. 27 in the West Dining Room, on the sixth floor of the James Madison Building, 101 Independence Ave. S.E., Washington, D.C.
The event, which is free and open to the public, commemorates the centennial of Elytis’ birth. The lecture is co-sponsored by the Poetry and Literature Center, the Hispanic Division and the European Division at the Library of Congress, as well as the Embassy of Greece and the National Endowment of the Arts.
Elytis was born Odysseas Alepoudelis in Heraklion, Crete, on Nov. 2, 1911, and died in Athens in 1996. He is the author of 16 books of poetry in Greek, seven of which have been published in English. His most notable titles include “Prosanatolizmi” (Orientations), published in 1936, and “To Axion Esti” (Worthy It Is), published in 1959. Elytis also translated Federico García Lorca’s “Romancero Gitano” (Gypsy Ballads) into Greek.
In 1979, Elytis became the second Greek poet to win the Nobel Prize for Literature. The first was George Seferis in 1963. The Nobel committee gave the award to Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness.”
Serrano is a Mexican poet, translator and editor. He edits the poetry website Periódico de Poesía, and has edited the anthology “La generación del cordero: Antología de la poesía actual en las Islas Británicas” (The Lamb Generation), which features translations of contemporary British poets. Serrano teaches literature at the National Autonomous University. His honors include a Guggenheim fellowship.
Berroa, born in the Dominican Republic, is a poet and a professor of Spanish literature at George Mason University. He is the author of four books of poetry, including “Libro de los fragmentos” (Book of Fragments), and he is the recipient of multiple honors, including the International Poetry Award of Trieste in 2001 and a “Medaille de Vermeil” from the Academy of Arts, Sciences and Letters of Paris in 2009.
The Hispanic Division is the center for the study of the culture and societies of Latin America, the Caribbean and the Iberian Peninsula and other areas with significant Spanish or Portuguese influence. The division holds the Archive of Hispanic Literature on Tape, started in 1942, which includes 700 original voice recordings by Luso-Hispanic and Caribbean poets and prose writers. For more information, visit www.loc.gov/rr/hispanic/.
The European Division is responsible for providing reference and for developing the Library’s collections relating to continental Europe except for Iberia. Its European Reading Room should be the starting point for readers whose interests concern European countries other than Spain, Portugal, Great Britain and Ireland. For more information, visit www.loc.gov/rr/european/.
|
|||||
correct_award_00067
|
FactBench
|
2
| 29
|
https://www.freiheit.org/spain-italy-portugal-and-mediterranean-dialogue/cultured-colour-mediterranean-and-its-35-nobel
|
en
|
Literature The "cultured colour" of the Mediterranean and its 35 Nobel Laureates in Literature
|
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[] |
[] |
[
""
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[
"Markus Kaiser",
"Joaquín Pérez Azaústre",
"freiheit.org"
] |
2024-05-21T00:00:00
|
The shores of the Mediterranean Sea proudly bathe 20.5% (8 nations) of the total number of countries (39) with Nobel Prize-winning writers in literature, but is it the same pride these intellectuals feel for their countries?
|
en
|
/themes/custom/uv_theme/favicon.ico
|
Friedrich Naumann Foundation
|
https://www.freiheit.org/spain-italy-portugal-and-mediterranean-dialogue/cultured-colour-mediterranean-and-its-35-nobel
|
The data endorse the broad intellectuality of the shores that frame the Mare Nostrum, and the fact is that, among other statistics, its waves dance proudly to the beat of the lines written by the 35 Nobel Prize winners for Literature from our Mediterranean countries.
After all, even the Mediterranean Sea itself has a "cultured colour", as one of our nobles, Camilo José Cela, said: "The Mediterranean is clear because its colour is at the service of its culture. The greens and blues of its waters, and the golds and siennas of its lands, are cultured greens and blues and golds and siennas not only because they are exposed to a meridian light, but also because they are full of tradition, because they have been fixed for many centuries".
Yes, the greens and blues of its waters, but also those golds and siennas of these lands that attracted the birth or nationalisation of our Nobel Prize-winning writers in eight of the Mediterranean countries. This means that 20.5% of the total number of nations (39) with intellectuals who have received this lofty literary recognition since Sweden began awarding the prizes in 1901 are Mediterranean.
France, Italy, Spain, Greece, Yugoslavia, Israel, Egypt and Turkey. How honoured these countries must be to represent the Mediterranean region with more than 20 % of the total number of Nobel Literature Prize winners!
But why put the names of the countries before the names of their intellectuals? Was it not these men (and one woman) who won the difficult Nobel Prize? Prudhomme, Mistral, Echegaray, Carducci, Rolland, France, Benavente, Deledda, Bergson, Bunin, Pirandello, Martin du Gard, Gide, Mauriac, Jiménez, Camus, Quasimodo, Perse, Andric, Seferis, Sartre, Agnon, Montale, Aleixandre, Elytis, Simon, Mahfuz, Cela, Fo, Pamuk, Le Ciezio, Modiano and Ernaux, as well as Mediterranean nationals Vargas Llosa and Xingjian.
It is simple and logical that Mediterranean nations can be proud of their writers, but are our intellectuals proud of their countries?
The Greek Nobel laureate Odysseus Elytis was clear from the moment he gave his speech when he received his prize in Sweden. He extolled the luminosity, transparency and virtues of language in the face of the need to give them the greatest possible visibility because they are all the more necessary "the denser the darkness that characterises the age in which we live".
On another shore of our sea, the Nobel laureate Naguib Mahfuz, if he was not already one in life, extended his wise legend not only in the Egypt where he was born but throughout the Mediterranean after his death almost 20 years ago. He always wanted to put the conciliation of the word before the adversity of the possible irrationality between two different and sometimes opposing cultures, with the common goal that the countries on the different shores of the Mediterranean should not be so far apart. "The throne gives glory", Mahfuz admitted, "but happiness depends on one's wisdom", he added later in his work Akhnaton, for, in times of conflict, "we do not need more territory, but more wisdom to preserve it".
The French writer Annie Ernaux was right when, not long after receiving her Nobel Prize in 2022, she stated bluntly that "literature is not meant to provide solutions", although it "can try to explain a situation" in the face of a political crisis.
It is not a question of talking about The Bonds of Interest, nor of anyone having Gide's The Counterfeiters, much less of accusing any leader of creating Mauriac's The Knot of Vipers, nor of believing that we are living through Camus' The Plague, nor of considering that some of the countries are, like Pirandello, Six Characters in Search of an Author. No, it is none of these examples, no matter how beautiful they are considered to be. What really interests, or should interest, everyone without exception, is that "forgiveness as a path to peace", or at least "inner peace", as the Turkish Pamuk said.
And if, despite this, we still cannot find the longed-for solution, we can look to the beauty of the words of poetry, because its verses are, nothing more and nothing less, the artistic genre "of approaching that which surpasses us", in the words of the versed Elytis. "Ah, yes, indeed, times have always been durtfiger (of destitution) for man! But, for its part, poetry has never ceased to officiate".
Nor should we forget the words of Yugoslavian Nobel laureate Ivo Andric when he dared to note that "the greatness of a country is measured by how it treats its most vulnerable citizens".
Perhaps we need to look to The Alley of Miracles (Mahfuz) to learn that the solution that will increasingly allow us to shorten the possible distance from the Mediterranean countries is right here, in our own - more ours and more ours than ever - Mare Nostrum.
|
||||
correct_award_00067
|
FactBench
|
3
| 6
|
https://www.theguardian.com/theguardian/2013/oct/19/odysseus-wanderings-nobel-archive-1979
|
en
|
From the archive, 19 October 1979: The wanderings of Odysseus
|
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[] |
[] |
[
""
] | null |
[
"Guardian staff",
"Yiva Wigh"
] |
2013-10-19T00:00:00
|
<p><strong>Originally published in the Guardian on 19 October 1979:</strong> Odysseus Elytis, 68, who was yesterday awarded the Nobel Prize for literature, can hardly be called a name to conjure with</p>
|
en
|
the Guardian
|
https://www.theguardian.com/theguardian/2013/oct/19/odysseus-wanderings-nobel-archive-1979
|
YIVA WIGH IN ATHENS
Odysseus Elytis, 68, who was yesterday awarded the Nobel Prize for literature, can hardly be called a name to conjure with. Although critics have called him the foremost poet of Greece, he has, he says, spent most of the last 20 years turning down literary awards and honours.
"As time passes I become more frightened of the glare of publicity. I even get a strange feeling when I see my books in a shop-window. What do you want of me? I try to avoid the limelight. That's why many people think I have no ambition or aspirations. But that's not so. I do have some aspirations, it's just that I don't get any pleasure out of public applause. "My ambition is simply that young people be able to turn to my books when they feel lonely. This sort of indirect personal contact, provided it is lasting, is what I consider all-important. For me poetry is a war against time and decay. I wage this war alone in my flat, and that's how I find satisfaction whether or not I win. In a materialist age which values quantity above quality, I regard poetry as the only thing that can preserve man's spiritual integrity."
He received the Greek national prize for literature two decades ago: when he heard a few days ago that he might be offered the Nobel Prize he admitted that he would be neither able nor willing to turn it down: the award would be an honour not just for himself but for his country. The themes of his work are taken from aspects of Greek nature – the islands, the sea, the sky, the mountains, the flowers and above all the sunlight. He is the first Greek poet to make the sun a central theme of his poetry: hence his nickname Iliopolis Elytis – Elytis the sun-drinker.
But his poetry is much more than a homage to nature. Natural phenomena are the vehicles for other messages. Elytis has tried to distil the essence of what is truly and peculiarly Greek in Greek history and literature from Homer to the present day. He has taken a close interest in the Greek language itself.
Elytis was born on Crete, the youngest of six brothers and sisters (the family originally came from Lesbos). When he was three, they moved to Athens where his father and an uncle established a soap factory. Since the family name Alepoudelis was thereafter always associated with this factory, Odysseus changed his name to Elytis. He lives in a small two-roomed flat in the centre of Athens. He sleeps by day and works at night. It might seem strange that the poet whose nickname is Sun-drinker produces his work at night. But etched in his mind are the pictures which he brings back from his long summer voyages over the sun-drenched Aegean Sea.
