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The Complete Poems
Cavafy, the foremost modern Greek poet, is a master at presenting a scene, an intense feeling, or an idea in direct, unornamented verse. Many of the poems are openly homosexual. Sixty-three newly translated poems have been added to the widely praised edition which includes the classic poem 鈥淚thaca.鈥� Introduction by W. H. Auden. Translated by Rae Dalven.
310 pages, Paperback
First published January 1, 1934
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About the author
Constantinos P. Cavafy
165听books523听followersConstantine P. Cavafy (also known as Konstantin or Konstantinos Petrou Kavafis, or Kavaphes; Greek 螝.螤. 螝伪尾维蠁畏蟼) was a major Greek poet who worked as a journalist and civil servant. His consciously individual style earned him a place among the most important figures not only in Greek poetry, but in Western poetry as well. He has been called a skeptic and a neo-pagan. In his poetry he examines critically some aspects of Christianity, patriotism, and homosexuality, though he was not always comfortable with his role as a nonconformist. He published 154 poems; dozens more remained incomplete or in sketch form. His most important poetry was written after his fortieth birthday.
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November 19, 2016
This is worthwhile. It seems so right that a prominent classicist should have translated Cavafy, whose poems range from paeans to same-sex pleasure--rivaling those of Catullus--to exquisitely rich poems set in a range of ancient Greek and Roman historical contexts. Now, ninety percent of this would be lost on me were it not for Daniel Mendelsohn's highly detailed notes. So, if you have an interest in Greek and Roman history, know some of the ancient writers like Aeschylus, Thucydides, Xenophon, etc. -- I imagine Gibbon would be helpful too though I've yet to read him -- then look into these spectacular translations rendered in an English that in its flatness reminds me of Wallace Stevens. (Strangely enough.)
Most interesting is Cavafy's use of dates to place the action of a poem at a specific historical juncture. Here's an example:
Theater of Sidon (400 A.D.)
A respectable citizen's son鈥斕齛bove all else, a beauteous
youth who belongs to the theater,听听听听听agreeable in so many ways:
I now and then compose,听听听听听in the language of the Greeks,
exceedingly daring verses,听听听听听which I circulate
very secretly, of course鈥斕齡ods! they mustn't be seen
by those who prate about morals,听听听听听those who wear gray clothes鈥�
verses about a pleasure听听听听听that is select, that moves
toward a barren love听听听听听of which the world disapproves.
As Mendelsohn explains in a note:
"The date of 400 A.D. is suggestive, marking as it does a historical moment not long after the triumph of Christianity in the Roman Empire, and not long before the advent of the barbarians; for this reason, the date Cavafy chooses for this poem evokes the short clarion swan song of pagan Classical culture." Also "Those who wear gray clothes is a reference to Christians."
Most interesting is Cavafy's use of dates to place the action of a poem at a specific historical juncture. Here's an example:
Theater of Sidon (400 A.D.)
A respectable citizen's son鈥斕齛bove all else, a beauteous
youth who belongs to the theater,听听听听听agreeable in so many ways:
I now and then compose,听听听听听in the language of the Greeks,
exceedingly daring verses,听听听听听which I circulate
very secretly, of course鈥斕齡ods! they mustn't be seen
by those who prate about morals,听听听听听those who wear gray clothes鈥�
verses about a pleasure听听听听听that is select, that moves
toward a barren love听听听听听of which the world disapproves.
As Mendelsohn explains in a note:
"The date of 400 A.D. is suggestive, marking as it does a historical moment not long after the triumph of Christianity in the Roman Empire, and not long before the advent of the barbarians; for this reason, the date Cavafy chooses for this poem evokes the short clarion swan song of pagan Classical culture." Also "Those who wear gray clothes is a reference to Christians."
April 1, 2025
One Night
The room was threadbare and tawdry,
hidden above that suspect restaurant.
From the window you could see the alley,
which was filthy and narrow. From below
came the voices of some laborers
who were playing cards and having a carouse.
And there, in that common, vulgar bed
I had the body of love, I had the lips,
sensuous and rose-colored, of drunkenness鈥�
the rose of such a drunkenness, that even now
as I write, after so many years have passed!,
in my solitary house, I am drunk again.
From 鈥淒ays of 1908鈥�
His clothes were in a dreadful state.
There was one suit that he would always wear,
a suit of a very faded cinnamon hue.
O days of the summer of nineteen-hundred eight,
your vision, quite exquisitely, was spared
that very faded cinnamon-colored suit.
Your vision preserved him
as he was when he undressed, when he flung off
the unworthy clothes, and the mended underwear.
And he鈥檇 be left completely nude; flawlessly beautiful; a thing of wonder.
His hair uncombed, springing back;
his limbs a little colored by the sun
from his nakedness in the morning at the baths, and at the seashore.
* * *
Male nude reclining on a bed, by Yiannis Tsarouchis.
Longing and loneliness, fate and loss, memory and identity鈥攖hey鈥檙e by far my favorite themes in books and in films, and here softly draped in gay male intimacy. This is a book I鈥檇 find in dreams. (If I did find books in dreams. I鈥檓 not that far gone. Yet鈥�) Of course, I didn鈥檛 like every poem in this collection鈥攍argely because this is a collection of everything Cavafy ever wrote, but also because his poems fall into three major categories: historical, philosophical, and erotic, and I found the historical ones utterly incomprehensible, with their pageant of emperors and kings unfamiliar even to most scholars of Classical antiquity. I had to resist the temptation to skip over them to the poems that turned me on.
And the poems I did like, I didn鈥檛 like right away. Curiously for a poet so preoccupied with sexual pleasure, Cavafy鈥檚 language is so simple and unadorned as to appear artless, devoid of the figurative language most other poets use. The reader gets no sense whatsoever of what the Adonises in so many of his poems look like. I understand what makes his poems work in Greek is their mixture of literary and colloquial styles. In translation, his poetry often feels like 鈥渟tacked prose鈥濃€攂ut even that can accommodate a scene emerging from the mist; perhaps a one-night stand in a cheap hotel room, inscribed forever in the flesh鈥�
In Cavafy, the memory of the past isn鈥檛 just a theme; it鈥檚 the silken thread that runs through the pearl-chain of his historical, his philosophical, and even his most erotic poems. When he celebrates sexual pleasure, he鈥檚 really celebrating its memory. In Cavafy, as in Proust, past experience isn鈥檛 merely remembered, but resuscitated鈥攍ived through again, and even more vividly than it was the first time, because now it鈥檚 been fused with the vivid present. And soon, you鈥檙e also reliving a moment when you ran your hand across his chest through the folds of his open shirt, or undid his belt and zipper and slipped your hand into the envelope of cloth鈥攁 moment the experience of which, like all others, isn鈥檛 complete until it becomes a memory.
* * *
Come Back
Come back often and take hold of me,
beloved feeling come back and take hold of me,
when the memory of the body reawakens,
and old longing once more passes through the blood;
when the lips and skin remember,
and the hands feel like they鈥檙e touching once again.
Come back often and take hold of me at night,
when the lips and skin remember 鈥�
Far Off
I鈥檇 like to talk about that memory 鈥�
But by now it鈥檚 long died out 鈥� as if there鈥檚 nothing left:
because it lies far off, in the years of my first youth.
Skin, as if it had been made of jasmine 鈥�
That August鈥攚as it August?鈥攅vening 鈥�
I can just recall the eyes: they were, I daresay, blue 鈥�
Ah yes, blue: a deep blue, sapphirine.
The room was threadbare and tawdry,
hidden above that suspect restaurant.
From the window you could see the alley,
which was filthy and narrow. From below
came the voices of some laborers
who were playing cards and having a carouse.
And there, in that common, vulgar bed
I had the body of love, I had the lips,
sensuous and rose-colored, of drunkenness鈥�
the rose of such a drunkenness, that even now
as I write, after so many years have passed!,
in my solitary house, I am drunk again.
From 鈥淒ays of 1908鈥�
His clothes were in a dreadful state.
There was one suit that he would always wear,
a suit of a very faded cinnamon hue.
O days of the summer of nineteen-hundred eight,
your vision, quite exquisitely, was spared
that very faded cinnamon-colored suit.
Your vision preserved him
as he was when he undressed, when he flung off
the unworthy clothes, and the mended underwear.
And he鈥檇 be left completely nude; flawlessly beautiful; a thing of wonder.
His hair uncombed, springing back;
his limbs a little colored by the sun
from his nakedness in the morning at the baths, and at the seashore.
* * *
Male nude reclining on a bed, by Yiannis Tsarouchis.
Longing and loneliness, fate and loss, memory and identity鈥攖hey鈥檙e by far my favorite themes in books and in films, and here softly draped in gay male intimacy. This is a book I鈥檇 find in dreams. (If I did find books in dreams. I鈥檓 not that far gone. Yet鈥�) Of course, I didn鈥檛 like every poem in this collection鈥攍argely because this is a collection of everything Cavafy ever wrote, but also because his poems fall into three major categories: historical, philosophical, and erotic, and I found the historical ones utterly incomprehensible, with their pageant of emperors and kings unfamiliar even to most scholars of Classical antiquity. I had to resist the temptation to skip over them to the poems that turned me on.
