Nikos Engonopoulos "À Revoir Theophilos"
Engonopoulos did not include this poem in his collection during his lifetime. Its final draft is probably dated at 1947, the year that coincides with the organization of the first solo exhibition of Theophilos' works by the British Council. Engonopoulos, himself a painter , composes a lyrical biographical work about Theophilos and his world, expressing his view on the artistic life and projecting his belief in the anthropocentric character of art. The renunciation of academism and totalitarianism, the brave and adventurous life of great transcendence, the devotion and love for art, the reaction against violence and injustice are some of the values inherent in the poem. As À Revoir: Theophilos constitutes Engonopoulos' own contribution to the promotion of Theophilos, he highlights art as the homeland that the folk painter chose, while simultaneously raising theoretical questions related to his reception and the ideological discussions that his work provoked. Through the description of selected works by Theophilos, Engonopoulos simultaneously defends his own themes and color choices and converses with his teachers and artistic companions.
Nikos Engonopoulos' poem "À Revoir Theophilos" is not only a poetic work, but a deeply personal and moral statement. "À Revoir Theophilos" is important for several reasons: it is a reading of one artist by another, a dialogue between two different arts, painting and poetry. Additionally, it proposes an alternative view of the poetic tradition in an era of identity crisis. It reveals key elements of Engonopoulos' poetics, the influences and the creative way in which he works, reads, sees, filters and transmutes.
It is also a way of resistance. Engonopoulos seems to have resisted the instrumentalization of Theophilos from the generation of the '30s by not publishing his poem, offering a lyrical biography with his own definitions of tradition and fame, criticizing the interpretations that presented him as a national symbol, emphasizing art as a refuge and personal expression, using black humor and symbols to comment on the political climate, and highlighting the human side of Theophilos instead of political agendas.
The poem also examines important moral dimensions: it defends authenticity and the marginal voice, as Theophilos remains faithful to his artistic vision despite any misunderstandings. He presents art as a refuge and salvation, as an existential need and not as a luxury. It depicts the artist's life and death as poetic hagiography, as art (and not normativity) makes him immortal.
Surrealism plays an important role in the poem: imagination prevails over reality, as Theophilos lives "in his dream". There is resistance to dogmatism and defense of innocence. Art and life merge, with Theophilos dying with colors in his clothes, as he did not "make only work", but it was the work.
The publication of "À Revoir Theophilos" is important today because it brings to light a tender, thoughtful and anthropocentric side of Engonopoulos. It justifies and honors the art of marginal voices. It composes biography, memory and interpretation in an era when we need poetic reconnections with the past and poetic visions.
In short, "À Revoir Theophilos" is not just a poem, but a poetic tribute, an aesthetic, political act and a final farewell to a world where art was still a matter of the soul. Its publication today is important and timely.