Click here to read the full article
These archive extracts, compiled by the Guardian's research and information department, appear online daily at gu.com/fromthearchive
|
|||||
correct_award_00067
|
FactBench
|
2
| 87
|
https://www.ranker.com/list/famous-poets-from-greece/reference
|
en
|
Famous Poets from Greece
|
https://imgix.ranker.com/list_img_v2/6316/166316/original/famous-poets-from-greece-u4
|
https://imgix.ranker.com/list_img_v2/6316/166316/original/famous-poets-from-greece-u4
|
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[
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2009-11-24T00:00:00
|
List of notable or famous poets from Greece, with bios and photos, including the top poets born in Greece and even some popular poets who immigrated to ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/famous-poets-from-greece/reference
|
Angelos Sikelianos (Greek: Άγγελος Σικελιανός; 28 March 1884 – 19 June 1951) was a Greek lyric poet and playwright. His themes include Greek history, religious symbolism as well as universal harmony in poems such as The Moonstruck, Prologue to Life, Mother of God, and Delphic Utterance. His plays include Sibylla, Daedalus in Crete, Christ in Rome, The Death of Digenis, The Dithyramb of the Rose and Asklepius. Although occasionally his grandiloquence blunts the poetic effect of his work, some of Sikelianos finer lyrics are among the best in Western literature. In the six years from 1946 until 1951, he was nominated for the Nobel Prize for Literature.
Andonis Fostieris (Greek: Αντώνης Φωστιέρης; born 1953) is a Greek poet. He studied Law at the University of Athens and History of Law at Sorbonne, Paris. Since 1981, he is co-editor and director of the literary periodical Η λέξη. Fostieris is one of the eminent poets of the so-called Generation of the Seventies Genia tou 70, which is a literary term referring to Greek authors who began publishing their work during the 1970s, especially towards the end of the Greek military junta of 1967-1974 and at the first years of the Metapolitefsi. Fostieris has been considerably translated; that includes translation into English by Kimon Friar (1984), the acclaimed translator and scholar for his Modern Greek literature translations.
Christoforos Liontakis (Greek: Χριστόφορος Λιοντάκης; 1945 – 26 July 2019) was an award-winning Greek poet and translator. He read law at the University of Athens and philosophy of law at the Sorbonne, in Paris. His first collection of poems was published in 1973. He belonged to the so-called Genia tou 70, a literary term referring to Greek authors who began publishing their work during the 1970s, especially towards the end of the Greek military junta of 1967-1974 and during the first years of the Metapolitefsi. For his collection of poems With the Light, published in 1999, he received the Greek National Book Award for the Year 2000 and the poetry prize of the prestigious literary journal Diavazo. The French Ministry of Culture honored him with its Knighthood of Arts and Letters, and the municipality of Heraklion awarded him the Nikos Kazantzakis Literary Prize. Liontakis died on 26 July 2019.
|
||
correct_award_00067
|
FactBench
|
2
| 68
|
https://www.thetriangle.org/opinion/bob-dylan/
|
en
|
It's time to retire the Nobel Prize
|
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"Robert Zaller"
] |
2016-10-21T11:53:07+00:00
|
It’s time, after 115 years, to retire the Nobel Prize. This year’s award in literature proves it. Yes, the Swedish Academy and the Academy of…
|
en
|
The Triangle
|
https://www.thetriangle.org/opinion/bob-dylan/
|
It’s time, after 115 years, to retire the Nobel Prize. This year’s award in literature proves it. Yes, the Swedish Academy and the Academy of Sciences gives out Nobels in a bunch of fields, including the hard sciences and the dismal one, economics (this year given for pioneering work on — sound the trumpets! — contracts). The awards in physics and chemistry are generally given for work known by and comprehensible to maybe half a dozen people around the globe. Aside from specialists, they elicit a gigantic yawn from everyone else. There’s the Nobel Peace Prize, which is generally reserved for warmongers shaking hands. Henry Kissinger, the world’s oldest unindicted war criminal, received one. So did Barack Obama, a few months into his presidential term of office. Who’d have thought he’d wind up the first American president to pass his entire presidency at war without letup, and on half a dozen fronts?
If the science prizes elicit a yawn, maybe the peace prize rates a sigh. But the only award most people pay any attention to is the one in literature. The Nobel Prize in lLiterature has become such an annual circus that those considered likely candidates are handicapped by Ladbrooke’s. For example, a hot tip near the time of this year’s award announcement reduced the odds on Don DeLillo from 66:1 to 14:1.
The award, as everyone now knows, went to Bob Dylan. Say again?
It isn’t as if the Nobel Prize Committee hasn’t been messing up for some time; in fact, from the very beginning. The first winner for literature was that master story-teller, Sully-Prudhomme. Surely you’ve read his works? His competition only included Leo Tolstoy: you know, the guy who wrote “War and Peace.” Over the years, the winners have included such household names as Verner von Heidensten, Karl Anton Gjellerup, and Henrik Pontoppidan. Tolstoy, who lived into the tenth year of the award, never won.
Of course, you can’t always get it wrong in over the course of a hundred years, even if you just open the phone book at random. Writers of eminence have won the award, although the taste of the Swedish Academy runs decidedly to the middle-brow, with a heavy tilt toward Scandinavian masters. But even a partial list of omissions includes, besides Tolstoy, Thomas Hardy, Anton Chekhov, Marcel Proust, Paul Valery, Rainer Maria Rilke, Robert Musil, Franz Kafka, Virginia Woolf, James Joyce, Nikos Kazantzakis, Jorge Luis Borges. This doesn’t count non-Western writers, whom the Academy only began to recognize recently. And even when it picks a good writer, it typically ignores a better one. Wislawa Szymborska, a worthy poet, won the prize for Poland, while a truly great Polish poet, Zbigniew Herbert, was ignored. Odysseus Elytis received the award for Greece, but Yannis Ritsos, a world figure, did not. And so on.
It’s all been a harmless parlor game to this point, or, if you attend to the politics behind each award, a nasty dogfight. If the choice is bizarre, as in the recent cases of the completely unreadable Elfride Jelinek or the court jester Dario Fo, you can simply shrug. But the Dylan case is simply a willful assault on literature. Aside from a memoir, Dylan is not a writer at all, just a balladeer. He got his award for song lyrics and maybe the way he sung them, which would be sort of like giving Robert Frost the Nobel Prize (he didn’t win it either) not for his poems but for the way he read them.
Full disclosure: I’ve never liked Bob Dylan as a singer. His voice, even when young, was raspy and nasal. Even if you thought, though, that he was a vocal master, the point is what he was singing rather than simply the way he sang it. And, on the page, his lyrics, considered as literature, are of surpassing banality. Here’s a sample:
In the courtroom of honor, the judge pounded his gavel
To show that all’s equal, that the courts are on the level
(“The Lonesome Death of Hattie Carroll”)
“Courtroom of honor” is a meaningless mouthful, “gavel” and “level” are weak rhymes, and the sudden turn from the high-toned to the colloquial (“all’s equal,” “on the level”) falls utterly flat. Nor do we ever find out much about the song’s subject, Hattie Carroll, except that her killer got off lightly. But, worse yet:
While preachers preach of evil fates
Teachers teach that knowledge waits
Disillusioned words like bullets bark
(“Bringing It All Back Home”)
Really, how lame, how subliterate can you get? That preachers preach is a simple-minded tautology; likewise, that teachers teach. “Preach of evil fates” is subgrammatical, too; you preach “about” or “on the subject of,” not “of” something. “Evil fates” is likewise painfully awkward and banal, and I have never heard that teachers “teach that knowledge waits” (which knowledge? Where? Why?). The sense of the sentence, without further reference, is nonsense; but worse still “awaits.” “Words” are not disillusioned, only the speakers of them; disillusioned speech can hardly suggest “bullets;”; and “bullets,” needless to say, do not “bark.” Okay, Jack, you’ll say, but these are metaphors. The trouble is that they’re terrible ones, even by the standards of pop lyrics; they take you nowhere and tell you nothing.
Let’s try once more, this time from “Don’t Think Twice It’s All Right”):
I didn’t say you treated me unkind
You could have done better but I don’t mind
You just kinda wasted my precious time
But don’t think twice, it’s all right.
No, I’m not going to say that “unkind” should be “unkindly,” or that “kinda wasted” should have been “simply wasted”; these lines are obviously meant to be demotic. Shakespeare did the same thing. But this isn’t Bottom the Weaver, where the colloquial is made into delightful buffoonery and contrasted with the styles of elevated speech. This is just clicheé wrapped in banality, however soulfully projected. Literature, it ain’t.
Dylan has had his learned defenders before, notably Christopher Ricks, who devoted a book to proving him a poet on a par with Keats or Yeats. The New York Times editorialized that Dylan’s selection was “a blessed relief” (from what?), and that his work “achieves greatness in its breadth and beauty.” And Joyce Carol Oates, the perennially disappointed Nobel candidate, calls the choice of Dylan “inspired,” adding only her opinion that Tthe Beatles may have been even more deserving. But no one’s likely to top the accolade of Sara Danius, the pPermanent sSecretary of the Swedish Academy, who in announcing the award, likened Dylan to Homer and Sappho. Well, who knew? Asked by a reporter whether she thought Dylan really deserved a Nobel, Ms. Danius snapped, “Of course he does. He just got it.”
That remark may not get a prize. But it sure takes the cake.
Actually, the award to Dylan can be better understood as another poke in the eye for Uncle Sam. The last American to win the literature prize was Toni Morrison in 1993, and members of the Academy have openly scoffed at the value of contemporary American writing. You may or may not think that DeLillo or Oates or Philip Roth are significant authors, but they have all accumulated a serious body of work. At the least, they do not write subliterate sentences.
Two important poets died within a day of each other this past summer, Geoffrey Hill and Yves Bonnefoy. Neither got within a mile of the Nobel Prize; they were far too distinguished for that, and their reputations are the more secure for it. But that persons of literary standing have jumped on the Dylan bandwagon shows that the joke has gone too far. Literature at the highest level is one of the most challenging forms of human thought. To travesty it mocks the very idea of culture. Given a world already drowning in kitsch, we can ill afford to erase the distinction between good and bad altogether.
I’ve got nothing against balladeers, and it is a truism that much great art is based in popular tradition. Villon sang for his supper too. But there is no such thing as literature without standards of value, and to compare the author of tThe “Iliad” and tThe “Odyssey” to the songwriter of “Blowin’ in the Wind” and “The Times They Are A-Changin’” . . . well, the rest really is silence.
One point more. Prizes can be more or less harmless in their place. But no prize ever added a syllable of value to a single sentence ever written, and when the award sets itself up above the work, it’s time to close shop.
