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Ô›ËÌ·ÁÈ¿ Ùfi ïappleÔÖÔ âapple·ÓÂÈÏËÌ̤ӷ ï appleÔÈËÙ‹˜ Âr¯Â àÚÓËıÂÖÙ‹Ó àappleÔÛapple·ÛÌ·ÙÈ΋ ÌÂÏÔappleÔ›ËÛË, ù¯È ¬Ìˆ˜ η› Ù‹Ó öÓÙ¯ÓË,ïÏÔÎÏËڈ̤ÓË Î·› àÓÙ¿ÍÈ· ÙÔÜ appleÔÈ‹Ì·ÙÔ˜ (ó˜ appleÚfi˜Ù›˜ appleÚÔı¤ÛÂȘ ÙÔ˘Ï¿¯ÈÛÙÔÓ), Û‡ÓıÂÛË âÓfi˜ ÌÔ˘ÛÈÎÔÜ öÚÁÔ˘.≠OÙ·Ó ôÚ¯ÈÛ· Ó¿ ÛΤappleÙÔÌ·È ÙÔ ªÔÓfiÁÚ·ÌÌ· η٤ÏËÍ·ÁÚ‹ÁÔÚ· ÛÙ‹Ó ôappleÔ„Ë ÙÔÜ Û˘ÌʈÓÈÎÔÜ Ï˘ÚÈÎÔÜ öÚÁÔ˘, ÁÈ·Ù›·éÙfi ÌÔÜ appleÚfiÛÊÂÚÂ Ù‹Ó ‰˘Ó·ÙfiÙËÙ· ÌÈĘ appleÔχ appleÏÔ‡ÛÈ·˜ä¯Ô¯ÚˆÌ·ÙÈÎɘ appleÔÈÎÈÏ›·˜ àÏÏ¿ η› ÌÂÁ¿ÏˆÓ ùÁÎˆÓ Î·›âÓÙ¿ÛÂˆÓ ÁÈ¿ Ù›˜ ‰Ú·Ì·ÙÈΤ˜ ÎÔÚ˘ÊÒÛÂȘ. £ÂÒÚËÛ··éÙÔÓfiËÙÔ Ó¿ Ì‹ ‰È·Ù·Ú·¯ıÔÜÓ ÔûÙ Ôî ‰ÔÌÈΤ˜ ÔûÙÂÔî ·åÛıËÙÈΤ˜ åÛÔÚÚÔapple›Â˜ ÙÔÜ appleÔÈ‹Ì·ÙÔ˜. \Aapplefi Ù‹Ó appleÚÒÙËÛÙÈÁÌ‹ ıÂÒÚËÛ· âapple›Û˘ àÓ·ÁηÖÔ Ó¿ ñapple¿Ú¯ÂÈ, âÎÙfi˜ ÙÔÜ‚·ÛÈÎÔÜ ÙÚ·ÁÔ˘‰ÈÛÙ‹ appleÔ‡ âappleˆÌ›˙ÂÙ·È Ùfi ‰˘Û‚¿ÛÙ·¯ÙÔ ÊÔÚÙ›ÔÓ¿ âÚÌËÓ‡ÛÂÈ ÌÂÏÔappleÔÈË̤ÓÔ ïÏfiÎÏËÚÔ Ùfi appleÔ›ËÌ·, ÌÈ¿Á˘Ó·ÈΛ· ʈӋ appleÔ‡ Û¤ η›ÚÈ· ÛËÌÂÖ· η› âÎÙfi˜ ÎÂÈ̤ÓÔ˘ñappleÂÓı˘Ì›˙ÂÈ Ù‹ Á˘Ó·ÈΛ·... àappleÔ˘Û›· -ηٿ Û˘Ó¤appleÂÈ·5051our senses and discovers a landscape with wind andthe sea, with doubt, innocence and reversal, wherethe strength of concepts is put to the test forming anew perception of the world which contradicts thecurrent, the common way of perceiving things.With his debut of Nea Grammata in 1935, it wasimmediately clear that Elytis had boldly wrenchedpoetry from personal confession to archetypalreferences, from the world of messages to thatof words, from an emotional appraisal of the worldto a grasp of the truth through the senses, fromexplaining the finite to a dynamic realisation ofthe endless - from ageing to youth - from a weary“civilised consciousness” to the regaining of the initialwisdom of childhood. Put in a few words, from actualbeing to potential becoming.In the poems Prosanatolismi (1940) and later inAxion Esti (1959), the poet strategically createsa solid backbone of principles to form not only apersonal poetic idiom but a lyrical cosmologyin which the linguistic transformation, the revealing ofthe wealth of the Greek language, the innate andstrict view of geometric art, the images of euphoria,the sense of Hellenism, the erotic conception of theworld, the hallowing of the senses, the perceptionof life as a favour, justice, the urge of constantclaiming, the conversion of reality, the decodingof nature and the solar metaphysics constitute itsbasic coordinates.On such solid principles, Elytis creates the imageof his collections, in different ways, assuring us thateven when he changes dramatically he knows howto remain the same. And he writes “on the otherside, I am still the same”, either speaking throughPhotodendro (1971), either speaking throughMonogramma (1974) either through Tria piimatame simea efkerias (1982) or even through Elegia tisOxopetras (1990). And he knows how to transformhis principles into the music of words, into thecolours of pictures. He knows how to transform themlinguistically and how to transform them into smallnatural units. The Angel daughter, the aromaticgrass, the lemon, Paradise, the naked body are allelements of a deeply poetic function, that expandthere natural properties to an ethical andmetaphysical level contributing to a penetratingvisualization of the multiple levels of the poem.Both in his works of poetry and theory (AnichtaChartia, En Lefko) Odysseas Elytis enhanced fromvarious aspects the substantial role that