And the poems I did like, I didn鈥檛 like right away. Curiously for a poet so preoccupied with sexual pleasure, Cavafy鈥檚 language is so simple and unadorned as to appear artless, devoid of the figurative language most other poets use. The reader gets no sense whatsoever of what the Adonises in so many of his poems look like. I understand what makes his poems work in Greek is their mixture of literary and colloquial styles. In translation, his poetry often feels like 鈥渟tacked prose鈥濃€攂ut even that can accommodate a scene emerging from the mist; perhaps a one-night stand in a cheap hotel room, inscribed forever in the flesh鈥�
In Cavafy, the memory of the past isn鈥檛 just a theme; it鈥檚 the silken thread that runs through the pearl-chain of his historical, his philosophical, and even his most erotic poems. When he celebrates sexual pleasure, he鈥檚 really celebrating its memory. In Cavafy, as in Proust, past experience isn鈥檛 merely remembered, but resuscitated鈥攍ived through again, and even more vividly than it was the first time, because now it鈥檚 been fused with the vivid present. And soon, you鈥檙e also reliving a moment when you ran your hand across his chest through the folds of his open shirt, or undid his belt and zipper and slipped your hand into the envelope of cloth鈥攁 moment the experience of which, like all others, isn鈥檛 complete until it becomes a memory.
* * *
Come Back
Come back often and take hold of me,
beloved feeling come back and take hold of me,
when the memory of the body reawakens,
and old longing once more passes through the blood;
when the lips and skin remember,
and the hands feel like they鈥檙e touching once again.
Come back often and take hold of me at night,
when the lips and skin remember 鈥�
Far Off
I鈥檇 like to talk about that memory 鈥�
But by now it鈥檚 long died out 鈥� as if there鈥檚 nothing left:
because it lies far off, in the years of my first youth.
Skin, as if it had been made of jasmine 鈥�
That August鈥攚as it August?鈥攅vening 鈥�
I can just recall the eyes: they were, I daresay, blue 鈥�
Ah yes, blue: a deep blue, sapphirine.
July 17, 2019
螤蠅蟼 渭蟺慰蟻慰蠉渭蔚 蔚渭蔚委蟼 慰喂 渭喂魏蟻慰委 谓伪 蟽蠂慰位喂维蟽慰蠀渭蔚 蟿慰蠀蟼 蟿蔚蟻维蟽蟿喂慰蠀蟼 未伪蟽魏维位慰蠀蟼 渭伪蟼?
螠蠈谓慰 蟿伪蟺蔚喂谓维 魏伪喂 渭蔚 蟽蔚尾伪蟽渭蠈 渭苇蟽伪 伪蟺蠈 蟿伪 位蠈纬喂伪 蟿慰蠀蟼 渭蟺慰蟻慰蠉渭蔚 谓伪 伪谓伪蠁蔚蟻胃慰蠉渭蔚 蟽蔚 伪蠀蟿慰蠉蟼.
"韦畏谓 蔚渭慰蟻蠁喂维 苇蟿蟽喂 蟺慰位蠉 伪蟿苇谓喂蟽伪,
蟺慰蠀 蟺位萎蟻畏蟼 蔚委谓伪喂 伪蠀蟿萎蟼 畏 蠈蟻伪蟽委蟼 渭慰蠀."
螠蠈谓慰 蟿伪蟺蔚喂谓维 魏伪喂 渭蔚 蟽蔚尾伪蟽渭蠈 渭苇蟽伪 伪蟺蠈 蟿伪 位蠈纬喂伪 蟿慰蠀蟼 渭蟺慰蟻慰蠉渭蔚 谓伪 伪谓伪蠁蔚蟻胃慰蠉渭蔚 蟽蔚 伪蠀蟿慰蠉蟼.
"韦畏谓 蔚渭慰蟻蠁喂维 苇蟿蟽喂 蟺慰位蠉 伪蟿苇谓喂蟽伪,
蟺慰蠀 蟺位萎蟻畏蟼 蔚委谓伪喂 伪蠀蟿萎蟼 畏 蠈蟻伪蟽委蟼 渭慰蠀."
July 23, 2012
賲賳 兀噩賲賱 賲丕 賯乇兀鬲 賴匕丕 丕賱毓丕賲
賴匕賴 丕賱鬲乇噩賲丞 丕賱噩賲賷賱丞 賱賱兀毓賲丕賱 丕賱賰丕賲賱丞 賱賱卮丕毓乇 丕賱賷賵賳丕賳賷 丕賱爻賰賳丿乇賷 賯爻胤賳胤賷賳 賰賮丕賮賷爻 兀毓鬲亘乇賴丕 囟賲賳 丕賱賰鬲亘 丕賱兀爻丕爻賷丞 兀賵 丕賱賲乇噩毓賷丞 丕賱鬲賷 兀囟毓賴丕 賮賷 賲鬲賳丕賵賱 丕賱賷丿 賱賱乇噩賵毓 廿賱賷賴丕 賰賱 丨賷賳, 毓賱賶 丕毓鬲亘丕乇 兀賳 丕賱廿賳爻丕賳 賱賳 賷賳鬲賴賷 兀亘丿丕 賲賳 賯乇丕亍鬲賴丕, 賲孬賱賴丕 賮賷 匕賱賰 賲孬賱 賰鬲亘 丕賱賲賱丕丨賲 賵丕賱兀爻丕胤賷乇 賵丕賱賰鬲亘 丕賱賲賯丿爻丞, 賵賲孬賱 兀毓賲丕賱 卮賰爻亘賷乇 賵賴賵賲賷乇賵爻 賵賳噩賷亘 賲丨賮賵馗 賵賮乇賳丕賳丿賵 亘賷爻賵丕 賵賰賱 卮毓乇丕亍 賵兀丿亘丕亍 丕賱廿賳爻丕賳賷丞 丕賱毓馗丕賲
卮毓乇 賰賮丕賮賷爻 賷賲賰賳 兀賳 賷賵氐賮 亘丕賱賵氐賮 丕賱卮丕卅毓 "丕賱爻賴賱 丕賱賲賲鬲賳毓" 賵匕賱賰 賱爻賴賵賱丞 賮賴賲 卮毓乇賴 賵胤乇賷賯鬲賴 丕賱賲亘丕卮乇丞 - 亘賱 賵兀丨賷丕賳丕 丕賱鬲賷 鬲亘丿賵 "鬲毓賱賷賲賷丞" - 賮賷 丕賱鬲毓亘賷乇 毓賲丕 賷乇賷丿 兀賳 賷賯賵賱賴. 賵賰賮丕賮賷爻 賱賴 賲賯丿乇丞 毓噩賷亘丞 毓賱賶 丕爻鬲丨囟丕乇 夭賲賳 賵毓氐乇 鬲丕乇賷禺賷 賰丕賲賱 - 爻賵丕亍 賯丿賷賲 兀賵 丨丿賷孬 - 亘賰賱賲丕鬲 賵廿卮丕乇丕鬲 賯賱賷賱丞 賲賵丨賷丞. 賵賳賮爻 丕賱卮賶亍 亘丕賱賳爻亘丞 賱賵氐賮賴 賱賱卮禺氐賷丕鬲 : 賱賲丨丕鬲 賯賱賷賱丞 賰兀賳賴丕 囟乇亘丕鬲 賮乇卮丕丞 賯賱賷賱丞 賵爻乇賷毓丞 賱賮賳丕賳 丨丿賷孬 鬲賳賯賱 賱賳丕 廿賳爻丕賳丕 亘賰賱 賲卮丕毓乇賴 賮賷 賱丨馗丞 賲毓賷賳丞, 賵匕賱賰 亘丿賵賳 賲亘丕賱睾丞 兀賵 兀賱賵丕賳 夭丕毓賯丞
卮毓乇 賰賮丕賮賷 - 爻賵丕亍 賰丕賳 賮賷 馗丕賴乇賴 賷鬲丨丿孬 毓賳 丕賱鬲丕乇賷禺 兀賵 丕賱毓卮賯 兀賵 丕賱賮賱爻賮丞 兀賵 丕賱卮毓乇- 賷毓賵丿 亘賳丕 廿賱賶 毓丿丞 毓氐賵乇 賵兀賲丕賰賳 賲丨丿丿丞 鬲鬲賰乇乇 賰孬賷乇丕. 丕賱廿爻賰賳丿乇賷丞 賮賷 兀賵丕卅賱 丕賱賯乇賳 丕賱毓卮乇賷賳 - 丕賱賷賵賳丕賳 丕賱賯丿賷賲丞 - 亘賷夭賳胤丞 賮賷 丕賱毓氐賵乇 丕賱賵爻胤賶. 賵賴賳丕賰 卮禺氐賷丕鬲 鬲丕乇賷禺賷丞 鬲鬲賰乇乇 賰孬賷乇丕 賮賷 兀卮毓丕乇賴, 賲孬賱丕 丕賱廿賲亘乇丕胤賵乇 丕賱乇賵賲丕賳賷 噩賵賱賷丕賳 兀賵 賷賵賱賷丕賳賵爻 丕賱匕賷 毓乇賮 亘賱賯亘 "丕賱噩丕丨丿 兀賵 丕賱賲乇鬲丿" 賱毓賵丿鬲賴 賱賱賵孬賳賷丞 亘毓丿 兀賳 賰丕賳 賲爻賷丨賷丕.
