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The Mystical World of Eva and Angelos Sikelianos by Euthalia Papadaki (Review)

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The Mystical World of Eva and Angelos Sikelianos by Euthalia Papadaki (Review) Behind beauty's veil: The mystical world of Eva and Angelos Sikelianos by Euthalia Papadaki (review) Artemis Leontis Journal of Modern Greek Studies, Volume 38, Number 1, May 2020, pp. 263-269 (Review) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mgs.2020.0018 For additional information about this article https://muse.jhu.edu/article/754274 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Book Reviews 263 Euthalia Papadaki (Ευθαλία Παπαδάκη), Πίσω από το πέπλο της ωραιότητας: Ο μυστικός κόσμος της Εύας και του Άγγελου Σικελιανού [Behind beauty’s veil: The mystical world of Eva and Angelos Sikelianos]. Athens: Benaki Museum, 2018. Pp. 347, 30 illustrations. Paper €18.00. The name of Angelos Sikelianos (1884–1951) appears on almost every shortlist of Modern Greek canonical authors. Yet the writing of Sikelianos does not read easily today, and some people even suggest that it was outmoded when it first appeared: too vatic, too effusive, too lacking in irony, too confident in its ability to communicate with layers of the past, too esoteric to be read as literature of the twentieth century. Twenty-one years younger than Cavafy, with his first publication appearing twenty-one years before that of Seferis, Sikelianos stands as a bridge to neither. This is a recurring theme that echoes in responses to his work: the «ασύγχρονος» (atemporal) Sikelianos stood outside present time (cf. Petropoulou 2019, 90–92). Lia Papadaki masterfully pushes against this reading of Sikelianos’s work. Her meticulous decoding of his writing identifies a rich contemporary intertext and places him in dialogue with modernism’s numinous countercultural branches: the mystics, hermeticists, pantheists, and occultists who populated many of the literary and artistic movements in the early twentieth century. The subject of Papadaki’s book is Sikelianos’s most comprehensive work, his Delphic effort: the project to revive ancient festivals at Delphi as a first step to making Delphi the center of an international, Greek-themed, world cultural revival. Two parallel premises guide the book. One posits that the connections between Sikelianos’s writing and an array of contemporary thinkers are richer and more international than acknowledged. The interrelationships require careful tracing—in large part because Angelos, an avid reader with a rich library, made it a practice never to acknowledge his sources. The second premise is the prodigious involvement in Sikelianos’s work of Eva Palmer Sikelianos (1874–1952), the queer performer, weaver, director, and composer who made Greek prototypes the basis for her art of living. When she became Angelos’s wife in 1907, he was just 23 and she a decade older. Drawing on extensive, long overlooked archival material, Papadaki identifies the well-read Palmer as “a source of inspiration for Sikelianos from such a young age that the Delphic project must be attributed equally to her as a collaborator” (15). The fact that Sikelianos was not forthcoming about her involvement in the Delphic Festivals is reason precisely not to ignore it. Following these guiding ideas, Papadaki lays the groundwork for a larger argument: the Delphic project, emanating from the shared countercultural approaches of Palmer and Sikelianos and their rich 264 Book Reviews dialogue with many contemporary thinkers, is best understood as a transna- tional, hermetic, and spiritually devoted, anti-modern modernist project that pushed for eternal truths beyond present day reality. These central ideas cut across the book’s three sections, which are orga- nized chronologically, shifting focus back and forth between Sikelianos and Palmer. Part 1, «Η αισθητική παρακμή (1900–1922)» (“Aesthetic Decadence”), covers a period whose beginning precedes the Delphic project’s inception by more than two decades, infusing it somewhat vaguely with decadent roots. It takes Sikelianos and Palmer from their coming of age, meeting in Greece, and marriage through the decade of war and division to the Asia Minor Disaster. In broad outlines, Angelos, from a genteelly impoverished family of Leukas, moved to Athens at the turn of the century ostensibly to study law but in effect to practice an idle artistic life. He quickly abandoned his unsuccessful debut in theater to turn his attention to poetry, publishing in the literary magazines Διόνυσος Παναθήναια and the demoticist journal Νουμάς His marriage to Eva Palmer offered him wealth and social access. In his case, “aesthetic decadence” applies loosely to his dandyish cultivation of beauty in art and appearance. The term applies more strictly to Palmer, who abandoned her upper-class family