The effect of rhetorical richness in Kazantzakis is further enhanced by his astonishing fertility in the invention of metaphor and simile, especially in those tropes where the two component parts are rooted in a loving observation of nature. Just as he often “invited” not simply another but even an opposing adjective to express his complex inner vision and “the antithetical richness of a noun,” so Kazantzakis saw metaphor and simile as technical manifestations where two opposites are caught in a hovering balance in which each part, in thesis and antithesis, retains its identity yet evokes an imaginative synthesis. A catalogue only of his various tropes to describe the sun would give an astonishing indication of his range here. The sun, flame, fire, and light compose the chief imagery of the Odyssey, flowing in a dazzling current throughout the poem just as the sun in Greece itself constantly pulses throughout the clarity of its azure atmosphere, blazing on rocks, mountains, and the deviously tortured coastline and islands of that sun-washed country. According to the occasion, the mental or emotional condition of the observer, and the geography (whether, for instance, on the sands of the Sahara or on the horizon of the Antarctic icefields), the sun revolves around the Odyssey in a protean metamorphosis. It stalks like a great Oriental prince, it strides like a stalwart youth on the Nile and cracks its mud banks, or like a drunken redfaced lord it stumbles and staggers up the clouds with glazed eyes. Sometimes it is a child of the granite gods of Egypt, falling into the stone cupped hands of his great forefathers; sometimes it is a god who wedges his golden horns under the horizon, lifts the clouds and slowly frees his forehead, his eyes and mouth; or at times it is a god whose rays are fivefingered hands caressing the world and revivifying the dead. It is a spearsman; it is an expert archer who kneels on mountain summits and stretches his bow taut to shoot with arrows of flame; it is a caparisoned warrior slashing at the horizon impassionedly; it is an unsleeping sentry who leaps up and warns of the approaching enemy; it is a melting bronze hanging in mid-sky, a flaming armor, a pouring honey. But it is also an infant with golden bonnet and swaddling clothes of azure smoke whimpering in the arms of Mother Night; a baby suckling at the nipples of conflagration; a plump boy fondling the world with fat, small hands. It is a golden lover sitting on a sunflower and gazing, lovesick, at the earth; a peddler roaming the villages with a golden sack and selling his goods of musk-deer, bluefurred fox, fishes, and eggs; a charioteer with snow-white steeds; someone flinging roses on snows, waters, and mountain peaks. It is a smith’s hammer beating on the anvil of an iron mountain summit that blazes and floods with fire; a golden sphere wedged Between the horns of plowing oxen; a gold-rimmed heavy wheel bogged down in the mind’s mud; a vermilion quoit hurled along the sky’s rim by dawn, the discus-thrower; a flame-eyed disk rolled along the sky by Yesterday and Tomorrow; a bursting sphere that roars down the heavens and beats and rebounds on earth’s drum-taut hide. It is a celestial tambourine made of crimson hides, a frightening and booming drum stretched tight with lion pelts, a resounding golden war-shield held aloft. It is the golden cap of the mind, a quick and coquetting eye, a charm hanging on the pulsing throat of a singing bird, a round breadloaf issuing from the oven of the sky, a fruit hanging amid tree branches and pecked by birds, a pomegranate tree weighed down with fruit and flowers on which a drunken skylark hops and sings; a rose which has shed all its petals until only the pollened stamen remains. It is a flickering lamp hanging in Hades with gentle and compassionate flame, the golden lantern of a bridegroom seeking his bride, a blazing kiln that shoots savage spears of flame to earth, a golden tassel hanging from the fox-fur cap of Death. It is a mansion with double doors that open to the East and West and through which birds, ghosts, thoughts, and the imagination’s fancies pour.