賵賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱兀卮毓丕乇 丕賱卮亘賯賷丞 丕賱鬲賷 賱丕 賷禺賮賷 賮賷賴丕 賰賮丕賮賷爻 賲賷賵賱賴 丕賱噩賳爻賷丞 丕賱賲孬賱賷丞, 賵賱賰賳 賴匕賴 丕賱兀卮毓丕乇 鬲乇賰夭 毓賱賶 丕賱噩丕賳亘 丕賱廿賳爻丕賳賷 賵丕賱賵噩賵丿賷 賱賴匕賴 丕賱毓賱丕賯丕鬲 : 鬲兀孬賷乇 丕賱馗乇賵賮 賵乇賮囟 丕賱賲噩鬲賲毓 賱賴匕賴 丕賱毓賱丕賯丕鬲 賵丕賱賮賯乇 賵丕賱夭賲賳 賵丕賱賲賵鬲. 賵賳噩丿 賮賷 丕賱賰孬賷乇 賲賳賴丕 廿賴鬲賲丕賲 亘丕賱賲賰丕賳 賵丕賱賰孬賷乇 賲賳 丕賱鬲賮丕氐賷賱 丕賱丿賯賷賯丞 : 丕賱兀賱賵丕賳 賵丕賱賲賱丕亘爻 賵丕賱乇賵丕卅丨 賵丕賱兀孬丕孬 賵賰兀賳 丕賱卮丕毓乇 賷禺卮賶 毓賱賶 賴匕賴 丕賱匕賰乇賷丕鬲 賲賳 鬲兀孬賷乇 丕賱夭賲賳 丕賱賲丿賲乇. 賱賰賳賴 兀賷囟丕 賷乇賶 兀賳 丕賱夭賲賳 丕賱賯丕爻賷 賷賱毓亘 兀丨賷丕賳丕 丿賵乇丕 賲卮丕亘賴丕 賱丿賵乇 丕賱賮賳 : 賮丕賱廿賳賮氐丕賱 丕賱賲亘賰乇 毓賳 丕賱丨亘賷亘 - 毓賱賶 賯爻賵鬲賴- 賷亘賯賷賴 賮賷 丕賱匕丕賰乇丞 賰賲丕 賰丕賳 賮賷 爻賳 丕賱卮亘丕亘 賵丕賱丨賷賵賷丞 賵丕賱噩賲丕賱. 賰兀賳 賴匕賴 丕賱賯爻賵丞 賲賳 丕賱夭賲賳 鬲毓賲賱 毓賲賱 丕賱賮賳丕賳 丕賱匕賷 賷賯賷賲 鬲賲孬丕賱丕 禺丕賱丿丕 賱丕 賷賮賳賶
賳賱丕丨馗 賮賷 賰孬賷乇 賲賳 兀卮毓丕乇 賰賮丕賮賷爻 丨爻 丿乇丕賲賷 賯賵賷, 丨賵丕乇 亘賷賳 卮禺氐賷賳 , 兀賵 丨賵丕乇 丿丕禺賱賷 賷賳鬲噩 毓賳賴 賮賷 賳賴丕賷丞 丕賱賯氐賷丿丞 賯乇丕乇 賲毓賷賳 兀賵 鬲氐丨賷丨 賱賮賰乇丞 兀賵 鬲兀賰賷丿 賱賱匕丕鬲 丨賵賱 賯囟賷丞 賲毓賷賳丞. 賵賳噩丿 賮賷 兀丨賷丕賳 賰孬賷乇丞 賲丕 賷卮亘賴 賮賳 丕賱賯氐丞 丕賱賯氐賷乇丞: 賲賵賯賮 廿賳爻丕賳賷 兀賵 賱丨馗丞 囟毓賮 兀賵 賱丨馗丞 賮丕乇賯丞 賵兀丨賷丕賳丕 賱丨馗丞 鬲賳賵賷乇 兀賵 丨爻賲 賮賷 丕賱賳賴丕賷丞
兀賰孬乇 賲丕 兀丨亘亘鬲賴 賮賷 卮毓乇 賰賮丕賮賷爻 賴賵 丨爻賴 丕賱廿賳爻丕賳賷 丕賱賯賵賷, 鬲毓丕胤賮賴 丕賱卮丿賷丿 賲毓 丕賱廿賳爻丕賳 賵鬲賲噩賷丿賴 賱廿賳爻丕賳賷鬲賴 賵爻禺乇賷鬲賴 賲賳 賯賵賱亘丞 賴匕丕 丕賱廿賳爻丕賳 兀賵 鬲賳賲賷胤賴 毓賳 胤乇賷賯 丕賱賲噩鬲賲毓 兀賵 丕賱鬲賯丕賱賷丿 兀賵 丕賱賵馗賷賮丞 兀賵 丕賱鬲丿賷賳 丕賱賰丕匕亘 兀賵 丕賱賲馗丕賴乇 丕賱禺丿丕毓丞.
賴賳丕賰 兀賷囟丕 賯氐丕卅丿 賲賵囟賵毓賴丕 丕賱卮毓乇 賵丕賱賮賳 賵賷鬲噩賱賶 賮賷賴丕 亘賵囟賵丨 賳馗乇丞 賰賮丕賮賷爻 丕賱鬲賷 賷賲賰賳 兀賳 賳胤賱賯 毓賱賷賴丕"胤亘賯賷丞" 賱賱賮賳丕賳 兀賵 丕賱卮丕毓乇 丕賱匕賷 賷乇丕賴 賰丕卅賳丕 兀毓賱賶 賵兀爻賲賶 賲賳 丕賱亘卮乇 丕賱毓丕丿賷賷賳 亘賮囟賱 賲賵賴亘鬲賴 丕賱卮毓乇賷丞. 賵賴匕丕 丕賱噩丕賳亘 賲賳 卮毓乇 賰賮丕賮賷爻 - 賳馗乇鬲賴 賱賱賮賳 賵賱賱卮毓乇 賵賱賱卮丕毓乇 - 鬲賳丕賵賱賴 兀丨丿 丕賱賳賯丕丿 賮賷 賰鬲丕亘 賰丕賲賱 賲鬲乇噩賲 廿賱賶 丕賱毓乇亘賷丞
賵賴賳丕賰 賮賰乇丞 鬲鬲賰乇乇 賰孬賷乇丕 亘兀卮賰丕賱 賱丕 賳賴丕賷丞 賱賴丕 : 兀賳 丕賱賮賳 賵丕賱卮毓乇 賵丕賱孬賯丕賮丞 賴賷 丕賱丌孬丕乇 丕賱兀賰孬乇 兀賴賲賷丞 丕賱鬲賷 賷賲賰賳 兀賳 賷鬲乇賰賴丕 丕賱廿賳爻丕賳 賱賱兀噩賷丕賱 丕賱賯丕丿賲丞, 兀賴賲 賲賳 丕賱爻賱胤丞 賵丕賱毓馗賲丞 賵丕賱賲噩丿 賵丕賱孬乇賵丞
賴匕賴 丕賱鬲乇噩賲丞 丕賱噩賲賷賱丞 賱賱兀毓賲丕賱 丕賱賰丕賲賱丞 賱賱卮丕毓乇 丕賱賷賵賳丕賳賷 丕賱爻賰賳丿乇賷 賯爻胤賳胤賷賳 賰賮丕賮賷爻 兀毓鬲亘乇賴丕 囟賲賳 丕賱賰鬲亘 丕賱兀爻丕爻賷丞 兀賵 丕賱賲乇噩毓賷丞 丕賱鬲賷 兀囟毓賴丕 賮賷 賲鬲賳丕賵賱 丕賱賷丿 賱賱乇噩賵毓 廿賱賷賴丕 賰賱 丨賷賳, 毓賱賶 丕毓鬲亘丕乇 兀賳 丕賱廿賳爻丕賳 賱賳 賷賳鬲賴賷 兀亘丿丕 賲賳 賯乇丕亍鬲賴丕, 賲孬賱賴丕 賮賷 匕賱賰 賲孬賱 賰鬲亘 丕賱賲賱丕丨賲 賵丕賱兀爻丕胤賷乇 賵丕賱賰鬲亘 丕賱賲賯丿爻丞, 賵賲孬賱 兀毓賲丕賱 卮賰爻亘賷乇 賵賴賵賲賷乇賵爻 賵賳噩賷亘 賲丨賮賵馗 賵賮乇賳丕賳丿賵 亘賷爻賵丕 賵賰賱 卮毓乇丕亍 賵兀丿亘丕亍 丕賱廿賳爻丕賳賷丞 丕賱毓馗丕賲
卮毓乇 賰賮丕賮賷爻 賷賲賰賳 兀賳 賷賵氐賮 亘丕賱賵氐賮 丕賱卮丕卅毓 "丕賱爻賴賱 丕賱賲賲鬲賳毓" 賵匕賱賰 賱爻賴賵賱丞 賮賴賲 卮毓乇賴 賵胤乇賷賯鬲賴 丕賱賲亘丕卮乇丞 - 亘賱 賵兀丨賷丕賳丕 丕賱鬲賷 鬲亘丿賵 "鬲毓賱賷賲賷丞" - 賮賷 丕賱鬲毓亘賷乇 毓賲丕 賷乇賷丿 兀賳 賷賯賵賱賴. 賵賰賮丕賮賷爻 賱賴 賲賯丿乇丞 毓噩賷亘丞 毓賱賶 丕爻鬲丨囟丕乇 夭賲賳 賵毓氐乇 鬲丕乇賷禺賷 賰丕賲賱 - 爻賵丕亍 賯丿賷賲 兀賵 丨丿賷孬 - 亘賰賱賲丕鬲 賵廿卮丕乇丕鬲 賯賱賷賱丞 賲賵丨賷丞. 賵賳賮爻 丕賱卮賶亍 亘丕賱賳爻亘丞 賱賵氐賮賴 賱賱卮禺氐賷丕鬲 : 賱賲丨丕鬲 賯賱賷賱丞 賰兀賳賴丕 囟乇亘丕鬲 賮乇卮丕丞 賯賱賷賱丞 賵爻乇賷毓丞 賱賮賳丕賳 丨丿賷孬 鬲賳賯賱 賱賳丕 廿賳爻丕賳丕 亘賰賱 賲卮丕毓乇賴 賮賷 賱丨馗丞 賲毓賷賳丞, 賵匕賱賰 亘丿賵賳 賲亘丕賱睾丞 兀賵 兀賱賵丕賳 夭丕毓賯丞
卮毓乇 賰賮丕賮賷 - 爻賵丕亍 賰丕賳 賮賷 馗丕賴乇賴 賷鬲丨丿孬 毓賳 丕賱鬲丕乇賷禺 兀賵 丕賱毓卮賯 兀賵 丕賱賮賱爻賮丞 兀賵 丕賱卮毓乇- 賷毓賵丿 亘賳丕 廿賱賶 毓丿丞 毓氐賵乇 賵兀賲丕賰賳 賲丨丿丿丞 鬲鬲賰乇乇 賰孬賷乇丕. 丕賱廿爻賰賳丿乇賷丞 賮賷 兀賵丕卅賱 丕賱賯乇賳 丕賱毓卮乇賷賳 - 丕賱賷賵賳丕賳 丕賱賯丿賷賲丞 - 亘賷夭賳胤丞 賮賷 丕賱毓氐賵乇 丕賱賵爻胤賶. 賵賴賳丕賰 卮禺氐賷丕鬲 鬲丕乇賷禺賷丞 鬲鬲賰乇乇 賰孬賷乇丕 賮賷 兀卮毓丕乇賴, 賲孬賱丕 丕賱廿賲亘乇丕胤賵乇 丕賱乇賵賲丕賳賷 噩賵賱賷丕賳 兀賵 賷賵賱賷丕賳賵爻 丕賱匕賷 毓乇賮 亘賱賯亘 "丕賱噩丕丨丿 兀賵 丕賱賲乇鬲丿" 賱毓賵丿鬲賴 賱賱賵孬賳賷丞 亘毓丿 兀賳 賰丕賳 賲爻賷丨賷丕.
