Life Immovable Part 2

I play and lo, all things are dancing, All: Men and beasts and spirits!

ATHENS, THE CENTRE OF GREECE

So much of the natural atmosphere of Athens and Attica. But the Athenians themselves, their thoughts, life, and dreams have not proved less important nor less effective for the poet's growth. The spiritual and intellectual currents moving the Greek nation of today start from this city. Here politics, poetry, and philosophy are still discussed in the old way at the various shops, the coffee houses, and under the plane trees by the banks of Ilissus. The "boule" is the centre of the political activity of the state. The University with its democratic faculty and still more democratic student body is certainly a "flaming"

hearth of culture. Only, its flames are sometimes so ventilated by current events and political developments that the students often a.s.sume the functions of the old Athenian a.s.sembly. In the riotous expression of their temporary feelings, the students are not very different from the ancient demesmen. In my days, at least, the most frequent greeting among students was "How is politics today?", with the word "politics"

used in its ancient meaning. Any question of general interest might easily be regarded as a national issue to be treated on a political basis. Thus it happened that when the question of language was brought to the foreground by Pallis' vernacular translation of the New Testament, the students took up arms rather than argument.

Into this world, the poet came to finish his education. In one of his critical essays (_Grammata_, vol. i), he tells us of the literary atmosphere prevailing in Athens at that time, about 1879. That year, Valaorites, the second great poet of the people's language, died, and his death renewed with vigor the controversy that had continued even after the death of Solomos, the earliest great poet of Modern Greece.

The pa.s.sing away of Valaorites left Rangabes, the relentless purist, the monarch of the literary world. He was considered as the master whom every one should aspire to imitate. His language, ultra-puristic, had travelled leagues away from the people without approaching at all the splendor of the ancient speech. But the purists drew great delight from reading his works and clapped their hands with satisfaction on seeing how near Plato and Aeschylus they had managed to come.

Young and susceptible to the popular currents of the literary world, Palamas, too, wors.h.i.+pped the established idol, and offered his frankincense in verses modelled after Rangabean conceptions. In the same essay to which I have just referred, he tells us of the life he led with another young friend, likewise a literary aspirant, during the years of his attendance at the University. The two lived and worked together.

They wrote poems in the puristic language and compared their works in stimulating friendliness. But soon they realized the truth that if poetry is to be eternal, it must express the individual through the voice of the world to which the individual belongs and through the language which the people speak.

This truth took deep roots in the mind of Palamas. His conviction grew into a religion permeated with the warmth, earnestness, and devotion that martyrs only have shown to their cause. Believing that purism was nothing but a blind attempt to drown the living traditions of the people and to conceal its nature under a specious mantle of shallow gorgeousness, he has given his talent and his heart to save his nation from such a calamity. In this great struggle, he has suffered not a little. When the popular fury rose against his cause, and he was blackened as a traitor and a renegade, he wrote in words ill.u.s.trating his inner agony:

I labored long to create the statue for the Temple Of stone that I had found, To set it up in nakedness, and then to pa.s.s; To pa.s.s but not to die.

And I created it. But narrow men who bow To wors.h.i.+p shapeless wooden images, ill clad, With hostile glances and with shudderings of fear, Looked down upon us, work and worker, angrily.

My statue in the rubbish thrown! And I, an exile!

To foreign lands I led my restless wanderings; But ere I left, a sacrifice unheard I offered: I dug a pit, and in the pit I laid my statue.

And then I whispered: "Here, lie low unseen and live With things deep-rooted and among the ancient ruins Until thine hour comes. Immortal flower thou art!

A Temple waits to clothe thy nakedness divine!"

And with a mouth thrice-wide, and with the voice of prophets, The pit spoke: "Temple, none! Nor pedestal! Nor light!

In vain! For nowhere is thy flower fit, O maker!

Better for ever lost in these unlighted depths.

"Its hour may never come! And if it come, and if Thy work be raised, the Temple will be radiant With a great host of statues, statues of no blemish, And works of thrice-great makers unapproachable.

"To-day was soon for thee; to-morrow will be late.