In its more terrifying aspects the sun is a slain head slowly tumbling down the burning sands, the head of a pale phantom rolling from mountain peak to peak, a lord wading in deep pits of blood, a blood-drenched body splattering a city, a pallid mourner sitting by a deathbed and caressing the coffin, a maker of coffin-candles and flaming funeral wreaths, a drowning cadaver, the Black Sun of Death. Among animals, it is a lobster with crimson claws, a russet hound, a lean leopard pouncing on wheat fields and olive groves, a bellowing bullock dragged to the slaughterhouse in the West, a drained black ram with shrunken bags after it has just tupped row on row of buxom ewes, a bear cub whose face is being licked away by its mother, a white polar bear. Among birds, it is an obedient falcon with fine golden chains tossed into the sky by a falconer; a gaudy and spurred cock-pheasant with gilded cockscomb; a rooster crowing on the rooftops; an early-morning sky-cock flapping its wings; a pallid cock with plucked and molted wings limping on the sky’s rim; an old hen sprouting a crest and crowing hoarsely on the terraces.’ It is a golden egg hatched by night in darkness to spring like a crimson-crested cock; it is the golden egg from which day is hatched.
The entire Prologue is an invocation to the Sun as the fecund principle, as the ultimate symbolic goal of a time when “stones, water, fire, and earth shall be transformed to spirit, / and the mud-winged and heavy soul, freed of its flesh, / shall like a flame serene ascend and fade in sun.” The Epilogue is a depiction of the sun as a great Eastern prince sinking to his palace in the West, lamenting the death of Odysseus and refusing, in his sorrow, the food, wine, and women his mother, Earth, had prepared him for consolation. Thus the poem begins and ends with the Sun as image and symbol of the entire narrative. Throughout Book XXIII the Sun becomes one of the protagonists, hovering above Odysseus’ head in constant apprehension and lament during the long Antarctic summer, and the climax of Kazantzakis’ dialectical use of metaphor is marshaled in the opening of this book where the Sun is apostrophized as a Holy Trinity: as the fructifying Father, as the breeding Mother who gives the world suck from her dazzling breasts of light, and as the Son who gambols on the grasses and waters of the world with joy. Finally, in a magnificent passage where Odysseus says farewell to his five elements, Earth, Water, Fire, Air, and Mind, he cries:
Fire will surely come one day to cleanse the earth,
fire will surely come one day to make mind ash,
Fate is a fiery tongue that eats up earth and sky.
The womb of life is fire, and fire the last tomb,
and there between two lofty flames we dance and weep;
in this blue lightning flash of mine where my life burns,
all time and all space disappear, and the mind sinks,
and all—hearts, birds, beasts, brain, and loam—break into dance,
though it’s no dance now, for they blaze up, fade, and spin,
are suddenly freed to exist no more, nor have they ever lived!
Perhaps the most beautiful metaphor in the entire poem is that in which the poet likens Odysseus’ last conscious moment to a flame that leaps from its wick and hangs for an instant disembodied in air before it vanishes forever:
As a low lantern’s flame flicks in its final blaze
then leaps above its shriveled wick and mounts aloft,
brimming with light, and soars toward death with dazzling joy,
so did his fierce soul leap before it vanished in air.
It is in this eternal moment of the suspended flame, when only Love and Memory remain, that the entire action of the twenty-fourth and final book takes place.
Much curiosity has been aroused by the round (or rather unevenly round) number of verses of which the entire poem is composed: 33,333. Some have thought that Kazantzakis deliberately padded his poem in order to arrive at such an impressive and mystifying summation, but the poet once wryly informed me that, on the contrary, his sixth and next-to-the-last draft of the poem numbered 42,500; verses, and that he suffered as though cutting into living flesh when he carved it into leaner proportions. Those who thought the number three might have for Kazantzakis a symbolical, a mystical (and not mystifying) significance, came to closer understanding, though his own explanation has more metaphysical import: “The number three is a hol
y number simply because it is the mathematical expression of the dialectical progression of the mind from thesis to antithesis and finally to the summit of every endeavor, synthesis. I can never think of or accept an A without at the same time thinking of and accepting an A—, and to want at once, in order to free myself from this antinomy, to unite them both in a synthesis, into an A+. The A always seems to me a miserable thing, no matter how useful it may be in practical life; the A—seems to me scant and infertile, and only the A+ succeeds in making firm, in fertilizing, and in disburdening my thought. This triple rhythm, transferred from dialectical thought into a metaphysical and mystical vision, gave birth to all the Holy Trinities in many religions. Father, Mother, and Son form such an evident completeness that from the first awakening of human thought it was evident the Trinity would be made divine. This is why, from every consideration, the number three can be thought of as sacred; in the case of the Odyssey, however, it is not necessary to seek recourse to mysticism or orientalism; the number three is holy because it symbolizes the dialectical progression which the thought and diction of the Odyssey follow.” Kazantzakis was delighted when I informed him of an antithesis to this thesis, one of which he was unaware: that throughout the peasantry in Greece, the number three, in innumerable jokes and anecdotes, represents the male genitalia.