賵賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱兀卮毓丕乇 丕賱卮亘賯賷丞 丕賱鬲賷 賱丕 賷禺賮賷 賮賷賴丕 賰賮丕賮賷爻 賲賷賵賱賴 丕賱噩賳爻賷丞 丕賱賲孬賱賷丞, 賵賱賰賳 賴匕賴 丕賱兀卮毓丕乇 鬲乇賰夭 毓賱賶 丕賱噩丕賳亘 丕賱廿賳爻丕賳賷 賵丕賱賵噩賵丿賷 賱賴匕賴 丕賱毓賱丕賯丕鬲 : 鬲兀孬賷乇 丕賱馗乇賵賮 賵乇賮囟 丕賱賲噩鬲賲毓 賱賴匕賴 丕賱毓賱丕賯丕鬲 賵丕賱賮賯乇 賵丕賱夭賲賳 賵丕賱賲賵鬲. 賵賳噩丿 賮賷 丕賱賰孬賷乇 賲賳賴丕 廿賴鬲賲丕賲 亘丕賱賲賰丕賳 賵丕賱賰孬賷乇 賲賳 丕賱鬲賮丕氐賷賱 丕賱丿賯賷賯丞 : 丕賱兀賱賵丕賳 賵丕賱賲賱丕亘爻 賵丕賱乇賵丕卅丨 賵丕賱兀孬丕孬 賵賰兀賳 丕賱卮丕毓乇 賷禺卮賶 毓賱賶 賴匕賴 丕賱匕賰乇賷丕鬲 賲賳 鬲兀孬賷乇 丕賱夭賲賳 丕賱賲丿賲乇. 賱賰賳賴 兀賷囟丕 賷乇賶 兀賳 丕賱夭賲賳 丕賱賯丕爻賷 賷賱毓亘 兀丨賷丕賳丕 丿賵乇丕 賲卮丕亘賴丕 賱丿賵乇 丕賱賮賳 : 賮丕賱廿賳賮氐丕賱 丕賱賲亘賰乇 毓賳 丕賱丨亘賷亘 - 毓賱賶 賯爻賵鬲賴- 賷亘賯賷賴 賮賷 丕賱匕丕賰乇丞 賰賲丕 賰丕賳 賮賷 爻賳 丕賱卮亘丕亘 賵丕賱丨賷賵賷丞 賵丕賱噩賲丕賱. 賰兀賳 賴匕賴 丕賱賯爻賵丞 賲賳 丕賱夭賲賳 鬲毓賲賱 毓賲賱 丕賱賮賳丕賳 丕賱匕賷 賷賯賷賲 鬲賲孬丕賱丕 禺丕賱丿丕 賱丕 賷賮賳賶
賳賱丕丨馗 賮賷 賰孬賷乇 賲賳 兀卮毓丕乇 賰賮丕賮賷爻 丨爻 丿乇丕賲賷 賯賵賷, 丨賵丕乇 亘賷賳 卮禺氐賷賳 , 兀賵 丨賵丕乇 丿丕禺賱賷 賷賳鬲噩 毓賳賴 賮賷 賳賴丕賷丞 丕賱賯氐賷丿丞 賯乇丕乇 賲毓賷賳 兀賵 鬲氐丨賷丨 賱賮賰乇丞 兀賵 鬲兀賰賷丿 賱賱匕丕鬲 丨賵賱 賯囟賷丞 賲毓賷賳丞. 賵賳噩丿 賮賷 兀丨賷丕賳 賰孬賷乇丞 賲丕 賷卮亘賴 賮賳 丕賱賯氐丞 丕賱賯氐賷乇丞: 賲賵賯賮 廿賳爻丕賳賷 兀賵 賱丨馗丞 囟毓賮 兀賵 賱丨馗丞 賮丕乇賯丞 賵兀丨賷丕賳丕 賱丨馗丞 鬲賳賵賷乇 兀賵 丨爻賲 賮賷 丕賱賳賴丕賷丞
兀賰孬乇 賲丕 兀丨亘亘鬲賴 賮賷 卮毓乇 賰賮丕賮賷爻 賴賵 丨爻賴 丕賱廿賳爻丕賳賷 丕賱賯賵賷, 鬲毓丕胤賮賴 丕賱卮丿賷丿 賲毓 丕賱廿賳爻丕賳 賵鬲賲噩賷丿賴 賱廿賳爻丕賳賷鬲賴 賵爻禺乇賷鬲賴 賲賳 賯賵賱亘丞 賴匕丕 丕賱廿賳爻丕賳 兀賵 鬲賳賲賷胤賴 毓賳 胤乇賷賯 丕賱賲噩鬲賲毓 兀賵 丕賱鬲賯丕賱賷丿 兀賵 丕賱賵馗賷賮丞 兀賵 丕賱鬲丿賷賳 丕賱賰丕匕亘 兀賵 丕賱賲馗丕賴乇 丕賱禺丿丕毓丞.
賴賳丕賰 兀賷囟丕 賯氐丕卅丿 賲賵囟賵毓賴丕 丕賱卮毓乇 賵丕賱賮賳 賵賷鬲噩賱賶 賮賷賴丕 亘賵囟賵丨 賳馗乇丞 賰賮丕賮賷爻 丕賱鬲賷 賷賲賰賳 兀賳 賳胤賱賯 毓賱賷賴丕"胤亘賯賷丞" 賱賱賮賳丕賳 兀賵 丕賱卮丕毓乇 丕賱匕賷 賷乇丕賴 賰丕卅賳丕 兀毓賱賶 賵兀爻賲賶 賲賳 丕賱亘卮乇 丕賱毓丕丿賷賷賳 亘賮囟賱 賲賵賴亘鬲賴 丕賱卮毓乇賷丞. 賵賴匕丕 丕賱噩丕賳亘 賲賳 卮毓乇 賰賮丕賮賷爻 - 賳馗乇鬲賴 賱賱賮賳 賵賱賱卮毓乇 賵賱賱卮丕毓乇 - 鬲賳丕賵賱賴 兀丨丿 丕賱賳賯丕丿 賮賷 賰鬲丕亘 賰丕賲賱 賲鬲乇噩賲 廿賱賶 丕賱毓乇亘賷丞
賵賴賳丕賰 賮賰乇丞 鬲鬲賰乇乇 賰孬賷乇丕 亘兀卮賰丕賱 賱丕 賳賴丕賷丞 賱賴丕 : 兀賳 丕賱賮賳 賵丕賱卮毓乇 賵丕賱孬賯丕賮丞 賴賷 丕賱丌孬丕乇 丕賱兀賰孬乇 兀賴賲賷丞 丕賱鬲賷 賷賲賰賳 兀賳 賷鬲乇賰賴丕 丕賱廿賳爻丕賳 賱賱兀噩賷丕賱 丕賱賯丕丿賲丞, 兀賴賲 賲賳 丕賱爻賱胤丞 賵丕賱毓馗賲丞 賵丕賱賲噩丿 賵丕賱孬乇賵丞
July 5, 2015
Come back and take hold of me,
beloved feeling come back and take hold of me,
when the memory of the body reawakens,
and old longing once more passes through the blood;
when the lips and skin remember,
and the hands feel like they鈥檙e touching once again.
Come back often and take hold of me at night,
when the lips and skin remember 鈥�.
