-Pietros Maneos, student of τό καλόν
Writing poetry, one must give oneself fully to The Beautiful. This involves much more than simply reading reams of canonized verse. I firmly believe that it is as valuable to gaze upon the rosy-fingered dawn in all of its blazing glory – to listen to the lovely lyra lost in the environs of Arcady – and to inhale the sweet aroma of a fully-flowering gardenia tree blossoming in Tuscany – as it is to cloister oneself in a darkened study like a medieval monk drunk on dusty verse. Now, a delicate balance must be struck between beautiful experience, one could even say, beautiful sensation, as mentioned above, and introspective intellectual pursuits. To cultivate a harmony between the two is integral to one’s success. One must be a disciplined devotee of Apollo, not only Dionysus, being able to endure long durations of scholarly solitude.
Another bit of counsel that I would proffer is to compose and edit to music, which will undoubtedly enhance the musicality of one’s verse. I write to the Cretan lyra and the Grecian bouzouki, which has assisted in developing a euphonic grandeur within my own oeuvre. The divine Walter Pater famously opined, ‘All art constantly aspires to the condition of music,’ and this is especially true for poetry. All of the ancient Grecian bards ‘wrote’ (although one should say ‘sung’) in this manner; the moderns have forsaken this hallowed practice, to the detriment of their art, but alas, I promised myself that I would not descend into a Paglian diatribe against modernity, so allow me to move on.
One’s most prized asset as an artist is leisure time, for it is only in sustained bouts of leisure that one has the ability to attain one’s ‘Arete’ (excellence). If one is slaving away working 8 to 10 hour days like an impoverished plebeian, it is very difficult to secure the requisite time required for literary creation. So, having said this, I would advise young poets to become successful opium dealers in Paris (I kid, I kid. Please no nasty emails). But if one is able to work a 4 hour shift, endeavor to do so, so that the remaining time can be devoted exclusively to the Pierian Muses. Here are a few literary recommendations that I think will help develop the mind, and more importantly the Soul of an aspiring poet – they are in no particular order, except for Homer, of course.
1. Homer’s The Iliad and The Odyssey (when you come across the far-famed ‘as when’ feel free to faint, or in the least sprout goose bumps)
2. Sappho’s complete poems (see Anne Carson’s If Not Winter)
3. Richmond Lattimore’s translated Greek Lyrics
4. Walt Whitman’s Leaves of Grass
5. Pablo Neruda’s 100 Love Sonnets
6. Algernon Charles Swinburne’s Poems and Ballads
7. Walter Pater’s Studies in the History of the Renaissance (pay close attention to his discussion on the French Pleiad school of Poetry)
8. Lord Byron’s Childe Harold and Don Juan
9. John Keats’ La Belle Dame Sans Merci, Ode to a Nightingale, Ode on a Grecian Urn (but all of Keats is divine)
10. Constantine Cavafy’s Antony’s Ending, Ithaka, Thermopylae (see www.cavafy.org for a complete listing of his poems)
By the bye, here are three examples of the Cretan lyra as played by the orphic, Achilleas Dramountanis, for those interested in listening to the beauty-blessed lyra.
Pietros Maneos is the author of The Soul of A Young Man and Poems of Blood and Passion. His first novella, The Italian Pleasures of Gabriele Paterkallos, is forthcoming from Aesthete Press in the spring of 2012.



