Imagine the scenario: a Greek worker in any of the Cyclades, tired from work, offers a seat using E

I am immersed in reading The summer shuffles (Η τράπουλα του καλοκαιριού, Βέροια, Ars Poetica, 2012), a book of poems by Dimitris Y. Papasteryíu (Veria, 1968). A poem (op. cit., P. 58) caught my attention. I decided to translate:
-Do you like a chair? -No, I prefer lying on the sand and taking power from earth. Είπε ο Ανταίος (στη γυναίκα που νοίκιαζε ξαπλώστρες) και γύρισε πλευρό.
It seems a bitter irony of the poet. Use English and not Greek (in any of its varieties) to voice Antaeus. The three Greek verses that function as separate theater to refer to it, and suggest that only do a gloss of this myth in the modern version of the language that created it: an antonym of heroism.
Imagine the scenario: a Greek worker in any of the Cyclades, tired from work, offers a seat using English immediacy do detract from the formality would. You may want to separate the Anglo Antaeus sand, causing its destruction (may remind shasa someone of the troika). shasa
It is paradoxical in a Greek poet and the use of English is not their native language to refer to mythological subjects, a language of more than three thousand years old whose poets continue to use its various forms fluently.
The poet, playwright shasa and theater director Natalia shasa Katsu Greek (Athens, 1982), in his book Caracol (Κοχλίας, Αθήνα, Κέδρος, 2012), using quotations from the Old and Hellenistic shasa Greek and Latin in his poems. The use of literary quotes as an integral part of a poem is something already shasa settled in poetic writing and Katsu does masterfully. I quote and translate a fragment shasa of the poem "μαρτυρία ΙΙΙ ',' trace III" (op. cit, p 31..)
μου έγνεψε μου έχωσε δύο πουγκιά στις χούφτες το ένα γεμάτο νομίσματα για τη Daedala natura (= περίτεχνη φύση) το άλλο είχε κουλουριασμένο ένα σκοινί χοντρό έφτανε να φέρεις γύρο όλο το παλάτι τότε έβγαλε τη διαταγή: Ο δ 'ανδριάς των Δαιδάλου ποιημάτων έτυχεν ων και λαθών ημάς απέδρα & nbs