The translator, Daniel Mendelsohn, has done a sterling job of bringing the works of this mesmerizing poet to life. The introduction is excellent as are the notes which give you an insight into the life of this remarkable individual. Interesting is the fact that he was considered an ordinary individual. In fact his fellow poet, George Seferis, considered that 鈥渙utside his poetry Cavafy does not exist鈥�. It sounds harsh but perhaps correct.
Mendelsohn has provided the most invaluable introduction on the life of Cavafy and thanks to him he has given an insight into all of Cavafy's wonderful and uplifting poems.
E. M. Forster, who was in Alexandria during World War I and who was an early admirer and promoter of Cavafy's poetry, described Cavafy as a fixture in the city.
Just one of his reviewers states the follow鈥�
His verses have been translated into nearly seventy-five languages. W.H. Auden, among others, claimed him as an influence on his own work. Few modern poets have made such a claim on the 20th century as Constantine Cavafy (1863-1933). His writings insistently confront the collisions of time, history and the fallibility of memory. Perhaps that is why our era has canonized him: As we face the perishing of our own worlds, we better appreciate his anguish and acceptance, his utter lack of self-deceiving sentimentality or conventional emotion as he observes the evanescence of life, pleasure, love.
The beauty of the internet is that one can come across comments such as that made by Henry Miller.
The innocent comment was that there were perhaps references to Cavafy in the Alexandria Quartet. What she couldn鈥檛 have known is that once I discovered Cavafy, it struck me that in the Quartet, the city of Alexandria is possibly the canvas on which Durrell paints Cavafy, a city which has haunted me and drawn me in all these years. She didn鈥檛 know that I was in panic of reopening the book and never be able to come back up for air again, lost in my increasingly isolated bouts with an excess of beauty. And paint Cavafy he does, most notably at the very end of Justine, where he offers his own translation (he calls it a 鈥渢ransplant鈥�) of The City:鈥滻 have tried to transplant rather than translate 鈥� with what success I cannot say.
Whatever your feelings about poetry, the reader will find here works that are so exquisite/sublime that they can never be forgotten and the eras portrayed are excellent.
There is lambent wit throughout Cavafy鈥檚 poetry. It resonates, well especially with me and I鈥檓 normally not a poetry lover.
A beautiful spellbinding work that I will constantly refer to. How wonderful to know that one can pick up a book at whatever page and find sheer beauty! My鈥he lap of the Gods is indeed looking down鈥�
I love it!
beloved feeling come back and take hold of me,
when the memory of the body reawakens,
and old longing once more passes through the blood;
when the lips and skin remember,
and the hands feel like they鈥檙e touching once again.
Come back often and take hold of me at night,
when the lips and skin remember 鈥�.
The translator, Daniel Mendelsohn, has done a sterling job of bringing the works of this mesmerizing poet to life. The introduction is excellent as are the notes which give you an insight into the life of this remarkable individual. Interesting is the fact that he was considered an ordinary individual. In fact his fellow poet, George Seferis, considered that 鈥渙utside his poetry Cavafy does not exist鈥�. It sounds harsh but perhaps correct.
Mendelsohn has provided the most invaluable introduction on the life of Cavafy and thanks to him he has given an insight into all of Cavafy's wonderful and uplifting poems.
E. M. Forster, who was in Alexandria during World War I and who was an early admirer and promoter of Cavafy's poetry, described Cavafy as a fixture in the city.
Just one of his reviewers states the follow鈥�
His verses have been translated into nearly seventy-five languages. W.H. Auden, among others, claimed him as an influence on his own work. Few modern poets have made such a claim on the 20th century as Constantine Cavafy (1863-1933). His writings insistently confront the collisions of time, history and the fallibility of memory. Perhaps that is why our era has canonized him: As we face the perishing of our own worlds, we better appreciate his anguish and acceptance, his utter lack of self-deceiving sentimentality or conventional emotion as he observes the evanescence of life, pleasure, love.
The beauty of the internet is that one can come across comments such as that made by Henry Miller.
The innocent comment was that there were perhaps references to Cavafy in the Alexandria Quartet. What she couldn鈥檛 have known is that once I discovered Cavafy, it struck me that in the Quartet, the city of Alexandria is possibly the canvas on which Durrell paints Cavafy, a city which has haunted me and drawn me in all these years. She didn鈥檛 know that I was in panic of reopening the book and never be able to come back up for air again, lost in my increasingly isolated bouts with an excess of beauty. And paint Cavafy he does, most notably at the very end of Justine, where he offers his own translation (he calls it a 鈥渢ransplant鈥�) of The City:鈥滻 have tried to transplant rather than translate 鈥� with what success I cannot say.
Whatever your feelings about poetry, the reader will find here works that are so exquisite/sublime that they can never be forgotten and the eras portrayed are excellent.
There is lambent wit throughout Cavafy鈥檚 poetry. It resonates, well especially with me and I鈥檓 normally not a poetry lover.
A beautiful spellbinding work that I will constantly refer to. How wonderful to know that one can pick up a book at whatever page and find sheer beauty! My鈥he lap of the Gods is indeed looking down鈥�
I love it!
April 4, 2021
Erudite, sensual and bringing a lost Hellenistic world, or a pagan world transitioning to Christianity back
For though his poems are not syntactically difficult or outwardly cryptic, thought they are therefore 鈥渁vailable鈥� to the average reader who comes to them without a panoply of scholarship, part of Cafavy鈥檚 modernity is that he does require this scholarship; perhaps it is simply his astonishing egocentricity, but he is saying in effect, my poems are me, and if you wish to read them the way they should be read, you will have to know all about me, and that means knowing all about my life in Alexandria, and about my aristocratic ancestors, and my city鈥檚 glory and decline, and about other things that interest me.
More thoughts to follow
For though his poems are not syntactically difficult or outwardly cryptic, thought they are therefore 鈥渁vailable鈥� to the average reader who comes to them without a panoply of scholarship, part of Cafavy鈥檚 modernity is that he does require this scholarship; perhaps it is simply his astonishing egocentricity, but he is saying in effect, my poems are me, and if you wish to read them the way they should be read, you will have to know all about me, and that means knowing all about my life in Alexandria, and about my aristocratic ancestors, and my city鈥檚 glory and decline, and about other things that interest me.
More thoughts to follow
August 9, 2023
This collection oscillates between varieties. Most are heavy with Greek names/references. But maybe 1/5 have references to a man seeking another man. These gay references were usually about a love denied, with strong closeted feelings. Just longing for someone from a distance, or maybe a brief touch in a market.
My second reading focused on the pages/poems I highlighted below. Beautiful heartaches here.
Listen to this closeted feeling in "September 1903"
At least let me now beguile myself with false hopes;
and so not notice my empty life.
And so many times I was so close.
And how I froze, how I recoiled, afraid;
why stop, with my lips closed;
and have my empty life weep inside me,
and my longing put on mourning black?
To be close so many times
to the erotic eyes, the lips,
to the dreamsought, the beloved body.
To be close so many times.
Talking about the 'view' of one man toward another...:
Last stanza from "Days of 1908"
Your view has kept him what he was
when he took them off, when he cast them from him,
those unworthy clothes, that underwear in patches.
He stood then naked everywhere;
flawless in beauty; a miracle.
His uncombed hair upswept; his limbs touched sun-dark
from his morning naked at the baths and on the beach.
Most of these speak of the object of admiration being from a simple life, with simple clothes, in their mid to late 20's, simply being quietly beautiful by existing.
Here is the book namesake:
"Before Time Could Change Them"
Great sorrow and regret overcame them on their separation.
It wasn't their desire; it was circumstances.
The need one had to earn his living
made him go far away - New York or Canada.
Their love, of course, was not the love they'd started with;
the attraction holding them by slow degrees had waned,
the attraction had waned to a great degree.
But that they should separate, that wasn't their desire.
It was circumstances. - Or perhaps Fortune
came on the scene as artiest, separating them now,
before their feeling could vanish before Time could change them;
the one will seem eternally what he was to the other -
a twenty-four year old; a young, a handsome man.
Damn! Heartache here that can take an entire book to tell!
I liked this laid-back discreet tone of these early 20th century poems. I would like these in their own collection, since the other poems in this book with their high number of Greek name references went way over my head.
My 5* gay collection would include:
page - poem
13 - As Long as You Can
50 - Understanding
84 - An Old Man
103 - The Afternoon Sun
104 - To Abide
106 - Imenos
107 - From the ship
126 - Craftsman of Winebowls
129 - In an Old Book
130 - Desperation
135 - Before Time Could Change Them
136 - He Came to Read
141 - The 25th year of his Life
143 - In the Dull and Gloomy Village
148 - In the Wineshops
150 Sophist Departing from Syria
153 - Days of 1896
154 - Two Young Men, 23 to 24 Years Old
157 - Days of 1901
159 - A Young Man, a Writer - in His 24th Year
161 - Picture of a Young Man, Twenty-three, Done by His Friend of the Same Age, an Amateur
165 - Kimon, Son of Learchos, Age 22, Student of Greek Literature (in Kyini)
167 - Days of 1909, '10, and '11
168 - Myris: Alexandria, 340 AD
172 - Flowers White and Beautiful, as Were Most Becoming
175 - The Mirror in the Vestibule
176 - He Asked about the Quality
180 - Following the Formulas of Ancient Greco-Syrian Magicians
183 - Days of 1908
197 - Stephanos Skilitsis
251 - September 1903
252 - December 1903
253 - January 1904
254 - On the Stairs
255 - At the Theater
258 - 27 June 1906, 2 pm
259 - Hidden Things
362 - So
267 - Half an Hour
271 - The Bandaged Shoulder
274 - From the Drawer
This is a solid 5* collection for me. I'm glad I found this used book to buy so I can circle these pages and stick exclusively to this collection when I pull this from my shelf in the future.