Although the rhythm and scope of the Odyssey are epical, the psychological insight and development dramatical, the structure mystical and symbolical, the narrative method is often lyrical, essentially that of Greek folk songs and legends. The diction is direct, simple, strong, and completely demotic; there is an unceasing delight in the formation of epithets and compound words (though Kazantzakis invented only about five or six entirely new words), and there are the same exaggerations and tautologies, the same lack of strong run-on lines, the same simple sentence structure and lack of subordination, the same lyrical repetitions of phrases, the essential bardic approach to narration. Indeed, throughout his poem Kazantzakis has embedded many lines taken directly from the folk poetry of his nation, many of which I have indicated in the Appendix. He has also lovingly culled this literature for words and phrases to enrich his own demotic texture. His approach to his materials and method has always been so direct, simple, and passionate that he has never considered any of his work to be a constructed form of “literature,” but more as the inspired vision of a minstrel who by the fireside day after day unfolds his narration as the moment inspires, drawing on the richness of a memory replete with many songs and legends, of his many wanderings, and of a philosophy and a technique which unfold naturally, like a flower, intuitively, from within. “When an African witch doctor,” he wrote, “with his paints, woods, feathers, seashells, and often with his father’s skull, creates a mask to wear in the sacred dances of marriage or death of his tribe, he is not deliberately creating ‘art’. Technique is the outward expression of vision, in order to embody, to control, or to exorcise,”
His approach to life and literature both was primarily Dionysian, although it was tempered with Apollonian clarity. He would have agreed with Zarathustra: “Write with your heart’s blood, and you will see that the blood is spirit.” Every morning when he sat down at his table to write the Odyssey, he was without plan, nor did he know where his poem or his characters might lead him. When I objected sometimes to a statement or an action of one of his characters, he would sigh and tell me there was nothing he could have done, because the character in question insisted on behaving in just that way, as though it were a living person with a will beyond the control of its creator. He felt within himself, he said, certain “musical states,” and his poem unfolded as the musical conditions of his spirit directed. In just this way Odysseus went to Sparta, to Crete, to Egypt, and in this way plunged into all his adventures. Essentially, artistic creation was for Kazantzakis a superior and more faithful form of confession, the witness of man before the world of his struggle to understand his condition and to give it meaning. He believed in Goethe’s dictate: “If you wish to leave something useful to future generations, this cannot but be confession,” and his last book, one of spiritual memoirs, which he left to be published after his death, carries the title Report to Greco, in which he gives an accounting of his inmost life.
V. ACKNOWLEDGMENTS
It was Nicholas Hadji-Kyriaco Ghika who first spoke to me with enthusiasm of the Odyssey and showed me the twenty or so illustrations he had already completed for the poem, waiting to be assured of reproduction before he undertook to complete his project. It gives me great pleasure to know that my translation into English has spurred him on to complete his plan and has made possible the first printing of his magnificent drawings. At his ancestral villa on the island of Hydra in the summer of 1950, and with his patient assistance, I first essayed to translate, into prose, those lines which he had chosen to illustrate. Some of these prose translations were later published in several American periodicals and anthologies with some of his drawings.