Arrivederci, Nobel.
|
|||||
correct_award_00067
|
FactBench
|
1
| 46
|
https://www.nobelprize.org/prizes/themes/the-nobel-prize-in-literature/
|
en
|
The Nobel Prize in Literature
|
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[
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] | null |
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The Nobel Prize in Literature
|
en
|
NobelPrize.org
|
https://www.nobelprize.org/prizes/themes/the-nobel-prize-in-literature
|
by Kjell Espmark*
Nobel’s will and the Literature Prize
Among the five prizes provided for in Alfred Nobel’s will (1895), one was intended for the person who, in the literary field, had produced “the most outstanding work in an ideal direction”. The Laureate should be determined by “the Academy in Stockholm”, which was specified by the statutes of the Nobel Foundation to mean the Swedish Academy. These statutes defined literature as “not only belles-lettres, but also other writings which, by virtue of their form and style, possess literary value”. At the same time, the restriction to works presented “during the preceding year” was softened: “older works” could be considered “if their significance has not become apparent until recently”. It was also stated that candidates must be nominated in writing by those entitled to do so before 1 February each year.
A special regulation gave the right of nomination to members of the Swedish Academy and other academies, institutions and societies similar to it in constitution and purpose, and to university teachers of aesthetics, literature and history. An emendation in 1949 specified the category of teachers: “professors of literature and philology at universities and university colleges”. The right to nominate was at the same time extended to previous Prize-winners and to “presidents of those societies of authors that are representative of the literary production in their respective countries”. The statutes also provided for a Nobel Committee “to give their opinion in matter of the award of the prizes” and for a Nobel Institute with a library which was to contain a substantial collection of mainly modern literature.
Accept the task? Discussion in the Swedish Academy
Two members of the Swedish Academy spoke strongly against accepting Nobel’s legacy, for fear that the obligation would detract from the Academy’s proper concerns and turn it into “a cosmopolitan tribunal of literature”. They could have added that the Academy, in doldrums at the time, was ill-equipped for the sensitive task. The permanent secretary, Carl David af Wirsén, replied that refusal would deprive “the great figures of continental literature” of an exceptional recognition, and conjured up the weighty reproach to be directed at the Academy if it failed to “acquire an influential position in world literature”. Besides, the task would not be foreign to the purposes of the Academy: proper knowledge of the best in the literature of other countries was necessary for an Academy that had to judge the literature of its own country. This effective argument, which won a qualified majority for acceptance, showed not only openness to Nobel’s far-reaching intentions, but also harbored Wirsén’s and his sympathizers’ ambition to seize the unexpetected possibilities in the field of the politics of culture, and to enjoy, as he wrote in a letter, “the enormous power and prestige that the Nobel will bequeaths to the Eighteen [members of the Academy]”.
Nobel’s guidelines and their interpretations: A short history
As guidelines for the distribution of the Literature Prize the Swedish Academy had the general requirement for all the prizes – the candidate should have bestowed “the greatest benefit on mankind” – and the special condition for literature, “in an ideal direction”. Both prescriptions are vague and the second, in particular, was to cause much discussion. What did Nobel actually mean by ideal? In fact, the history of the Literature Prize appears as a series of attempts to interpret an imprecisely worded will. The consecutive phases in that history reflect the changing sensibility of an Academy continuously renewing itself. The main source of knowledge of the principles and criteria applied is the annual reports which the Committee presented to the Academy (itself making part of that body). Also the correspondence between the members is often enlightening. There is an obstacle though: all Nobel information is to be secret for 50 years.
“A lofty and sound idealism” (1901-12)
The first stage, from 1901 to 1912, has the stamp of the secretary Carl David af Wirsén, who read Nobel’s “ideal” as “a lofty and sound idealism”. The set of criteria which resulted in Prizes to Bjørnstierne Bjørnson, Rudyard Kipling and Paul Heyse, but rejected Leo Tolstoy, Henrik Ibsen and Émile Zola, is characterized by its conservative idealism (a domestic variation of Hegelian philosophy), holding church, state and family sacred, and by its idealist aesthetics derived from Goethe’s and Hegel’s epoch (and codified by F.T. Fischer in the middle of the nineteenth century). Those standards had earlier been typical of Wirsén’s and the Academy’s struggle against the radical Scandinavian writers. Nobel’s testament gave Wirsén – called “the Don Quixote of Swedish romantic idealism” – the opportunity to carry his provincial campaign into the fields of international literature. This application was actually far from Nobel’s values: he certainly shared Wirsén’s disgust for writers like Zola, but was radically anticleric, adopting Shelley’s utopian idealism and religiously coloured spirit of revolt.
A policy of neutrality (World War I)
The next chapter in the history of the Literary Prize could be entitled “A Literary Policy of Neutrality”. The objectives laid down by the new chairman of the Academy’s Nobel Committee at the beginning of the First World War kept, on the whole, the belligerent powers outside, giving the small nations a chance. This policy partly explains the Scandinavian overrepresentation on the list. The Prizes to the Swede Verner von Heidenstam, the Danes Karl Gjellerup and Henrik Pontoppidan – one of the few cases of a shared Prize – and to the Norwegian Knut Hamsun still in 1920 are to be comprehended from this point of view.
“The great style” (the 1920s)
A third period, approximately coinciding with the 1920s, could be labeled “The Great Style”. This key concept in the reports of the Committee reveals the connections with Wirsén’s epoch and its traits of classicism. With such a standard the Academy was, of course, out of touch with what happened in contemporary literature. It could appreciate Thomas Mann‘s Buddenbrooks – a masterpiece “approaching the classical realism in Tolstoy” – but passed his Magic Mountain over in silence. By that time, however, the Academy had got rid of its narrow definition of “ideal direction”. In 1921 this stipulation of the will was interpreted more generously as “wide-hearted humanity”, which paved the way for writers like Anatole France and George Bernard Shaw, both inconceivable as Laureates – and, sure enough, rejected – at an earlier stage.
“Universal interest” (the 1930s)
In line with the requirement “the greatest benefit on mankind”, the Academy of the 1930s tried a new approach, equating this “mankind” with the immediate readership of the works in question. A report of its Committee stated “universal interest” as a criterion and the Academy decided on writers within everybody’s reach, from Sinclair Lewis to Pearl Buck, repudiating exclusive poets like Paul Valéry and Paul Claudel.
“The pioneers” (1946- )
Given a pause for renewal by the Second World War and inspired by its new secretary, Anders Österling, the post-war Academy finished this excursion into popular taste, focussing instead on what was called “the pioneers”. Like in the sciences, the Laureates were to be found among those who paved the way for new developments. In a way, this is another interpretation of the formula “the greatest benefit on mankind”: the perfect candidate was the one who had provided world literature with new possibilities in outlook and language.
In Österling’s epoch, the word “ideal” was deliberately taken in a still wider sense: the new list started with Hermann Hesse who, in the 1930s, had been rejected for “ethical anarchy” and lack of “plastic visuality and firmness” in his characters, words which echo Wirsén’s time. Later, the compatibility of Samuel Beckett‘s dark conception of the world with Nobel’s “ideal” was put to the test, one of the last occasions when this condition was central to the discussion. It is only at “the depths” that “pessimistic thought and poetry can work their miracles”, said Karl-Ragnar Gierow in his address, emphasising the deep sense of human worth and the life-giving force, nevertheless, in Beckett’s pessimism. The borderline of this generosity can be seen in the handling of Ezra Pound. He appealed to the Academy because of his “pioneering significance”, but was disqualified by his wartime applauding, on the Italian radio network, of the mass extermination of the East European Jews. Member Dag Hammarskjöld, in a representative way, concluded that “such a ‘subhuman’ reaction” excluded “a prize that is after all intended to lay weight on the ‘idealistic tendency’ of the recipient’s efforts”. (This repudiation did not prevent Hammarskjöld from negotiating, on the Academy’s commission, with the American authorities for Pound’s release from the mental hospital where he had been interned to be saved from a death penalty for treason.)
This new policy, at the same time more exclusive and more generous in its interpretation of the will, was actually meant to start with Valéry but he died in the summer of 1945. Instead we find, in 1946-50, the splendid series Hesse, André Gide, T.S. Eliot, and William Faulkner. In his address to the author of The Waste Land, Österling drew attention to “another pioneer work, which had a still more sensational effect on modern literature,” James Joyce’s Ulysses. With this reference to the greatest omission of the 1930s, he extended the 1948 acclaim of Eliot to cover also the dead master. The explicit concentration on innovators can, via the choices of Saint-John Perse in 1960 and Samuel Beckett in 1969, be traced up to recent years.
The criterion lost weight, however, as the heroic period of the international avant-garde turned into history and literary innovation became less ostentatious. Instead, the instruments pointed at the “pioneers” of specific linguistic areas. The 1988 Prize was awarded a writer who, from a Western point of view, rather administers the heritage from Flaubert and Thomas Mann. In the Arabic world, on the other hand, Naguib Mahfouz appears as the creator of its contemporary novel. The following Prize went to Camilo José Cela, who had, in an international perspective, modest claims to the title “pioneer”, but who was, in Spanish literature, the great innovator of post-war fiction. Still found among the innovators of certain linguistic areas is 2000 Laureate, Gao Xingjian, whose œuvre “has opened new paths for the Chinese novel drama”.
Attention to unknown masters (1978- )
Another policy, partly coinciding with the one just outlined, partly replacing it, is “the pragmatic consideration” worded by the new secretary, Lars Gyllensten, and, again, taking into account the “benefit” of the Prize. A growing number within the Academy wanted to call attention to important but unnoticed writers and literatures, thus giving the world audience masterpieces they would otherwise miss, and at the same time, giving an important writer due attention. We get glimpses of such arguments as far back as the choice of Rabindranath Tagore in 1913 but there was no programme until the early 1970s. The full emergence of this policy can be seen from 1978 and onwards, in the Prizes to Isaac Bashevis Singer, Odysseus Elytis, Elias Canetti, and Jaroslav Seifert. The criterion gives poetry a prominent place. In no other period were the poets so well provided for as in the years 1990-1996 when four of the seven prizes went to Octavio Paz, Derek Walcott, Seamus Heaney, and Wislawa Szymborska, all of them earlier unknown to the world audience.
“The literature of the whole world” (1986- )
A new policy, long on its way, had a breakthrough in the 1980s. Again, it was an attempt to understand and carry out Nobel’s intentions. His will had an international horizon, though it rejected any consideration for the nationality of the candidates: the most worthy should be chosen, “whether he be Scandinavian or not”. The problem of surveying the literature of the whole world was, however, overwhelming and for a long time the Academy was, with justice, to be criticized for making the award a European affair. Wirsén expressly confined himself, as we saw, to “the great figures of Continental literature”. In the 1920s it was certainly laid down that the prize was “intended for the literature of the whole world” but instruments to implement the idea were not available. In the 1930s, there were, on the whole, not even reasonable nominations from the Asiatic countries and the Academy had, at that time, not yet developed a scouting system of its own.