My second reading focused on the pages/poems I highlighted below. Beautiful heartaches here.
Listen to this closeted feeling in "September 1903"
At least let me now beguile myself with false hopes;
and so not notice my empty life.
And so many times I was so close.
And how I froze, how I recoiled, afraid;
why stop, with my lips closed;
and have my empty life weep inside me,
and my longing put on mourning black?
To be close so many times
to the erotic eyes, the lips,
to the dreamsought, the beloved body.
To be close so many times.
Talking about the 'view' of one man toward another...:
Last stanza from "Days of 1908"
Your view has kept him what he was
when he took them off, when he cast them from him,
those unworthy clothes, that underwear in patches.
He stood then naked everywhere;
flawless in beauty; a miracle.
His uncombed hair upswept; his limbs touched sun-dark
from his morning naked at the baths and on the beach.
Most of these speak of the object of admiration being from a simple life, with simple clothes, in their mid to late 20's, simply being quietly beautiful by existing.
Here is the book namesake:
"Before Time Could Change Them"
Great sorrow and regret overcame them on their separation.
It wasn't their desire; it was circumstances.
The need one had to earn his living
made him go far away - New York or Canada.
Their love, of course, was not the love they'd started with;
the attraction holding them by slow degrees had waned,
the attraction had waned to a great degree.
But that they should separate, that wasn't their desire.
It was circumstances. - Or perhaps Fortune
came on the scene as artiest, separating them now,
before their feeling could vanish before Time could change them;
the one will seem eternally what he was to the other -
a twenty-four year old; a young, a handsome man.
Damn! Heartache here that can take an entire book to tell!
I liked this laid-back discreet tone of these early 20th century poems. I would like these in their own collection, since the other poems in this book with their high number of Greek name references went way over my head.
My 5* gay collection would include:
page - poem
13 - As Long as You Can
50 - Understanding
84 - An Old Man
103 - The Afternoon Sun
104 - To Abide
106 - Imenos
107 - From the ship
126 - Craftsman of Winebowls
129 - In an Old Book
130 - Desperation
135 - Before Time Could Change Them
136 - He Came to Read
141 - The 25th year of his Life
143 - In the Dull and Gloomy Village
148 - In the Wineshops
150 Sophist Departing from Syria
153 - Days of 1896
154 - Two Young Men, 23 to 24 Years Old
157 - Days of 1901
159 - A Young Man, a Writer - in His 24th Year
161 - Picture of a Young Man, Twenty-three, Done by His Friend of the Same Age, an Amateur
165 - Kimon, Son of Learchos, Age 22, Student of Greek Literature (in Kyini)
167 - Days of 1909, '10, and '11
168 - Myris: Alexandria, 340 AD
172 - Flowers White and Beautiful, as Were Most Becoming
175 - The Mirror in the Vestibule
176 - He Asked about the Quality
180 - Following the Formulas of Ancient Greco-Syrian Magicians
183 - Days of 1908
197 - Stephanos Skilitsis
251 - September 1903
252 - December 1903
253 - January 1904
254 - On the Stairs
255 - At the Theater
258 - 27 June 1906, 2 pm
259 - Hidden Things
362 - So
267 - Half an Hour
271 - The Bandaged Shoulder
274 - From the Drawer
This is a solid 5* collection for me. I'm glad I found this used book to buy so I can circle these pages and stick exclusively to this collection when I pull this from my shelf in the future.
January 7, 2013
螔伪胃喂维 蟿蟻伪纬喂魏萎 蟺慰委畏蟽畏 渭蔚 蠁喂位慰蟽慰蠁喂魏苇蟼 蟺蟻慰蔚魏蟿维蟽蔚喂蟼, 蟽魏畏谓喂魏蠈 胃蔚伪蟿蟻喂魏蠈, 位伪谓胃维谓慰蠀蟽伪 蔚喂蟻蠅谓蔚委伪, 蠀蟺慰尾位畏蟿喂魏萎 伪蟿渭蠈蟽蠁伪喂蟻伪, 伪蠀蟿慰蟽伪蟻魏伪蟽渭蠈蟼, 伪委蟽胃畏蟽畏 蟿蟻伪纬喂魏蠈蟿畏蟿伪蟼 魏伪喂 伪未喂蔚尉蠈未慰蠀! 螚 螝伪尾伪蠁喂魏萎 蟺慰委畏蟽畏 蔚委谓伪喂 蔚蟺委魏伪喂蟻畏 魏伪喂 未喂伪蠂蟻慰谓喂魏萎 - 蟿慰 魏伪蟿伪蠁蠉纬喂慰 蟿慰蠀 蟽蠉纬蠂蟻慰谓慰蠀 未慰魏喂渭伪味蠈渭蔚谓慰蠀 伪谓胃蟻蠋蟺慰蠀 蟿蠈蟽慰 伪蟺蠈 蟿喂蟼 蔚尉蠅蟿蔚蟻喂魏苇蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼 蠈蟽慰 魏伪喂 伪蟺蠈 蟿伪 蔚蟽蠅蟿蔚蟻喂魏维 蔚渭蟺蠈未喂伪 蟺慰蠀 蟽蟿萎谓慰蠀谓 "蟿蔚委蠂畏" 魏伪喂 伪蟺慰渭伪魏蟻蠉谓慰蠀谓 伪蟺蠈 蟿畏谓 螜胃维魏畏...
April 20, 2013
螚 蠂蟻慰谓喂维 蟺慰蠀 未喂伪谓蠉慰蠀渭蔚 蔚委谓伪喂 伪蠁喂蔚蟻蠅渭苇谓畏 蟽蟿慰 渭蔚纬维位慰 蟺慰喂畏蟿萎蟼 蟿畏蟼 螒位蔚尉维谓未蟻蔚喂伪蟼 蟺慰蠀 魏伪蟿维蠁蔚蟻蔚 谓伪 未喂伪魏蟻喂胃蔚委 渭蔚 蟿慰 位喂蟿蠈, 伪蟺苇蟻喂蟿蟿慰 魏伪喂 蔚喂蟻蠅谓喂魏蠈 蟺慰喂畏蟿喂魏蠈 蟿慰蠀 位蠈纬慰 伪纬纬委味慰谓蟿伪蟼 未喂伪蠂蟻慰谓喂魏维 胃苇渭伪蟿伪 蠈蟺蠅蟼 畏 萎蟿蟿伪, 慰 胃维谓伪蟿慰蟼 魏伪喂 蟿伪 纬畏蟻伪蟿蔚喂维.
November 10, 2017
賵廿賳 賱賲 鬲爻鬲胤毓 鬲卮賰賷賱 丨賷丕鬲賰 賰賲丕 鬲乇賷丿
賮丨丕賵賱 - 毓賱賶 丕賱兀賯賱 - 亘賯丿乇 賲丕 鬲爻鬲胤賷毓 兀賱丕 鬲亘鬲匕賱賴丕
/
鬲丨賷丞 賰亘賷乇丞 賱鬲乇噩賲丞 乇賮毓鬲 爻賱丕賲
賮丨丕賵賱 - 毓賱賶 丕賱兀賯賱 - 亘賯丿乇 賲丕 鬲爻鬲胤賷毓 兀賱丕 鬲亘鬲匕賱賴丕
/
鬲丨賷丞 賰亘賷乇丞 賱鬲乇噩賲丞 乇賮毓鬲 爻賱丕賲
January 30, 2023
螣 螒位蔚尉伪谓未蟻喂谓蠈蟼 蟺慰喂畏蟿萎蟼 蔚委谓伪喂 伪谓伪渭蠁委尾慰位伪 苇谓伪蟼 伪蟺蠈 蟿慰蠀蟼 渭蔚纬伪位蠉蟿蔚蟻慰蠀蟼 螆位位畏谓蔚蟼 蟺慰喂畏蟿苇蟼.
螤伪蟻伪胃苇蟿蠅 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 伪纬伪蟺畏渭苇谓伪 渭慰蠀 蟺慰喂萎渭伪蟿伪.
{韦伪 蟺伪蟻维胃蠀蟻伪}
危鈥� 伪蠀蟿苇蟼 蟿蔚蟼 蟽魏慰蟿蔚喂谓苇蟼 魏维渭伪蟻蔚蟼, 蟺慰蠀 蟺蔚蟻谓蠋
渭苇蟻蔚蟼 尾伪蟻喂苇蟼, 蔚蟺维谓蠅 魏维蟿蠅 蟿蟻喂纬蠀蟻谓蠋
纬喂伪 谓维 尾蟻蠅 蟿伪 蟺伪蟻维胃蠀蟻伪.
螌蟿伪谓 伪谓慰委尉蔚喂
苇谓伪 蟺伪蟻维胃蠀蟻慰 胃伪 鈥櫸轿蔽� 蟺伪蟻畏纬慰蟻委伪.
螠伪 蟿伪 蟺伪蟻维胃蠀蟻伪 未蔚谓 尾蟻委蟽魏慰谓蟿伪喂, 萎 未蔚谓 渭蟺慰蟻蠋 谓伪 蟿维 尾蟻蠅.
螝伪喂 魏伪位蠉蟿蔚蟻伪 委蟽蠅蟼 谓伪 渭畏谓 蟿伪 尾蟻蠅.