Thy dream is vain; the dawn thou longest will not dawn; Thus, burning for eternities thou mayest not reach, Remain, Cloud-Hunter and Praxiteles of shadows!

"To-morrow and to-day for thee are snares and seas.

All are but traps for drowning thee and visions false.

Longer than thy glory is the violet's in thy garden!

And thou shalt pa.s.s away; hear this, and thou shalt die!"

And then I answered: "Let me pa.s.s away and die!

Creator am I, too, with all my heart and mind; Let pits devour my work. Of all eternal things, My restless wandering may have the greatest worth."

The same idea, though expressed in a more familiar figure, is found in another poem published among _The Lagoon's Regrets_.

THE GUITAR

In the old attic of the humble house, The guitar hangs in cobwebs wrapped: Softly, oh, softly touch her! Listen!

You have awaked the sleeping one!

She is awake, and with her waking, Something like distant humming bees Creeps far away and weeps about her; Something that lives while ruins choke it.

Something like moans, like humming bees, Thy sickened children, old guitar, Thy words and airs. What evil pest, What blight is eating thine old age!

In the old attic of the humble house, Thou hast awaked; but who will tend thee?

O Mother, wilderness about thee!

Thy children, withering; and something, Like humming bees, sounds far away!

A distinct note of pessimism is found in the lines of both these poems.

In the latter, it becomes a helpless cry of anguish. But despair seems to cure the poet rather than drown his faith in hopelessness. As a critic, he encourages every initiate of the cause. As a "soldier of the verse," he himself fights his battles of song in every field. In short story, in drama, in epic poetry, and above all in lyrics, he creates work after work. From the _Songs of my Country_, the _Hymn to Athena_, the _Eyes of my Soul_ and the _Iambs and Anapaests_, he rises gradually and steadily to the tragic drama of the _Thrice n.o.ble-One_, to the epic of _The King's Flute_, and to the splendid lyrics of _Life Immovable_ and _The Twelve Words of the Gypsy_ which are his masterpieces.

Nor does he always meet adversity with songs of resignation. At times, he faces indignantly the hostile world with a satire as stinging as that of Juvenal. He dares attack with Byronic boldness every idol that his enemies wors.h.i.+p. Often he strikes at the whole people with Archilochean bitterness and parries blow for blow like Hipponax. At times, he even seems to approach the rancor of Swift. But then he immediately throws away his whip and transcends his satire with a loftier thought, a soothing moral, a note of lyricism, and above all with an unshaken faith in the new day for which he works. The eighth and ninth poems of the first book of his "Satires" are good ill.u.s.trations of this side of his work:

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The lazy drones! The frogs! The locusts!

Big men! Politicians! Men who draw Their learning from the thoughtless journals!

A crowd of stupid, haughty blockheads!

Unworthily, thy name is set By each as target for blind blows;

But forward still thy steps thou leadest, Up toward the high bell-tower above, And climbest: s.p.a.ces spread about thee,

And at thy feet, a world of scorners.

Though thou rainest not the G.o.dsent manna, A great Life-giver still, thou tollest

With a new bell a new-born creed.

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Aye! Break the tyrant's hated chains!

But with their breaking go not drunk!

The world is always slaves and lords:

Though free, chain-bound your life must be; Other kinds of chains are there For you: Kneel down! For lo, I bring them!

They fit you, redeemers or redeemed!

Bind with these chains your golden youth; I bring you cares and sacrifices.

And you shall call them Truth and Beauty, Modesty, Knowledge, Discipline!

To one command obey last, first,

The world's great laws, and men, and nations.

One of his "Hundred Voices" has something of this satiric note. It is a blow against a worthless pretender of the art of verse, who courts popularity with strains not worthy of the sacred Muse. Palamas, acting with greater wisdom than Pope, does not give the name of this unknown pretender:

Bad? Would that thou wert bad; but something worse thou art: Thou stretchedst an unworthy hand to the sacred lyre, And the untaught mob took thy reeling in the dust For the true song of golden wings; and thou didst take Thy seat close by the poet's side so thoughtlessly, And none dared rise and come to drag thee thence away.

And see, instead of scorning thee, the just was angry; Yet, even his verse's arrow is for thee a glory!