The Prize at last to Yasunari Kawabata in 1968 illustrates the exceptional difficulties in judging literature in non-European languages – this was a matter of seven years, involving four international experts. In 1984, however, Gyllensten declared that attention to non-European writers was gradually increasing in the Academy; attempts were being made “to achieve a global distribution”. This includes measures to strengthen the competence for the international task.
The picture of the Academy’s Eurocentric policy was also significantly altered by the choices of Wole Soyinka from Nigeria in 1986 and Naguib Mahfouz from Egypt in 1988. Later practice shows the extension to Nadine Gordimer from South Africa, to Kenzaburo Oe from Japan, to Derek Walcott from St. Lucia in the West Indies, to Toni Morrison, the first Afro-American on the list, and to Gao Xingjian, the first laureate to write in Chinese. It is, however, important that nationality is not involved in the discussion. It has sometimes been suggested that the Academy should first decide upon a neglected language and then seek out the best candidate in it. Doing so would amount to politization of the Prize. Instead, efforts are being made to widen the horizon so that, in the course of the normal process of judgement, it is possible to weigh sometimes a prominent Nigerian dramatist and poet, sometimes an Egyptian novelist, against candidates from closer parts of the linguistic atlas – with all such evaluations continuing to be made on literary grounds. Critics have quite often neglected the Academy’s striving for political integrity. Naturally, an international prize can have political effects but it must not, according to this jury, carry any political intention.
The criteria discussed sometimes alternate, sometimes coincide. The spotlight on the unknown master Canetti in 1981 is thus followed by the laurel to the universally hailed “pioneer” of magic realism, Gabriel García Márquez, in 1982. Some Laureates answer both requirements, like Faulkner, who was not only “the great experimentalist among twentieth-century novelists” – the Academy was here fortunate enough to anticipate Faulkner’s enormous importance to later fiction – but also, in 1950, a fairly unknown writer. On this occasion, the Prize, for once, could help a great innovator outside the limelight to reach his potential disciples as well as his due audience. The surprising Prize to Dario Fo in 1997 can also be said to have a double address: it was given to a genre which had earlier been left out in the cold but also to the brilliant innovator of that genre.
The prize becoming a literary prize
The more and more generous interpretation of the formula “in an ideal direction” continued in the 1980s and the 1990s. Academy Secretary Lars Gyllensten pointed out that nowadays the expression “is not taken too literally… It is realized that on the whole the serious literature that is worthy of a prize furthers knowledge of man and his condition and endeavours to enrich and improve his life”. Cela’s candidature, again, put the principle to the test. His dark conception of the world posed the same problem as Beckett’s, and provoked a similar solution. The Prize was given “for a rich and intense prose, which with restrained compassion forms a challenging vision of man’s vulnerability”. As Knut Ahnlund said in his address, Cela’s work “in no way lacks sympathy or common human feeling, unless we demand that those sentiments should be expressed in the simplest possible way”. In this “unless” we glimpse the repudiation, implicit in recent practice, of the early narrow interpretation of the will. The Nobel Prize in Literature has gradually become a literary prize. One of the few reminiscences of the “ideal direction” policy of the earlier age is the homage paid to those great artistic achievements that are characterized by uncompromising “integrity” in the depiction of the human predicament (cf. below).
International neglect of the change of standards
International criticism of the Literature Prize has usually treated the Academy’s practice during the first century of the Prize as a whole, overlooking the differences in outlook and criteria between the various periods, even neglecting the continuous renewal which makes the Academy of, say, 1950 a jury much different from Wirsén’s.
As to the early prizes, the censure of bad choices and blatant omissions is often justified. Tolstoy, Ibsen and Henry James should have been rewarded instead of, for instance, Sully Prudhomme, Eucken and Heyse. The Academy which got this exacting commission was simply not fit for the task. It was deliberately formed as “a bulwark” against the new radical literature in Sweden and much too conservative in outlook and taste to be an international literary jury. It was not until the 1940s – with Anders Österling as secretary – that the Academy, considerably rejuvenated, had the competence to address the major writers of, in the first place, the Western World. On the whole, criticism of its postwar practice has also been much more appreciative. Objections in recent times have less often been levelled against literary quality, rather referred, mistakenly, to political intentions. Also blame for eurocentricity was common, in particular from Asiatic quarters, up to the choices of Soyinka and Mahfouz in the 1980s.
Special articles
Nomination
In the first year, the number of nominations was 25. In the early time of the Prize the members of the Swedish Academy were reluctant to use their right to nominate candidates. Impartiality suggested that proposals should come from outside. As no one abroad nominated Tolstoy in 1901, the self-evident candidate of the time fell outside the discussion. The omission caused a strong reaction from Swedish writers and artists who sent an address to Tolstoy – who answered by declining any future prize. During the First World War the number of nominations decreased, to fall to twelve in 1919, compared with 28 in 1913. This wartime slackening of initiative from the outside world induced the Academy to make use of its right to propose. In 1916 the Committee members themselves put forward five names. In recent times, members of the Committee – but also other members of the Academy – regularly add their nominations to the outside names to make the list as comprehensive and representative as possible. The number of nominations has towards the end of the century been about – and even substantially surpassed – 200.
The Nobel committee
The Nobel Committee is a working unit of 3-5, chosen within the Swedish Academy, (with a rare additional member from outside). Its task is to examine the proposals made and study all relevant literary material to select the candidates to be considered by the Academy. Formerly the Committee presented only one name for the decision of the Academy, which usually confirmed the choice of its Committee. (There are exceptions though: the Academy preferred Tagore in 1913 and Henri Bergson in 1927.) From the 1970s and onwards, the members of the Committee have presented individual reports, which enables the Academy to weigh the different opinions and consequently gives it a greater influence.
The Committee’s first task is to trim down “the long list” nowadays about 200 names of to some 15, which are presented to the Academy in April. Towards the end of May, this “half-long list” is condensed to a “short list” of five names. The œuvres of these finalists make up the Academy’s summer readings. At its first reunion in the middle of September, the discussion immediately starts, to end in a decision about a month later. Naturally, the whole production of five writers would be too heavy a workload for a couple of months but most names of the previous short list return the current year, which makes the task more reasonable. It should be added that in recent times a first-year candidate will not be taken to a prize the same year. In the background looms one of the main failures, Pearl Buck, the Laureate of 1938. A first-year candidate, she was launched by a Committee minority as late as 19 September, to win the contest a short time afterwards, without due consideration.
The chairman of the Committee has usually been identical with the Academy’s permanent secretary, with some displacement at transitional stages. Thus, Carl David af Wirsén was chairman in 1900-1912, Per Hallström (secretary from 1931) in 1922-1946, Anders Österling (secretary from 1941) in 1947-1970, Karl-Ragnar Gierow (secretary from 1964) in 1970-1980, and Lars Gyllensten (secretary from 1977) in 1981-1987. An exceptional period is in 1913-1921 when the historian, Harald Hjärne wrote the reports. In 1986, when Sture Allén became secretary, Gyllensten remained as chairman, to be succeeded by Kjell Espmark in 1988. Since 1986 the tasks have thus been divided between secretary and chairman.
“Ideal” – A textual examination
As was shown by Sture Allén, the adjective “ideal” referring to an ideal was used by several of Nobel’s contemporaries; one of them was Strindberg. However, the word is, he found, an amendment made by Nobel in his handwritten will. He seems to have written “idealirad”, with “idealiserad” (idealized) in mind, but checked himself in front of the reference to embellishment in this word for upliftment and wrote “sk” over the final letters “rad”, thus ending in the disputed word “idealisk”. Allén concluded that Nobel actually meant “in a direction towards an ideal”, and specified the sphere of the ideal by the general criterion for all the Nobel Prizes: they are addressed to those who “shall have conferred the greatest benefit on mankind”. “This means, for instance”, Allén added, “that writings, however brilliant, that advocate, say, genocide, will not comply with the will.”
Shared prize
The Nobel Prize for Literature can be divided between two – but not three – candidates. However, the Swedish Academy has been restrictive on this point. Divisions are liable to be regarded as – and sometimes are – the result of compromise. That was the case with Frédéric Mistral and José Echegaray in 1904 and with Karl Gjellerup and Henrik Pontoppidan in 1916. A shared prize also runs the risk of being viewed as only half a laurel. Later divisions are exceptional, the only cases being the shared Prizes to Shmuel Yosef Agnon and Nelly Sachs in 1966 and to Eyvind Johnson and Harry Martinson in 1974. In the 1970s a policy was laid down, stating (1) that each of the two candidates must alone be worthy of the Prize and (2) that there must be some community between them justifying the procedure. The latter requirement no doubt offers a real obstacle for divisions.
Competence for the international task
In the Swedish Academy, linguistic competence has, as a rule, been high. French, English, and German have posed no problems and several members have been excellent translators from Italian and Spanish. Also noted Orientalists have found a place in the Academy. One of them (Esaias Tegnér, Jr.) could have read Tagore in Bengali (but in fact contented himself with the author’s own English translation of Gitanjali), another (H. S. Nyberg) could report on Arabic literature. In 1985 Göran Malmqvist, one of the West’s foremost experts on modern Chinese literature, became a member. The present Academy includes competence also in Russian. Above all, however, the area of scrutiny has been extended by means of specialists in the various fields. Where translations into English, French, German or the Scandinavian languages are missing, special translations can also be procured. In several cases such exclusive versions – with no more than eighteen readers – have played an important role in the recent work of the Academy.
“Political integrity”
The Literary Prize has often, in particular during the cold war, given rise to discussion of its political implications. The Swedish Academy, for its part, has on many occasions expressed a desire to stand apart from political antagonisms. The guiding principle, in Lars Gyllensten’s words, has been “political integrity”. This has quite often not been understood. Especially in the East it has been hard to grasp the Swedish Academy’s autonomous position vis-à-vis state and government. In fact, the Academy does not receive any subsidy from the state, nor would it accept any interference in its work. The government, in its turn, is quite happy to stand outside the delicate Nobel matters.