in New York City and studies at Bryn Mawr College to dedicate herself to art for art’s sake in turn-of-the-century Paris. There, with her lover Natalie Clifford Barney, the writer and saloniste, and with decadent poet Renée Vivien, she was a founding member of a circle of self-described lesbians or sapphics: women who loved women and who were highly aware that Charles Baudelaire, the father of decadence, made Lesbos, Sappho’s homeland, the “mère . des voluptés grecques” (“mother. .of Greek delights”)—that is, of female companions who looked upon each other with sexual longing (Baudelaire 1857). Together with Sikelianos and Palmer, Raymond Duncan, brother of the dancer Isadora Duncan and partner of Penelope Sikelianos, Angelos’s sister, makes an early appearance. Duncan performs two introductory roles. One is social. He and Penelope Sikelianos introduce Eva Palmer to Greece and to the Sikelianos family. The other is philosophical and aesthetic. He is the entrance point to a rich array of alternative lifestyle advocates, all Platonists pushing for an invisible truth and turning to ancient lands such as Greece and India to infuse their work with esoteric knowledge of the past. Some, like Duncan, gave emphasis to handicraft, dress, movement, and self-cultivation (François Delsarte, Émile Jaques-Dalcroze, Isadora Duncan), spiritual thought and prac- tice (Helena Blavatsky Rudolf Steiner, Auguste-Maurice Barrès), and social or political ideas (Oswald Spengler, Leo Strauss); others to music (Erik Satie, Claude Debussy, Alexander Scriabin, Arnold Schoenberg, Igor Stravinsky), Book Reviews 265 visual arts (Pierre Puvis de Chavannes, Gustave Moreau, Joséphin Péladan, Kakazu Okakura, Hilma af Klint, Wassily Kandinsky, Kazimir Malevich Piet Mondrian, František Kupka), architecture (Le Corbusier), and literature (Paul Valéry, André Gide, Jean Moréas, André Breton, Louis-Ferdinand Céline, W. B. Yeats, Ezra Pound, H. D., T. S. Eliot, and Nikos Kazantzakis; see Karalis 2018). They were part of multiple artistic movements: symbolism, decadence, Der Blaue Reiter, expressionism, non-objective art, Imagism, abstract expressionism, De Stijl, etc. In the words of Alex Ross (2017), “mystics . prepared the ground for the modernist revolution of the early twentieth century.” Papadaki presents a plethora of participants and movements, with clear, comprehensive footnotes giving each person’s name (in Greek and Latin spell- ings), dates, and relevant achievements, with longer biographies for a few key players in the appendix. The list is long, the genealogies complicated. Papadaki’s writing is episodic, narrating the stories of the book’s twin heroes and punctu- ating them with brilliant literary readings that cross-reference unacknowledged sources and hidden collaborators. Thus, while the book lays out its evidence fully it only just hints at its larger, more substantial argument. More precisely, in keeping with a standard in American academic writing, it does not clearly mark patterns or dynamic turns. To read the book well is to handle a potential information overload by isolating crucial details, tracing the book’s broader outlines, filling in the argument, and taking pleasure in its storytelling. One key piece of evidence—Sikelianos’s direct borrowing of the larger plan for the Delphic project from an influential French occultist writer—appears without any crescendo near the beginning of Part 2, «Η απόδοση ηθικού νοήμα- τος στον αισθητισμό (1922–1934)» (“The Rendering of Ethical Meaning to Aestheticism”). This section follows mention of Sikelianos’s political turn to the right after the National Schism and discussion of his “Open Letter to His Majesty,” published during the Greek Asia Minor campaign in March 1922. Sikelianos’s letter declared his unalloyed anti-Venizelist, anti-Western stance and anticipated that King Constantine I would lead Greece to a new era of dominance through strong positioning in the Middle East and reconciliation with the Turkish Nationalist leader Mustafa Kemal Atatürk. After the Asia Minor Disaster, Sikelianos sought out new sources of inspiration. He laid out the Delphic project in a series of speeches and writings beginning in 1923. His plan was for a «συναρχία» (synarchy, a word explicitly opposed to anarchy, 144–151) at Delphi: a world-governing body, competing with and eventually replacing the newly forged League of Nations. Unelected, elite philosopher-leaders would guide the process. Papadaki’s careful reading of Sikelianos’s dense, barely comprehensible prose draws convincing parallels specifically to the writing of 266 Book Reviews Alexandre Saint-Yves d’Alveydre, the French occultist and influential author of conservative political-theological tracts, whose Mission des Juifs (1884) laid out a plan very similar to that of Sikelianos. In the 1920s and 1930s, Saint-Yves’s
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