螉蟽蠅蟼 蟿慰 蠁蠅蟼 胃伪 鈥櫸轿蔽� 渭喂伪 谓苇伪 蟿蠀蟻伪谓谓委伪.
螤慰喂蠈蟼 尉苇蟻蔚喂 蟿委 魏伪喂谓慰蠉蟻喂伪 蟺蟻维纬渭伪蟿伪 胃伪 未蔚委尉蔚喂.
@----)---------
螤伪蟻伪胃苇蟿蠅 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 伪纬伪蟺畏渭苇谓伪 渭慰蠀 蟺慰喂萎渭伪蟿伪.
{韦伪 蟺伪蟻维胃蠀蟻伪}
危鈥� 伪蠀蟿苇蟼 蟿蔚蟼 蟽魏慰蟿蔚喂谓苇蟼 魏维渭伪蟻蔚蟼, 蟺慰蠀 蟺蔚蟻谓蠋
渭苇蟻蔚蟼 尾伪蟻喂苇蟼, 蔚蟺维谓蠅 魏维蟿蠅 蟿蟻喂纬蠀蟻谓蠋
纬喂伪 谓维 尾蟻蠅 蟿伪 蟺伪蟻维胃蠀蟻伪.
螌蟿伪谓 伪谓慰委尉蔚喂
苇谓伪 蟺伪蟻维胃蠀蟻慰 胃伪 鈥櫸轿蔽� 蟺伪蟻畏纬慰蟻委伪.
螠伪 蟿伪 蟺伪蟻维胃蠀蟻伪 未蔚谓 尾蟻委蟽魏慰谓蟿伪喂, 萎 未蔚谓 渭蟺慰蟻蠋 谓伪 蟿维 尾蟻蠅.
螝伪喂 魏伪位蠉蟿蔚蟻伪 委蟽蠅蟼 谓伪 渭畏谓 蟿伪 尾蟻蠅.
螉蟽蠅蟼 蟿慰 蠁蠅蟼 胃伪 鈥櫸轿蔽� 渭喂伪 谓苇伪 蟿蠀蟻伪谓谓委伪.
螤慰喂蠈蟼 尉苇蟻蔚喂 蟿委 魏伪喂谓慰蠉蟻喂伪 蟺蟻维纬渭伪蟿伪 胃伪 未蔚委尉蔚喂.
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June 26, 2016
螝维胃慰渭伪喂 魏伪喂 蟻蔚渭尾维味蠅. 螘蟺喂胃蠀渭委蔚蟼 魏鈥� 伪喂蟽胃萎蟽蔚喂蟼
蔚魏蠈渭喂蟽伪 蔚喂蟼 蟿畏谓 韦苇蠂谓畏谓鈥� 魏维蟿喂 渭喂蟽慰蔚喂未蠅渭苇谓伪,
蟺蟻蠈蟽蠅蟺伪 萎 纬蟻伪渭渭苇蟼路 蔚蟻蠋蟿蠅谓 伪蟿蔚位蠋谓
魏维蟿喂 伪尾苇尾伪喂蔚蟼 渭谓萎渭蔚蟼. A蟼 伪蠁蔚胃蠋 蟽鈥� 伪蠀蟿萎谓.
螢苇蟻蔚喂 谓伪 蟽蠂畏渭伪蟿委蟽蔚喂 螠慰蟻蠁萎谓 蟿畏蟼 螝伪位位慰谓萎蟼路
蟽蠂蔚未蠈谓 伪谓蔚蟺伪喂蟽胃萎蟿蠅蟼 蟿慰谓 尾委慰谓 蟽蠀渭蟺位畏蟻慰蠉蟽伪,
蟽蠀谓未蠀维味慰蠀蟽伪 蔚谓蟿蠀蟺蠋蟽蔚喂蟼, 蟽蠀谓未蠀维味慰蠀蟽伪 蟿蔚蟼 渭苇蟻蔚蟼.
-螝. 螤. 螝伪尾维蠁畏蟼, 螘魏蠈渭喂蟽伪 蔚喂蟼 蟿畏谓 韦苇蠂谓畏
螖喂伪蟽蟺慰蟻喂魏蠈 蠀蟺慰魏蔚委渭蔚谓慰 魏伪喂 蟺慰喂畏蟿萎蟼 蟺伪纬魏蠈蟽渭喂伪蟼 位慰纬慰蟿蔚蠂谓委伪蟼, 未蔚谓 蟺蔚蟻喂慰蟻委味蔚蟿伪喂 蟽蟿畏谓 蔚位位畏谓喂魏萎 蟺伪蟻维未慰蟽畏, 慰 螝伪尾维蠁畏蟼 蟺慰位蔚渭萎胃畏魏蔚 蔚尉委蟽慰蠀 伪蟺蠈 蟿畏谓 蟺伪位伪渭喂魏萎/蟽蔚蠁蔚蟻喂魏萎 纬蔚谓喂维 伪位位维 魏伪喂 伪蟺蠈 蟿慰谓 蟽慰蟽喂伪位喂蟽渭蠈, 位蠈纬蠅 蟿畏蟼 伪蟺伪喂蟽喂慰未慰尉委伪蟼 蟿慰蠀, 蟿畏蟼 蟺伪蟻伪魏渭喂伪魏萎蟼 谓蠈蟿伪蟼 蟿蠅谓 蟺慰喂畏渭维蟿蠅谓 蟿慰蠀, 蔚蟺蔚喂未萎 蟽魏慰蟺蠈蟼 蟿慰蠀 未蔚谓 萎蟿伪谓 谓伪 蟺蟻慰蟿蔚委谓蔚喂 蟿慰 喂未伪谓喂魏蠈 蟿畏蟼 谓苇伪蟼 魏慰喂谓蠅谓委伪蟼.
螣 螤伪蟺伪谓喂魏慰位维慰蠀 蟽蟿慰 魏蔚委渭蔚谓蠈 蟿慰蠀 蟿慰谓 蠂伪蟻伪魏蟿畏蟻委味蔚喂 未喂魏伪喂慰位慰纬畏渭苇谓伪 蟺慰喂畏蟿萎 蟿慰蠀 蔚蠀维位蠅蟿慰蠀 蔚伪蠀蟿慰蠉, 蟺蟻慰蟽胃苇蟿慰谓蟿伪蟼 蟺蠅蟼 蟿慰 苇蟻纬慰 蟿慰蠀 蔚委谓伪喂 渭喂伪 蟽蠀谓蔚蠂萎 蟺蟻慰蟽蟺维胃蔚喂伪 伪蠀蟿慰蟺蟻慰蟽未喂慰蟻喂蟽渭慰蠉, 伪蠀蟿慰伪谓伪委蟻蔚蟽畏蟼, 蠈蟺慰蠀 伪谓蟿喂魏伪蟿慰蟺蟿蟻委味蔚蟿伪喂 苇谓伪蟼 蔚伪蠀蟿蠈蟼 谓伪 伪蠀蟿慰蔚魏蟿委胃蔚蟿伪喂. 韦伪蠀蟿蠈蠂蟻慰谓伪, 蟽蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 Alexiou, 慰 蔚蟻蠅蟿喂蟽渭蠈蟼 蟿慰蠀 螝伪尾维蠁畏 未蔚谓 蔚委谓伪喂 渭喂伪 蟺伪蟻伪魏渭喂伪魏萎 未喂维胃蔚蟽畏 未喂伪蠁蠀纬萎蟼 伪位位维 渭喂伪 未蠉谓伪渭畏 蟻喂味慰蟽蟺伪蟽蟿喂魏萎 蟺慰蠀 蠀蟺慰谓慰渭蔚蠉蔚喂 蟿畏谓 魏伪蟿蔚蟽蟿畏渭苇谓畏 蟿维尉畏 蟺蟻伪纬渭维蟿蠅谓. 危蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪 蟿慰蠀 螝伪尾维蠁畏 未蔚谓 蔚委谓伪喂 蟿蠈蟽慰 苇谓伪 尾伪胃蠉 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠈 蔚谓蠈蟼 蔚蟽蠋蟿蔚蟻慰蠀 蔚伪蠀蟿慰蠉, 未蔚谓 蔚委谓伪喂 蟺慰蟿苇 蔚魏蠁蟻伪蟽渭苇谓畏 蠅蟼 蟺蠈胃慰蟼 蔚魏蟿蠈蟼 魏蠈蟽渭慰蠀, 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蟽蠀渭蠁蟻伪味慰渭苇谓蠅谓, 蠈蟽慰 苇谓伪 未委蠂蟿蠀 蟺慰蠀 蟽蠀渭蠁蠉蟻蔚喂 位蠈纬慰蠀蟼, 蟽蠋渭伪蟿伪, 蔚尉慰蠀蟽委蔚蟼.
螘尉蔚蠀蟿蔚位委蟽胃畏 蟺位萎蟻蠅蟼. 螠喂伪 蔚蟻蠅蟿喂魏萎 蟻慰蟺萎 蟿慰蠀
位委伪谓 伪蟺伪纬慰蟻蔚蠀渭苇谓畏 魏伪喂 蟺蔚蟻喂蠁蟻慰谓畏渭苇谓畏
(苇渭蠁蠀蟿畏 渭慰位慰谓蟿慰蠉蟿慰) 蠀蟺萎蟻尉蔚谓 畏 伪喂蟿委伪:
萎蟿伪谓 畏 魏慰喂谓蠅谓委伪 蟽蔚渭谓蠈蟿蠀蠁畏 蟺慰位蠉.