Naturally, there is a political aspect of any international literary prize. It is, however, necessary to make a distinction between political effects and political intentions. The former are unavoidable – and often unpredictable. The latter are expressly banned by the Academy. The distinction, as well as the autonomy of the Academy, can be illustrated by the prehistory of the Prize to Solzhenitsyn. Considering the sad consequences for Pasternak of his Prize, the secretary Karl-Ragnar Gierow took the unusual step of writing to the Swedish ambassador to Moscow, Gunnar Jarring, to gain some idea of Solzhenitsyn’s position, stressing that the question related, of course, only to what might “happen to him personally.” On this point, Mr. Jarring could give a reassuring answer (which proved not to be prophetic). But he also had another message. He wanted to postpone the decision, specifying, in a letter to Österling, that a prize to Solzhenitsyn “would lead to difficulties for our relations with the Soviet Union”. He received the reply: “Yes, that could well be so, but we are agreed that Solzhenitsyn is the most deserving candidate.” This exchange illuminates a fundamental fact: the Academy has no regard for what may or may not be desirable in the eyes of the Swedish Foreign Office. Its unconventional inquiry was concerned solely with the likely effects of the decision for the candidate personally. However, the exchange also offers a good example of the way in which a likely political effect may be taken into account – not, of course, that the Academy intended the possible disturbance in Soviet relations, but that it was aware of the risk and chose to take it.
The history of the Literary Prize offers a case where this delicate balance was endangered, the prize to Winston Churchill. When the decision was taken in 1953, after many years of discussion, it was felt that a sufficient distance from the candidate’s wartime exploits had been gained, making it possible for a Prize to him to be generally understood as a literary award. The reaction from many quarters showed that this was quite a vain hope.
Now, there can be no doubt that the Committee and the Academy attributed exceptional literary merits to Churchill the historian and the orator. They certainly concurred in the address to the Laureate, “a Caesar who also had the gift of wielding Cicero’s stylus”. The problem was how this Caesar, a mere eight years after the war, could be mentally separated from the Ciceronian prose. After all, Churchill was not only the winner of World War II but prime minister and leader of one of the key powers in the cold war world. It can be asked if any of the Academy’s choices has put its political integrity at such risk. At any rate, one well-known conclusion was drawn: ever since, candidates with governmental positions, such as André Malraux and Léopold Senghor, have been consistently ruled out.
During the last decades there is one seeming case of a “political” Prize, the award to Czeslaw Milosz. “Has Milosz been given the 1980 Prize because Poland is politically in fashion?” asked Der Tagesspiegel and many other newspapers joined in. The suspicions did not account for the time involved in each nominee’s candidacy. As was disclosed by a member, Artur Lundkvist, Milosz had been on the list for three or four years and had been shortlisted in May 1980 – in other words, long before the Danzig strike. The strike caused several members to hesitate, said Lundkvist, but he added that it would have been equally impossible to drop Milosz because of the events in Poland.
His argument no doubt reflects the opinion within the Academy. This jury realizes not only the damage that a political choice would inflict on the Prize; the integrity of the award could be jeopardised also by a non-choice in a delicate situation. Still, Milosz was a dissident, and so were Jaroslav Seifert and Joseph Brodsky, the Laureates of 1984 and 1987. These choices all caused great irritation in the East. There one failed to see that the Academy’s overriding concern was literary. The pronouncements of the secretary repeatedly stressed the existential dimensions of these great contemporary poets, values corresponding to the humanistic traditions of the Literary Prize. From that point of view it is essential that Milosz’s political defection be thus formulated by Gyllensten (after a reminder of how during the cold war the political climate had altered in a Stalinist direction): “With his uncompromising demand for artistic integrity and human freedom, Milosz could no longer support the regime”. Uncompromising integrity and a call to rally round human values – these are qualities that the Swedish Academy, following the spirit of Nobel’s will, has again and again sought in combination with great artistic achievement. And just as repeatedly, this mode of evaluation has collided with Marxist/Leninist aesthetics, which interprets such a focus as mere camouflage for political intentions.
The process of judgement, while “primarily a literary matter”, does not, of course, prevent subsidiary evaluations from gradually forming a pattern. Such a pattern is apparent in the sequence Singer-Milosz-Canetti-Seifert. At first sight one could see here what a newspaper headline proclaimed about the choice of Seifert: “The Swedish Academy Greets Central Europe.” It is, however, not a question of some politically defined region or some third way in the tug-of-war between East and West. It is rather a question of authors who with great personal integrity have given voice to an old culture that has either been swept aside by oppressors or whose continued existence was severely threatened. In the difficult area of Central Europe, a number of authors have emerged, speaking, out of their sorely tested experience, on behalf of the basic human values – this in keeping with the humanistic tradition of the Nobel Prize. Such a pattern, though, reveals only part of the truth. The Prize is in the end not given to an attitude toward life, to a set of cultural roots, or to the substance of a commitment; the Prize has been rewarded so as to honour the unique artistic power by which this human experience has been shaped into literature.
International criticism of the literature prize
The history of the Literature Prize is also the history of its reception in the press and in other media. Apart from overlooking the changes in outlooks and criteria within the Swedish Academy, international criticism has tended to neglect the crowd of likely names around the Prize a specific year. Thus, Graham Greene was a celebrated candidate towards 1970 and the Academy was criticized for passing him over. But the 1969 Prize went to Samuel Beckett and the 1970 Prize to Aleksandr Solzhenitsyn, both most worthy candidates. Quite rightly, an international inquiry by Books Abroad in 1951, directed to 350 specialists, came to the conclusion that the first fifty years of the Prize contained 150 “necessary” candidates. The Academy cannot have the ambition to crown all worthy writers. What it cannot afford is giving Nobel’s laurel to a minor talent. Its practice during the last full half-century has also largely escaped criticism on that point. Even the inquiry of 1951 found that two-thirds of the prizes during the first half-century were fully justified – “a fairly decent testimonial”, as Österling commented. The second half-century as liable to get a still better mark.
As was mentioned above, criticism of omissions and bad choices was often justified as to the early period of the Prize. The Academy headed by Wirsén made only one choice to get general acclaim by posterity – Rudyard Kipling, and then for qualities other than those that have shown themselves to be lasting. The score of the 1910s and the 1920s was better: Gerhart Hauptmann, Tagore, France, Yeats, Shaw, and Mann have been found worthy in several appraisals. The results of the period 1930-1939 are poorer. Two choices have widely been regarded as splendid: Luigi Pirandello in 1934 and Eugene O’Neill in 1936. But the period offers several laureates justly judged as mediocre – and they conceal as many cases of neglect: Virginia Woolf ought to have been rewarded instead of Pearl Buck, and so on. The Academy of the inter-war years quite simply lacked the necessary tools to evaluate one of the most dynamic periods in Western literature. The post-war Academy has in a quite different manner fulfilled the expectations of serious criticism. The Österling Academy’s investment in the pioneers has received due recognition in many favorable assessments. Names like Gide, Eliot, Faulkner, Hemingway, and Beckett have won general acclaim. Some names less known to an international audience, like Jiménez, Laxness, Quasimodo, and Andric, have attracted criticism as insignificant, but been classified by experts as discoveries.
Sometimes the complaints about omissions have been anachronistic. Among those missing, critics have found Proust, Kafka, Rilke, Musil, Cavafy, Mandelstam, García Lorca, and Pessoa. This list, if it had any chronological justification, would undeniably suggest serious failure. But the main works of Kafka, Cavafy, and Pessoa were not published until after their deaths and the true dimensions of Mandelstam’s poetry were revealed above all in the unpublished poems that his wife saved from extinction and gave to the world long after he had perished in his Siberian exile. In the other cases there was much too brief a period of time between the publication of the author’s most deserving work and his death for a prize to have been possible. Thus, Proust achieved notoriety in 1919 by the Goncourt Prize for the second part of À la recherche du temps perdu but less than three years later he was dead. The same short time of reaction was offered by Rilke’s Duineser Elegien and García Lorca’s plays. Musil’s significance did not appear outside a narrow circle of connoisseurs until more than a decade after his death in 1942. He belonged, as was pointed out by a critic (Theodor Ziolkowski), to the category of authors who “on closer examination … exclude themselves.”
Epilogue: At the turn of the century
The last literary Nobel Prize of the twentieth century was awarded to Günter Grass, “whose frolicsome black fables portray the forgotten face of history”. The choice won general acclaim but the moment was called in question. Why not three decades ago when Grass was at the summit of his craft? And why just now?
The first question takes us back to the situation around 1970 when Böll and Grass were both hot names. When the laurel was given to Böll in 1972 the citation recalled his contribution “to a renewal of German literature”. The word had, however, a special meaning here. As was clarified in Gierow’s speech to the Laureate “the renewal” was “not an experiment with form” but “a rebirth out of annihilation”, “a resurrection” of a ravaged culture “to the joy and benefit of us all”: “Such was the kind of work Alfred Nobel wished his prize to reward.” This meant that the foremost representative of a moral renaissance from the ruins of the Third Reich was preferred, with a direct appeal to Nobel’s intentions, to the country’s foremost representative of what was an artistic renewal. The choice took Grass out of focus for many years, and allowed for a discussion of a downward trend in his craft. It remained for the rejuvenated Academy of the nineties to take up the issue again. Several of its new members might have chosen Grass instead of Böll in 1972. As to the alleged decline of Grass’s art, the presentation at the announcement certainly called special attention to The Tin Drum and the Danzig trilogy it makes part of, but refused to share the politically biased German view of Ein weites Feld. “We just read the book and it is goddam good”, as the permanent secretary Horace Engdahl declared.
Also the second question – why just now? – can be answered. The citation recalls the fabulous historian, with a view to the forgotten face of history. Without neglecting works like The Flounder, beginning at the dawn of history, the jury naturally focussed upon the great recreator of the century just about to end. Grass is, in the secretary’s words, “one of the really important writers investigating and explaining the twentieth century to us”; giving him the last prize of the century was “an easy decision”. In other words, the choice long due found its perfect moment at the very end of the period that Grass had summed up in his incomparable way.
Grass’s stronger position in recent years is, of course, also due to the growing understanding of his role as a source of energy in literature. In 1972 he was still a solitary master. In recent years he has been hailed as a precursor by writers such as Salman Rushdie, Nadine Gordimer, Gabriel García Márquez, Antonio Lobo Antunes, and Kenzaburo Oe. Grass has found his place among the “pioneers”.
This choice at the end of the century has, however, also another purport. The Prizes to Hesse, Gide, Eliot, and Faulkner introduced a half-century of new competence for the difficult mission. The 1999 Prize is an indication of how far the jury has managed to make the Prize for Literature a literary award. The reference to moral values at the expense of experimental art in 1972 would be hard to imagine in the present Academy. We also notice the explicit disregard of the political implications that made Grass’s last novel an apple of discord in his country. The Literary Prize has made an instructive journey since 1901. At the beginning of the new century it has become the Literary Prize that its name announces.
