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Constructing the poet's image in Ritsos's Δώδεκα Пοιήµατα για του Kαβάφη
Published online by Cambridge University Press: 26 April 2016
Abstract
This article explores the various elements on which Yannis Ritsos based his approach to construct C.P. Cavafy's image in 
and focuses on his twofold reading, using his predecessor's biography and poetry.
The poem ‘On Form’ clearly depicts the ‘encounter’ between the two poets and provides the guidelines to explore it. The other eleven poems are built up around it and together they stress: (a) the path that brought Ritsos close to Cavafy and the problems generated during this course, (b) the external features that gradually lead deeper to his predecessor's poetics, and (c) the importance of poetic appreciation and the difficulties involved.
The following account, therefore, not only explains why Ritsos dedicated Twelve Poems to Cavafy but also underlines their role in his own oeuvre at that time. Formal features and thematic aspects that characterise Cavafy's poetry are incorporated but also elaborated upon in this collection. The younger poet nevertheless retained his independence, foreshadowing his creative assimilation of Cavafy's poetry in the 1960s.
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- Research Article
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- Copyright © The Centre for Byzantine, Ottoman and Modern Greek Studies, University of Birmingham 2005
References
Notes
1 Y. Ritsos, Δώδεκα ποιήµατα για τον Kαβάφη, in Пοιήµατα γιαvol. 9 (Athens 1989). For Cavafy's poems see the standard edition 7a T α Пοιήµατα για, 2 vols (Athens 1997; J1963). The translations used here are: K. Friar and K. Myrsiades, Yannis Ritsos: Selected Poems 1938-1988 (Brockport, NY 1989); E. Keeley and P. Sherrard, C.P. Cavafy: Collected Poems (London 1998; 11975).
2 G. Veloudis, ‘Oκαβαφικóς’, Пροσεγγίσεις στι έργο τον Γιάννη Pίτσου(Athens 1984) 114-19 (first pub. in Aφιέρωµα στον Γιάννη Pίτσου (Athens 1981) 173-94). See also A. Kotti, Γιάννης Pίτσους ‘Eνα σχεδίασµα βιογραφίας (Athens 1996)103; A. Makrynikola, Bιβλιογραφία Γιάννη Pίτσου1924-1989 (Athens 1993) 13.
3 Y. Ritsos, ‘To Tερατώδες Aριστούργηµα’, Γίγνεσθαι(Athens 1998) 357-402.
4 See G. Veloudis, 
(Athens 1983) 77-9 for the phases outlined in Ritsos's work, which roughly coincide with those mentioned by Ch. Prokopaki and K. Kouloufakos.
5 Ch. Prokopaki, 
(Athens 1981) 12 (first pub. in 
276-372).
6 Veloudis,
114-42.
7 M. Peri, 
, 258-75.
8 Friar, and Myrsiades, , Yannis Ritsos: Selected Poems, 424-5.Google Scholar
9 Tsirkas, S., O 
(Athens 1995; 11958).Google Scholar
10 See Peri, 
, 272.
11 V. Leontaris, 
(Athens 1997) 7-24 (11983).
12 
, M. Peridis, ed., K.П. 
(Athens 1963) 82-5.
13 T. Malanos, O 
(Athens 1957) 9-59.
14 Note, for example, the debate about ‘decadent' poetry in the periodical 
, which lasted almost three years (1955—8) and revealed the co-existence of different positions in left-wing criticism
15 I.A. Saregiannis, 
Z. Lorentzatos ed. (Athens 1994) 33 (11964)
16 M. Pieris, 
(Athens 1992) 229-306.
17 See the section referring to Cavafian synthesis in Pieris, 
, 411-22.
18 G.P. Savvidis, ed., 
(Athens 1987) 118.
19 A similar attitude occurs towards Elpenor in 
, in 
, vol. 9, 276, where the poetic voice stresses both his contribution to the Odyssey and his beauty.
20 G. Veloudis,
92-3.
21 Y. Ritsos, 
(Athens 1986) 52-68.
22 G.P. Savvidis, 
I(Athens 1985) 211-56.
23 M. Anagnostakis, 
1941-1971 (Athens 1995) 149 (11971).
24 Y. Ritsos, 
372, 397. In this poetic autobiography Ritsos, looking retrospectively at his life and poetic career, expresses his anxiety concerning the reception of his work, bitterly confronting his ideological comrades on account of their response to his poetry, especially during the 1960s, or even harshly attacking his critics.
25 Note the opening paragraphs in his essay 
in 
(Athens 1980) 9-10 (1974). See also Y. Ritsos, 
(Athens 1986) 68-70 (11983).