I first met Nikos Kazantzakis and his wife, Helen, in a students’ hostel in Florence in the summer of 1951. After the first half hour of flurried talk, he exclaimed that surely I must have read all of his work because, with the exception of his boyhood friend, Mr. Pandelís Prevelákis, he felt he had met no one who seemed to understand his thought so well. At that time, however, I had read only those sections of the Odyssey which I had translated for Ghika’s illustrations, but our future collaboration confirmed both of us in the rapport which each felt for the other in personality and thought. I spent four months with Kazantzakis and his wife in the summer and fall of 1954 at his home in Antibes on the French Riviera, reading his poem with him carefully, word by word, as I filled notebook after notebook with commentary on diction, meter, interpretation, and the significance of allegories and symbols. Because he could read English well and had himself translated many of the great epics of the world, he understood the problems of translation thoroughly, and was therefore the perfect collaborator. From the beginning, feeling certain that I understood his meaning and his method, he gave me complete freedom to work in my own medium of the English language as I thought best. When I had half-finished the poem, we met for a month, in August of 1956, in the Yugoslavian Alps above Ljubljana, and then again for another month, in May of 1957, for the final checking, when I had finished the third draft of the poem and was on my way to the United States. From various parts of Greece where I had been living during this period, from mid-October of 1954 through April of 1957, I sent him each book as I completed it, with a list of questions, and he would reply immediately from Antibes with full answers.
My translation has involved a circuitous Odyssey of my own, for I have worked on the poem in Duluth, Chicago, and New York; in many ships and airplanes on and over several seas and oceans; in Antibes, Cannes, and Nice; in Athens and Sparta; in various parts of the Arcadian Peloponnesus; in Thessaly, Thrace, and Macedonia; in the whitewashed rooms of many waterfront hotels in the Mediterranean islands of Aegina, Poros, Hydra, Andros, Ithaca, Cercyra, Crete, Chios, Lesbos, Limnos, Samothrace, and Thasos; in the Yugoslavian Alps; and now finally here, at the other side of the world, in Antofagasta, Chile; and I shall be making revisions and correcting proofs in Santiago, Puerto Montt, Aisén, Coyhaique, Buenos Aires, Montevideo, Sao Paulo, and Rio de Janeiro.
I am greatly indebted to Mrs. Helen Kazantzakis for the patience, kindness, and loving care with which she saw to my comfort when I was living in Antibes, for her perceptive answers to all my questions, for her assistance with many tedious details, and for her revealing discussions with me of her husband’s work and character. Since her husband’s death, she has diligently sent me much needed information from Athens and Antibes. I am particularly obligated to Dr. W. B. Stanford who read each book as I finished it and who sent me promptly, from his chair at the University of Dublin, many suggestions and illuminating comments, all of which I have gratefully used. To Mr. Justin D. Kaplan of Simon and Schuster I am similarly obligated. To Kazantzakis’ nephe
w, Mr. Manolis Banis, I am particularly indebted for many hours of technical and philosophical discussions in Athens over a period of more than a year, for his careful consideration with me of many problems before the final questions were formulated and sent to his uncle in Antibes. To him, also, I am obligated for further information sent me from Athens. During most of a year when I was hospitalized and then confined to my apartment in Athens, I owed a great deal to my dear friends, Mrs. Marguerita and Mr. John Goudélis (the Greek publishers of Kazantzakis), to Mr. Alcibiades Kotzámbasis, and to Mr. Stratis Haviarás for their tireless care, their loving considerations and their many thoughtful solicitudes which helped bring my work to a happy conclusion in Greece. To the novelist, poet, and dramatist, Mr. Pandelís Prevelákis, to whom the poet had given several drafts of the Odyssey, I owe particular thanks for the clarification of various knotty passages and the resolution of those final questions which still remained after the death of his cherished friend.
Here, in Antofagasta, I wish to thank my uncles and aunts for the warm hospitality which they have extended over a period of several months to a nephew they had not seen since he was two years old: Miss Merope Politis, Mr. Gabriel Politis, Mr. Phótis Politis, and in particular Mrs. Pulhería Farandáto, her husband, and my first cousin, Miss Ketty Farandáto in whose home I made many revisions of the poem, wrote the Introduction and the Appendix, and who with loving attention saw to it that I was always freed from any inconvenience. For similar considerations I am indebted to my first cousin Mrs. Ketty de Opazo and her husband Mario, to my cousin Mr. Constantine Boudózis and his wife Aphrodite, and to my Homeric uncles, Mr. Agamemnon Politis and his wife Trudy of Santiago, and Mr. Heracles Politis of Neuva Imperial.
The Odyssey: A Modern Sequel Page 5