Bibliography
Espmark, K., The Nobel Prize in Literature. A Study of the Criteria behind the Choices. G.K. Hall & Co, Boston 1991.
* Published as a chapter of The Nobel Prize: The First 100 Years, Agneta Wallin Levinovitz and Nils Ringertz, eds., Imperial College Press and World Scientific Publishing Co. Pte. Ltd., 2001.
Kjell Espmark (b. 1930) is a poet, a novelist, and a literary historian. He was professor in comparative Literature at the University of Stockholm 1978-1995, became a member of the Swedish Academy in 1981 and the chairman of its Nobel Committee in 1988. His poetry can be read in a dozen languages, including English: Béla Bartók against the Third Reich (1985), Route Tournante (1993), and Five Swedish Poets (1997). The first in a series of seven novels, Glömskans tid (“The Age of Oblivion”, 1987-1997, is available in French (L´Oubli, 1990) and Italian (L´Oblio, 1998). The best-known of his seven books of criticism (including studies of Harry Martinsson, Tomas Tranströmer, and the tradition from Baudelaire) is The Nobel Prize in Literature, A Study of the Criteria behind the choices (1986; in English in 1991); it can also be read in French, German, Greek, and Chinese.
First published 3 December 1999
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correct_award_00067
|
FactBench
|
1
| 11
|
https://www.theguardian.com/theguardian/2013/oct/19/odysseus-wanderings-nobel-archive-1979
|
en
|
From the archive, 19 October 1979: The wanderings of Odysseus
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[
"Guardian staff",
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2013-10-19T00:00:00
|
<p><strong>Originally published in the Guardian on 19 October 1979:</strong> Odysseus Elytis, 68, who was yesterday awarded the Nobel Prize for literature, can hardly be called a name to conjure with</p>
|
en
|
the Guardian
|
https://www.theguardian.com/theguardian/2013/oct/19/odysseus-wanderings-nobel-archive-1979
|
YIVA WIGH IN ATHENS
Odysseus Elytis, 68, who was yesterday awarded the Nobel Prize for literature, can hardly be called a name to conjure with. Although critics have called him the foremost poet of Greece, he has, he says, spent most of the last 20 years turning down literary awards and honours.
"As time passes I become more frightened of the glare of publicity. I even get a strange feeling when I see my books in a shop-window. What do you want of me? I try to avoid the limelight. That's why many people think I have no ambition or aspirations. But that's not so. I do have some aspirations, it's just that I don't get any pleasure out of public applause. "My ambition is simply that young people be able to turn to my books when they feel lonely. This sort of indirect personal contact, provided it is lasting, is what I consider all-important. For me poetry is a war against time and decay. I wage this war alone in my flat, and that's how I find satisfaction whether or not I win. In a materialist age which values quantity above quality, I regard poetry as the only thing that can preserve man's spiritual integrity."
He received the Greek national prize for literature two decades ago: when he heard a few days ago that he might be offered the Nobel Prize he admitted that he would be neither able nor willing to turn it down: the award would be an honour not just for himself but for his country. The themes of his work are taken from aspects of Greek nature – the islands, the sea, the sky, the mountains, the flowers and above all the sunlight. He is the first Greek poet to make the sun a central theme of his poetry: hence his nickname Iliopolis Elytis – Elytis the sun-drinker.
But his poetry is much more than a homage to nature. Natural phenomena are the vehicles for other messages. Elytis has tried to distil the essence of what is truly and peculiarly Greek in Greek history and literature from Homer to the present day. He has taken a close interest in the Greek language itself.
Elytis was born on Crete, the youngest of six brothers and sisters (the family originally came from Lesbos). When he was three, they moved to Athens where his father and an uncle established a soap factory. Since the family name Alepoudelis was thereafter always associated with this factory, Odysseus changed his name to Elytis. He lives in a small two-roomed flat in the centre of Athens. He sleeps by day and works at night. It might seem strange that the poet whose nickname is Sun-drinker produces his work at night. But etched in his mind are the pictures which he brings back from his long summer voyages over the sun-drenched Aegean Sea.
Click here to read the full article
These archive extracts, compiled by the Guardian's research and information department, appear online daily at gu.com/fromthearchive
|
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correct_award_00067
|
FactBench
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1
| 4
|
https://en.wikipedia.org/wiki/1979_Nobel_Prize_in_Literature
|
en
|
1979 Nobel Prize in Literature
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en
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https://en.wikipedia.org/wiki/1979_Nobel_Prize_in_Literature
|
Award
Award
1979 Nobel Prize in LiteratureOdysseas ElytisDate
18 October 1979 ( ) (announcement)
10 December 1979
(ceremony)
LocationStockholm, SwedenPresented bySwedish AcademyFirst awarded1901WebsiteOfficial website
← 1978 · Nobel Prize in Literature · 1980 →
The 1979 Nobel Prize in Literature was awarded to the Greek poet Odysseas Elytis (1911–1996) "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness."[1][2] He is the second Greek recipient of the literature prize after another poet Giorgos Seferis in 1963.[3][4]
Laureate[edit]
Main article: Odysseas Elytis
Influences of surrealism meet traditional Greek literature in the poetry of Odysseas Eytis. Most of his poems celebrates light, the sun, his native country's historic ruins, the blue sea, and the rocky terrain of Greece. Elytis' experiences during World War II introduced a darker element and tone into his poetic world. One of his most prominent works is Άξιον Εστί ("It Is Worthy", 1959), in which poetry and prose intermingle as in old Byzantine liturgy. His other significant oeuvres include Έξη και μια τύψεις για τον ουρανό ("Six Plus One Remorses For The Sky", 1960), Ο ήλιος ο ηλιάτορας ("The Sovereign Sun", 1971), Τα Ρω του Έρωτα ("The Trills of Love", 1973).[3][5][6]
References[edit]
[edit]
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correct_award_00067
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FactBench
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1
| 50
|
https://theygirl.home.blog/
|
en
|
theygirl
|
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2018-11-10T03:07:17+00:00
|
en
|
https://s1.wp.com/i/favicon.ico
|
theygirl
|
https://theygirl.home.blog/
|
I recently came across a song called “Fever” by The Tragic Thrills and instantly loved its first few lines because it reminded me of my favourite TV character: Carrie Bradshaw. Carrie, although just a fictional character has influenced and inspired me to start writing and most of all, follow my dreams.
That is until the third line where Carrie’s figure in my mind was suddenly replaced by mine. Carrie never for once doubted that she isn’t going to succeed in what she loves, she never for once thought that she wouldn’t become a writer, an artist. Yet I have.
This song not only revealed my doubts but also helped me realize that I should stop doubting myself, my potential and finally believe in my “fever”, in my passion for writing and in myself. I’ve finally found a goal that I want to achieve with all my heart. I know that I will have to work hard for it, but that is what I love about it. I will have to work hard for something I love and when you love something the journey toward achieving it is the sweetest part. I have the potential to make it and I might as well use it.
“Sweet, sweet girl dreamed someday she’ll be a writer
Swore she’d never give up on her sole desire
But leaps of faith turned to shot in the darkness
Until she told herself that she’ll never be an artist”
https://open.spotify.com/embed?uri=spotify%3Atrack%3A38wPKgEMUxuBicuvsN9o9c
This song has also inspired me to write the following:
“I want someone to believe in me. To believe in my fever. Someone to be there for me and support even the silliest idea of mine. Someone who will trigger my creativity and let me be myself. Someone who will be proud of me and what I do.
I want a lover.
Not just a lover, but a friend.
A friend who will be there to cheer me up when my ideas fail. Someone who will boost my confidence and believe I have potential. Someone who will love me no matter what. Someone who has dreams of themselves and who will let me be part of them. Someone with whom I can share my thoughts without feeling uncomfortable and scared of what they would think.
I want someone who gets me.”
Yet believe me that the first person that should believe in you, should be YOU.
Don’t push yourself too hard. Set your limits. A limitless mind is an insane person’s mind, the mother of anxiety itself. Yes, you want to be a lot of things, yes sometimes you have to push yourself to achieve everything you crave- but to its LIMITS. Set goals, construct a hierarchy of priorities. A small set at a time. Do not allow yourself to get lost in incumbencies that you have created for yourself. Enjoy your every day, every minute, every second. Your demons are your enemies and you are the only one who can control them. Hence, your only enemy is merely YOURSELF.
Stand up, make a plan- not a life plan-, a day plan. Stop worrying about tomorrow and take a look at TODAY. What makes you feel happy? Do that. Is it hanging out with or talking to your friends? Is it watching a movie? Is it studying a book you never seem to find time to finish? Is it studying because it is what you love and what is going to secure your future? That last one, do it with love, passion, devotion, and peacefulness. Stop thinking about deadlines and start enjoying what you are doing and believe me that when you do that it is going to feel right because it will be right. Stop saying “what if I don’t” and start saying “what if I do”. Think and dream positive. Do not fly on cloud 9 but get cloud 9 down here with you and help it lift you up.
Stop comparing yourself to others, yet look at their success and be inspired. There are no antagonists in life. Your true antagonist is yourself. Stop fighting it and start enriching and embracing it. I know that it is easier said than done and I myself, I admit that I have reached that stage but not in its full potential, yet those moments I did, those seconds, were the best of my entire 19 years. I repeatedly drag cloud 9 close to me, I help it lift me up to some point and then fall again, and then again I drag it down and fall again and again and again, but I will never stop until I find a way which will make every time I fall better and easier to get up. The more times you fall the better you learn how to stand up, lift yourself up and each time quicker than ever. That “quickness” is what we should all be aiming at and the only way to achieve it is through falling and failing again and again.
Dedicated to all those who are feeling lost right now. We’re in the same shoes. And I hope that by reading this you will find the strength and motives to get up again as I did by writing it.
A quote from “Paradise Lost”, by John Milton, I came across yesterday and which inspired me and helped me feel the ground under feet again.
“The mind is its own place, and in itself
Can make a Heaven of Hell, a Hell of heaven”
Thanks to @orionvanessa ( on Instagram ) I came across it and allow me to quote what she wrote in her description of this particular extract by John Milton: “…A reminder that we create the demons within us and that we are in control. As humans do, we overthink and turn our inner musings into a hell of its own. A Milton reminder that you are not alone.”