poetrycan play in life, affecting our consciousness,proposing an alternative scale of values, makingthe unknown understandable; and seeking the idealcommunication. As he put it, “that which one canfeel completely like warmth or cold, sensationallylike love or fear, mystically like the wind sighingin the forest or the sea…”.Ioulita IliopoulouOn MonogramOdysseas Elytis Monogram (To Μonogramma) is the mostbeautiful hymn to the passion of love I have read in my life.Through the pain and mourning for the loss of love, itsinvincible power and final supremacy over life and death aredelineated. The apotheosis of passionate love is its renderingas a synonym of life. The poem is thus at the same timea hymn to life, a life full of senses that expand through themedium of Love.The poem consists of seven parts and has a strict pyramidalform based on mathematical relations and proportions. It hasthe merit of all great masterpieces: the immediacy of a simplesong, the intellectuality, dimension and depth of a philosophicaltreatise, the admirable balance between the peaks of dramaticintensity and the floods of lyricism, between the immediacyof emotional exaltation and the intellectual reflections andstructural contrivance.“Only I have known of you perhaps or that music I cast outof me though it returns with a stronger accent”(°È¿ Û¤Ó· ÌfiÓÔ âÁÒ, ÌappleÔÚÂÖ Î·› ì ÌÔ˘ÛÈ΋ appleÔ‡ ‰Èүӈ̤۷ ÌÔ˘ àÏÏ’ ·éÙ‹ Á˘Ú›˙ÂÈ ‰˘Ó·ÙfiÙÂÚË).This reference to music in the poet’s own words (at the endof V) is perhaps the only legitimate claim of a composer’saspiration to set Monogram to music. Although the poethimself had repeatedly rejected the idea of a fragmentarysetting to music of parts of the poem, he was not opposed toa score for the entire work. He insisted only that it shouldconstitute a musical work of “elaborated” style, completeand worthy (as concerns the intent at least) of the poem.Since I began thinking about Monogram, I soon arrived atthe view of a lyrical symphonic piece, for this presented mewith the opportunity for a wide range of polychromatic variety,as well as possibilities for volume and intensity for thedramatic climaxes.I considered it self-evident that neither the structural noraesthetic balance of the poem should be affected. Alsofrom the start I decided it would be necessary, besidesthe basic singer who would shoulder the crushing loadof singing the music of the entire poem, to have a woman’svoice which at opportune moments and outside of the text,would bring to mind the female... absence - meaningconsequently that the woman singer should not be visibleto the audience. A choir was also essential for the harmoniousand contrapuntal process of some of the tunes, elsewhereoccasionally to enhance the volume and the dramatic intensityof the orchestra, and at all times as the collective consciousnesscomplementing and enlarging the “lone” voice of he solosinger.I sketched out a rough draft of the work from the beginningof December 2002 until the end of April 2003. Only afew pages were left to do – my essential gain from this draftwas the clarification of the method of approach and, mainly,what not to do, I began writing again at the beginningof September 2003, finishing the work at the beginningof August 2004.It may be worth saying that I used two different meansof approach- two different “idioms”. The first has a serialist basis