I hope that everyone reading this will relate it to their own particular state and use it as a map to get back on their own unique path leading to their aspirations.
Unapologetically herself,
TheYGirl
To choose a career path in your life is probably one of the biggest decisions you will ever have to make, and one that will unquestionably determine your future. From a very young age, we are asked by friends and family in our close environment “what is it that we want to become when we grow up”, and the most determined of us may answer with something like “I want to become a teacher, pilot, doctor, astronaut or maybe a psychiatrist” and some of us have absolutely no clue.
Almost three years ago (cannot believe how fast time flew by) I had to make the most crucial decision of my entire nineteen years of life; choose what I want to study, or in other words “what and mostly who I want to be”. When I was little I wanted to become so many things when I would grow up. At some point, I wanted to become a detective. At another point, an archeologist and much more. Yet one particular career would never leave my mind; that of a psychologist. I’ve always been concerned with the way people think, act and react and the science of it. So in my last year two years of High School, I had set my goal; become a psychologist. It was something new to me that held much mystery which as it turned out blinded me and so I could not see what was right in front of me; English.
I’ve always loved English and always had dreams of going to the US and having my own New York apartment, a job and be part of two cultures; Greek and American. That was and still is my priority goal in life and that is why the very last minute I had to choose the subject of my studies I changed my mind. I closed my eyes and fantasized myself as a psychologist which gave me a “gray” kind of vibe; yet when I fantasized myself studying English I saw the most vibrant rainbow I had ever seen in my life. Sounds cheesy, I know. That, of course, does not mean that my love for Psychology has faded; not at all – it just seemed that English could open more doors for me, through which I could finally find my way towards my goals.
So, here I am now, studying English and being offered subjects in Psychology as well, not having regretted a single second of the moment I changed my mind and chose what suits me better; English and its many opportunities to combine whatever I love doing.
I could never and still aren’t able to wrap my head around the idea that you have to choose a job and stick to it. To me occupying yourself with just one thing is not enough; it has to transform things I am passionate about into a perfectly put together collage.
Learning English in depth has helped me come to the realization of how much I appreciate the beauty of literature and the mystery and complexity of linguistics, which I want to pursue, and has also let me in the English and American culture which I so much devour. It has given me more than I had ever imagined and I hope that one day I will give back to it.
Unapologetically herself,
TheYGirl
I met my first love a few years ago and not a long time ago we broke up for the third time. Since then various thoughts have been whirling around my head. I don’t think that I can be attracted to anyone at the moment and it seems like until I find someone else I will still feel kind of attached, not really to him, but to his ideal self in our ideal relationship, which is something that has got me contemplating.
In the end, is it true what they say about break-ups?
That after getting back from the second break-up with someone more are going to follow? Could there possibly be a third or even fourth chance to get together with someone again?
And is it true what they say about lovers?
Do we only meet two big loves in our lives?
And do we eventually end up with our first love?
I certainly would not want that.
I am anticipating that second love with whom I wish a second or third chance won’t be necessary.
Unapologetically herself,
TheYGirl
|
|||||
correct_award_00067
|
FactBench
|
2
| 72
|
https://www.alamy.com/stock-photo/nobel-prize-winner-1979.html
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en
|
res stock photography and images
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Find the perfect nobel prize winner 1979 stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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en
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Alamy
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https://www.alamy.com/stock-photo/nobel-prize-winner-1979.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 25/07/2024 Alamy Ltd. All rights reserved.
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|||||
correct_award_00067
|
FactBench
|
0
| 84
|
https://www.kennys.ie/literature/the-axion-esti
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en
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The Axion Esti
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Usually ships in 4 to 8 working days
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|||||
correct_award_00067
|
FactBench
|
3
| 86
|
http://www.patrickcomerford.com/2023/07/a-poem-by-odysseas-elytis-that-mikis.html
|
en
|
Patrick Comerford: A poem by Odysseas Elytis that Mikis Theodorakis made an anthem for all Greeks
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[] |
[] |
[
""
] | null |
[
"Patrick Comerford"
] | null |
‘Do not, please, I beg you, / do not forget my home’ … flowers among the stones in a side street in Iraklion (Photograph: Patrick Comerford)...
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en
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http://www.patrickcomerford.com/favicon.ico
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http://www.patrickcomerford.com/2023/07/a-poem-by-odysseas-elytis-that-mikis.html
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correct_award_00067
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FactBench
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3
| 90
|
https://www.linkedin.com/pulse/one-knows-you-kiss-odysseas-elytis-greek-poet-winner-1979-saridakis
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en
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"No one knows you as the kiss knows you" Odysseas Elytis, Greek poet and winner of the 1979 Nobel Prize for Literature.
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https://media.licdn.com/dms/image/C5612AQHzVrLHHZrmvw/article-cover_image-shrink_600_2000/0/1520056900809?e=2147483647&v=beta&t=CwIAk9oaHAYv-LTp3efp2jkNbwLVEOtY63gwxU4YXgY
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https://media.licdn.com/dms/image/C5612AQHzVrLHHZrmvw/article-cover_image-shrink_600_2000/0/1520056900809?e=2147483647&v=beta&t=CwIAk9oaHAYv-LTp3efp2jkNbwLVEOtY63gwxU4YXgY
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[
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] |
[] |
[] |
[
""
] | null |
[
"Constantine Saridakis"
] |
2015-12-18T15:35:12+00:00
|
The Orange Girl (poem) She became so intoxicated by the sun’s juice That she bowed her head and consented Slowly slowly to become: the little Orange Girl ! And so while the seven skies glittered with blue And so while the crystals touched a fire And so while swallow-tails flashed Angels above were b
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en
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/pulse/one-knows-you-kiss-odysseas-elytis-greek-poet-winner-1979-saridakis
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The Orange Girl (poem)
She became so intoxicated by the sun’s juice
That she bowed her head and consented
Slowly slowly to become: the little Orange Girl !
And so while the seven skies glittered with blue
And so while the crystals touched a fire
And so while swallow-tails flashed
Angels above were bewildered and girls below
Storks above were bewildered and peacocks below
And all gathered together and saw her together
And all together called her: the little Orange Girl !
Vineshoots and scorpions reel drunkenly the whole world is drunk
But the sting of dawn will not leave pain alone
The dwarf heron says it amid the earthworms
The drip-drop of water says it amid golden moments
And the dew says it to the lips of the good North Wind:
Get up O small small small Orange Girl !
No one knows you as the kiss knows you
Nor does the laughing god know you
Who with his hand open to the flaming glare of the sun
Exposes you naked before his thirty-two winds
Od. Elytis, from the Sun the First
Η Πορτοκαλένια
Τόσο πολύ τη μέθυσε ο χυμός του ήλιου
Που έγειρε το κεφάλι της και δέχτηκε να γίνει
Σιγά σιγά: η μικρή Πορτοκαλένια!
Έτσι καθώς γλαυκόλαμψαν οι εφτά ουρανοί
Έτσι καθώς άγγιξαν μια φωτιά τα κρύσταλλα
Έτσι καθώς αστράψανε χελιδονοουρές
Σάστισαν πάνω οι άγγελοι και κάτω οι κοπελιές
Σάστισαν πάνω οι πελαργοί και κάτω τα παγόνια
Κι όλα μαζί συνάχτηκαν κι όλα μαζί την είδαν
Κι όλα μαζί τη φώναξαν: Πορτοκαλένια!
Μεθάει το κλήμα κι ο σκορπιός μεθάει ο κόσμος όλος
Όμως της μέρας η κεντιά τον πόνο δεν αφήνει
Τη λέει ο νάνος ερωδιός μέσα στα σκουληκάκια
Τη λέει ο χτύπος του νερού μες στις χρυσοστιγμές
Τη λέει κι η δρόσο στου καλού βοριά το απανωχείλι:
Σήκω μικρή μικρή μικρή Πορτοκαλένια!
Όπως σε ξέρει το φιλί κανένας δε σε ξέρει
Μήτε σε ξέρει ο γελαστός Θεός
Που με το χέρι του ανοιχτό στη φλογερή αντηλιά
Γυμνή σε δείχνει στους τριανταδυό του ανέμους!
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correct_award_00067
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FactBench
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1
| 66
|
https://www.routledge.com/Mediterranean-Modernisms-The-Poetic-Metaphysics-of-Odysseus-Elytis/Pourgouris/p/book/9781138253735
|
en
|
Mediterranean Modernisms The Poetic Metaphysics of Odysseus Elytis
|
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] |
[] |
[] |
[
""
] | null |
[
"Marinos Pourgouris"
] |
2016-10-16T00:00:00
|
Engaging with the work of Nobel Prize-winning poet Odysseus Elytis within the framework of international modernism, Marinos Pourgouris places the poet's work in
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en
|
/favicon.ico
|
Routledge & CRC Press
|
https://www.routledge.com/Mediterranean-Modernisms-The-Poetic-Metaphysics-of-Odysseus-Elytis/Pourgouris/p/book/9781138253735
|
Engaging with the work of Nobel Prize-winning poet Odysseus Elytis within the framework of international modernism, Marinos Pourgouris places the poet's work in the context of other modernist and surrealist writers in Europe. At the same time, Pourgouris puts forward a redefinition of European Modernism that makes the Mediterranean, and Greece in particular, the discursive contact zone and incorporates neglected elements such as national identity and geography. Beginning with an examination of Greek Modernism, Pourgouris's study places Elytis in conversation with Albert Camus; analyzes the influence of Charles Baudelaire, Gaston Bachelard, and Sigmund Freud on Elytis's theory of analogies; traces the symbol of the sun in Elytis's poetry by way of the philosophies of Heraclitus and Plotinus; examines the influence of Le Corbusier on Elytis's theory of architectural poetics; and takes up the subject of Elytis's application of his theory of Solar Metaphysics to poetic form in the context of works by Freud, C. G. Jung, and Michel Foucault. Informed by extensive research in the United States and Europe, Pourgouris's study makes a compelling contribution to the comparative study of Greek modernism, the Mediterranean, and the work of Odysseus Elytis.
|
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correct_award_00067
|
FactBench
|
0
| 1
|
https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
|
en
|
Odysseus Elytis – Facts
|
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
|
en
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NobelPrize.org
|
https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
|
Odysseus Elytis
The Nobel Prize in Literature 1979
Residence at the time of the award: Greece
Prize motivation: “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness”
Language: Greek
Prize share: 1/1
Life
Odysseus Elytis was born in 1911 on the Greek island of Crete. The family later moved to Athens. After finishing his secondary school studies there, Elytis studied law at the University of Athens. He immediately attracted attention when he published his poems in the magazine Nea Grammata (New Culture) in the 1930s. Elytis took part in World War II, fighting against Mussolini’s troops in Albania. When the Greek military junta seized power in his native country in 1967, he chose to take up residence in Paris, where he became acquainted with several artists and writers. When the dictatorship fell in 1974, he returned to Greece.
Work
In the poetry of Odysseus Elytis, influences of surrealism meet traditional Greek literature. The sun plays a central role in his early works. His poems celebrate light, the turquoise sea, the rocky landscape and the ancient ruins of Elytis’ native country. Elytis’ experiences during World War II introduced a darker element into his poetic world. One of his most prominent works is Axion esti (1959) (It Is Worthy), in which poetry and prose intermingle as in old Byzantine liturgy.
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correct_award_00067
|
FactBench
|
0
| 92
|
https://www.smart-guide.org/destinations/en/athens/%3Fplace%3DOdysseas%2BElytis
|
en
|
Self-guided tour of Athens
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Discover the beauty of Athens. Turn your phone into a personal audio guide and embark on a self-guided tour. From tourist to explorer in just one click.
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en
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SmartGuide
|
https://smart-guide.org/destinations/en/athens/
| |||||
correct_award_00067
|
FactBench
|
3
| 28
|
https://moderngreekliterature.org/texts/1532%3Ffrom_search%3Dfalse
|
en
|
Odysseus Elytis: Analogies of Light. Critical Studies on the Nobel Prize Winner by
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Ivask, Ivar, ed. Odysseus Elytis: Analogies of Light. Critical Studies on the Nobel Prize Winner. Norman, OK: University of Oklahoma Press, 1981. x, 116 p.
ISBN 080611715X;080611715X; 080611715X; 9780806116921 pbk
Includes: Preface (pp. ix-x); Ivar Ivask, "Analogies of Light: The Greek Poet Odysseus Elytis" (pp. 3-6); "Odysseus Elytis on His Poetry—From an Interview with Ivar Ivask", trs. Ivar and Astrid Ivask (from the French) (pp. 7-15).
A short anthology of translations from Elytis's works:
"Four poems from Stepchildren (1974)", tr. Kimon Friar (pp. 21-23).
"Picasso's Equivalences" (essay), trs. Ivar and Astrid Ivask (from the French) (pp. 24-26).
"Selections from the Open Book", tr. Theofanis G. Stavrou (pp. 27-33).
"from the Book of Signs" (aphorisms), tr. Kimon Friar (pp. 34-35).
Critical perspectives: Lawrence Durrell, "The Poetry of Elytis" (p. 43); Andonis Decavalles, "Eros: His Power, Forms and Transformations in the Poetry of Odysseus Elytis" (pp. 45-58); Hans Rudolph Hilty, "Odysseus Elytis: A Contemporary Greek Poet" (pp. 59-63), tr. from the German by William Riggan; Christopher Robinson, "Elytis and French Poetry 1935-1945" (pp. 64-69); Robert Jouanny, "Aspects of Surrealism in the Works of Odysseus Elytis" (pp. 70-74), tr. from the French by Seymour Feiler; Vincenzo Rotolo, "The Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign: The Transition from the Early to the Later Elytis" (pp. 75-80); Edmund Keeley, "The Voices of Elytis's The Axion Esti" (pp. 81-86); M. Byron Raizis, "1979 Nobel Laureate Odysseus Elytis: From The Axion Esti to Maria Neféli" (pp. 87-95); Theofanis G. Stavrou, "Notes on the Open Book of Odysseus Elytis" (pp. 96-98); Kimon Friar, "The Imagery and Collages of Odysseus Elytis" (pp. 99-107).
"Chronology" (pp. 109-111). "Selected Bibliography (1939-1979)" (pp. 113-116). Illustrations.
This volume is a reproduction of the Autumn 1975 special issue of Books Abroad {4.1542} with an updated chronology and an updated bibliography (both up to 1979). Also new herein is the study by M. Byron Raizis on pp. 87-95.
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correct_award_00067
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FactBench
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3
| 53
|
https://imsvintagephotos.com/collections/people/products/the-author-and-nobel-prize-winner-odysseus-elytis-is-speaking-vintage-photograph-702846
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en
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The author and Nobel prize winner Odysseus Elytis is speaking - Vintage Photograph
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The author and Nobel prize winner Odysseus Elytis is speaking Odysseus Elytis, author, Nobel Prize winner, Nobel Prize, Literature, Literature Priest, Nobel Prize, King, Carl XVI Gustaf Dimensions: 17.5 x 26.4 cm IMS SKU: SCAN-TT-00702846 IMPORTANT! WHEN BUYING PHOTOS FROM US: All the original vintage images are sold w
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IMS Vintage Photos
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https://imsvintagephotos.com/products/the-author-and-nobel-prize-winner-odysseus-elytis-is-speaking-vintage-photograph-702846
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The author and Nobel prize winner Odysseus Elytis is speaking Odysseus Elytis, author, Nobel Prize winner, Nobel Prize, Literature, Literature Priest, Nobel Prize, King, Carl XVI Gustaf
Dimensions: 17.5 x 26.4 cm
IMS SKU: SCAN-TT-00702846
THIS IS THE ONLY AND LAST ITEM IN STOCK
All our press photos are LIMITED ARCHIVE ORIGINALS - they are the actual prints that were used by the newspapers, they are not reprints or digital prints produced by us. All the prints are at least 30 years old and up to 100 years old.
OWN A PIECE OF HISTORY
What you will buy from us has a true historical value and authenticity. These items are true artifacts and collectibles, a real unique piece of history. All these old photos have a story to tell and come from reliable sources. We get our prints directly from the press archives where they have been stored for up to a hundred years. These prints have never been accessible to the public before.
EACH PRINT IS UNIQUE AND HISTORIC
SEE the BACKSIDE OF the PHOTO - many times the image for sale will present stamps, dates, and other publication details - these marks attest to and increase the value of the press photos. Since the photos are old press photographs they may have scratches, lines, or other wears of time, which just underlines the authenticity and age of the photos. In the past, the photos were often parts of a series or were mass-produced by the archives. Nowadays, their number is decimated - many were destroyed by time, use, or natural disasters. Few were preserved and are nowadays carefully stored in our archives.
INVEST AND COLLECT
Press photos have been available to the public for just a few years, and similar to baseball cards, they have attracted investors and collectors. The value of original Press Photos prints has been steadily increasing in value and is expected to to continue doing so.
HELP US PRESERVE HISTORY
The IMS vintage photos project is unique in Europe. We help preserve and digitize old press archives, by allowing the public to buy the original prints for the first time. A unique chance to own a real piece of history. When you buy from us you help support the project or digitize and save these photos that might otherwise be lost forever.
IMPORTANT! WHEN BUYING PHOTOS FROM US:
All the original vintage images are sold without watermarks. The prints are all over 30 years old and have been in the storage of the newspapers for decades. We sell them in the same conditions they were given to us by the archives.
Learn more about our unique photographs by watching the video here below:
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correct_award_00067
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FactBench
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0
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https://www.nobelprize.org/prizes/literature/1979/elytis/other-resources/
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en
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Odysseus Elytis – Other resources
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/elytis/other-resources/
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Odysseus Elytis
Other resources
Links to other sites
On Odysseus Elytis from Pegasos Author’s Calendar
To cite this section
MLA style: Odysseus Elytis – Other resources. NobelPrize.org. Nobel Prize Outreach AB 2024. Mon. 22 Jul 2024. <https://www.nobelprize.org/prizes/literature/1979/elytis/other-resources/>
Back to top Back To Top Takes users back to the top of the page
Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
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correct_award_00067
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FactBench
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| 10
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https://www.theguardian.com/theguardian/2013/oct/19/odysseus-wanderings-nobel-archive-1979
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From the archive, 19 October 1979: The wanderings of Odysseus
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[
"Guardian staff",
"Yiva Wigh"
] |
2013-10-19T00:00:00
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<p><strong>Originally published in the Guardian on 19 October 1979:</strong> Odysseus Elytis, 68, who was yesterday awarded the Nobel Prize for literature, can hardly be called a name to conjure with</p>
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en
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the Guardian
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https://www.theguardian.com/theguardian/2013/oct/19/odysseus-wanderings-nobel-archive-1979
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YIVA WIGH IN ATHENS
Odysseus Elytis, 68, who was yesterday awarded the Nobel Prize for literature, can hardly be called a name to conjure with. Although critics have called him the foremost poet of Greece, he has, he says, spent most of the last 20 years turning down literary awards and honours.
"As time passes I become more frightened of the glare of publicity. I even get a strange feeling when I see my books in a shop-window. What do you want of me? I try to avoid the limelight. That's why many people think I have no ambition or aspirations. But that's not so. I do have some aspirations, it's just that I don't get any pleasure out of public applause. "My ambition is simply that young people be able to turn to my books when they feel lonely. This sort of indirect personal contact, provided it is lasting, is what I consider all-important. For me poetry is a war against time and decay. I wage this war alone in my flat, and that's how I find satisfaction whether or not I win. In a materialist age which values quantity above quality, I regard poetry as the only thing that can preserve man's spiritual integrity."
He received the Greek national prize for literature two decades ago: when he heard a few days ago that he might be offered the Nobel Prize he admitted that he would be neither able nor willing to turn it down: the award would be an honour not just for himself but for his country. The themes of his work are taken from aspects of Greek nature – the islands, the sea, the sky, the mountains, the flowers and above all the sunlight. He is the first Greek poet to make the sun a central theme of his poetry: hence his nickname Iliopolis Elytis – Elytis the sun-drinker.
But his poetry is much more than a homage to nature. Natural phenomena are the vehicles for other messages. Elytis has tried to distil the essence of what is truly and peculiarly Greek in Greek history and literature from Homer to the present day. He has taken a close interest in the Greek language itself.
Elytis was born on Crete, the youngest of six brothers and sisters (the family originally came from Lesbos). When he was three, they moved to Athens where his father and an uncle established a soap factory. Since the family name Alepoudelis was thereafter always associated with this factory, Odysseus changed his name to Elytis. He lives in a small two-roomed flat in the centre of Athens. He sleeps by day and works at night. It might seem strange that the poet whose nickname is Sun-drinker produces his work at night. But etched in his mind are the pictures which he brings back from his long summer voyages over the sun-drenched Aegean Sea.
Click here to read the full article
These archive extracts, compiled by the Guardian's research and information department, appear online daily at gu.com/fromthearchive
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