-螝. 螤. 螝伪尾维蠁畏蟼, 螠苇蟻蔚蟼 蟿慰蠀 1896
螣 蟽蠀渭蠁蠀蟻渭蠈蟼 蟿畏蟼 渭谓萎渭畏蟼 - 渭谓萎渭畏 喂蟽蟿慰蟻喂魏萎, 渭谓萎渭畏 蔚蟻蠅蟿喂魏萎, 渭谓萎渭畏 蔚谓未慰蟽魏慰蟺喂魏萎 - 渭蔚 蟿慰 蔚蟻蠅蟿喂魏蠈 伪委蟽胃畏渭伪, 慰 蟽蟿委蠂慰蟼 蠅蟼 伪蟺蠈蟽蟿伪纬渭伪 蔚蟻蠅蟿喂魏萎蟼 蟺蟻维尉畏蟼, 蟿慰 伪未喂蔚蠀魏蟻委谓喂蟽蟿慰, 伪位位维 魏伪喂 蟺蟻慰蠁伪谓苇蟼, 蠁蠉位慰 蟿蠅谓 未蟻蠋谓蟿蠅谓 蟺蟻慰蟽蠋蟺蠅谓, 畏 蔚蟺喂胃蠀渭委伪 畏 慰蟺慰委伪 蔚委谓伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 畏 蠉蠄喂蟽蟿畏 魏喂谓畏蟿萎蟻喂慰蟼 未蠉谓伪渭畏 魏喂 慰 伪蟺蠋蟿蔚蟻慰蟼 蟽蟿蠈蠂慰蟼. ()
危蠉渭蠁蠅谓伪 渭蔚 蟿慰谓 Riddel: 韦慰 蟺伪蟻蔚位胃蠈谓 魏蔚委渭蔚谓慰 未蔚谓 蔚委谓伪喂 蟺慰蟿苇 蟿慰 蟺伪蟻蠈谓 魏蔚委渭蔚谓慰, 魏伪喂 蟿慰 蟺伪蟻蠈谓 魏蔚委渭蔚谓慰, 蟽蟿慰 尾伪胃渭蠈 蟺慰蠀 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蔚 苇谓伪 蟺伪蟻蔚位胃蠈谓 魏蔚委渭蔚谓慰, 未蔚谓 蔚委谓伪喂 蟺慰蟿苇 蔚谓蟿蔚位蠋蟼 蟺伪蟻蠈谓. 韦慰 蟽蟿慰喂蠂蔚委慰 蟿畏蟼 伪蠂蟻慰谓喂魏蠈蟿畏蟿伪蟼, 蟿畏蟼 蟿蠈蟽慰 渭慰谓蟿蔚蟻谓喂蟽蟿喂魏萎蟼, 蠈蟺慰蠀 蟽蠀谓蔚魏未畏位蠋谓慰谓蟿伪喂 蟿慰 蟺伪蟻蔚位胃蠈谓 魏伪喂 蟿慰 蟺伪蟻蠈谓 蟿慰蠀 蟺慰喂畏蟿萎, 蟺蟻蠀蟿伪谓蔚蠉蔚喂 蟽蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 螝伪尾维蠁畏, 渭伪味委 渭蔚 蟿畏谓 蔚魏渭蔚蟿维位位蔚蠀蟽畏 魏伪喂 蟿畏谓 蔚蠀蟻蔚委伪 蠂蟻萎蟽畏 蟿畏蟼 蟿蔚蠂谓喂魏萎蟼 蟿畏蟼 伪谓伪蠁慰蟻维蟼 魏伪喂 蟿慰蠀 蠀蟺伪喂谓喂纬渭慰蠉. 螚 未喂伪魏蔚喂渭蔚谓喂魏蠈蟿畏蟿伪 蟿慰蠀 魏伪尾锟斤拷蠁喂魏慰蠉 位蠈纬慰蠀 蔚委谓伪喂 蟿蠈蟽慰 维渭蔚蟽畏 魏伪喂 蟺蟻慰蠁伪谓萎蟼, 蠋蟽蟿蔚 谓伪 未畏渭喂慰蠀蟻纬蔚委蟿伪喂 畏 蟺伪蟻伪蟺位伪谓畏蟿喂魏萎 蔚谓蟿蠉蟺蠅蟽畏 蟿畏蟼 蠁喂位慰位慰纬喂魏萎蟼 魏伪喂 喂蟽蟿慰蟻喂魏萎蟼 伪魏蟻委尾蔚喂伪蟼, 蟿慰蠀 苇纬魏蠀蟻慰蠀 蠀蟺慰渭谓畏渭伪蟿喂蟽渭慰蠉, 蠀蟺慰蟽魏维蟺蟿慰谓蟿伪蟼 苇蟿蟽喂 蟿畏谓 蔚喂蟻蠅谓蔚委伪 蟿畏蟼 (畏 慰蟺慰委伪 蔚蟺喂蠂蔚喂蟻蔚委 蟿畏谓 伪魏蠉蟻蠅蟽畏 蟿畏蟼 伪喂蟽胃畏蟿喂魏萎蟼 未喂维蟽蟿伪蟽畏蟼 蟿蠅谓 魏蔚喂渭苇谓蠅谓 魏伪喂 蟿畏谓 蔚蟺喂尾慰位萎 蟿畏蟼 蟽蠂蔚未蠈谓 渭蟺蟻蔚蠂蟿喂魏萎蟼 蠁喂位慰蟽慰蠁委伪蟼 蟺蠅蟼 蠈,蟿喂 蟺伪蟻慰蠀蟽喂维味蔚蟿伪喂 蟽蟿伪 蟺慰喂萎渭伪蟿伪 蔚委谓伪喂 伪谓蟿喂魏蔚委渭蔚谓慰 魏蟻喂蟿喂魏萎蟼) 蠈蟺蠅蟼 蟽蠀渭尾伪委谓蔚喂 蟽蟿伪 苇蟻纬伪 魏伪喂 . 螤慰委畏蟽畏, 蠈锟斤拷蠅蟼 蟿畏 蠂伪蟻伪魏蟿畏蟻委味蔚喂 慰 螖畏渭萎蟿蟻畏蟼 螖畏渭畏蟻慰蠉位畏蟼, 伪蟺蟻慰魏维位蠀蟺蟿伪 蟺伪蟻伪蟺蔚渭蟺蟿喂魏萎, 纬蟻维蠁蔚喂 蟿畏 未喂魏萎 蟿畏蟼 喂蟽蟿慰蟻委伪 伪谓伪纬喂纬谓蠋蟽魏慰谓蟿伪蟼 蟿畏谓 喂蟽蟿慰蟻委伪.
A蟺鈥� 蠈蟽伪 苇魏伪渭伪 魏喂 伪蟺鈥� 蠈蟽伪 蔚委蟺伪
谓伪 渭畏 味畏蟿萎蟽慰蠀谓蔚 谓伪 尾蟻慰蠀谓 蟺慰喂慰蟼 萎渭慰蠀谓.
螘渭蟺蠈未喂慰 蟽蟿苇魏慰谓蟿伪谓 魏伪喂 渭蔚蟿伪渭蠈蟻蠁蠅谓蔚
蟿蔚蟼 蟺蟻维尉蔚喂蟼 魏伪喂 蟿慰谓 蟿蟻蠈蟺慰 蟿畏蟼 味蠅萎蟼 渭慰蠀.
螘渭蟺蠈未喂慰 蟽蟿苇魏慰谓蟿伪谓 魏伪喂 蟽蟿伪渭伪蟿慰蠉蟽蔚 渭蔚
蟺慰位位苇蟼 蠁慰蟻苇蟼 蟺慰蠀 蟺萎纬伪喂谓伪 谓伪 蟺蠅.
螣喂 蟺喂慰 伪蟺伪蟻伪蟿萎蟻畏蟿苇蟼 渭慰蠀 蟺蟻维尉蔚喂蟼
魏伪喂 蟿伪 纬蟻伪蠄委渭伪蟿维 渭慰蠀 蟿伪 蟺喂慰 蟽魏蔚蟺伪蟽渭苇谓伪 鈥�
伪蟺蠈 蔚魏蔚委 渭慰谓维蠂伪 胃伪 渭蔚 谓喂蠋蟽慰蠀谓.
A位位维 委蟽蠅蟼 未蔚谓 伪尉委味蔚喂 谓伪 魏伪蟿伪尾位畏胃蔚委
蟿蠈蟽畏 蠁蟻慰谓蟿委蟼 魏伪喂 蟿蠈蟽慰蟼 魏蠈蟺慰蟼 谓伪 渭蔚 渭维胃慰蠀谓.
螝伪蟿蠈蟺喂 鈥� 蟽蟿畏谓 蟿蔚位蔚喂慰蟿苇蟻伪 魏慰喂谓蠅谓委伪 鈥�
魏伪谓苇谓伪蟼 维位位慰蟼 魏伪渭蠅渭苇谓慰蟼 蟽伪谓 蔚渭苇谓伪
尾苇尾伪喂伪 胃伪 蠁伪谓蔚委 魏鈥� 蔚位蔚蠉胃蔚蟻伪 胃伪 魏维渭蔚喂.
-螝. 螤. 螝伪尾维蠁畏蟼, 螝蟻蠀渭渭苇谓伪
July 8, 2018
Translation by Evangelos Sachperoglou. Parallel Greek text (Greek text edited by Anthony Hirst). Introduction by Peter Mackridge.
Poems 1897-1909, 1905-15, 1916-18, 1919-33.
Cavafy was born on 29 April 1863 in Alexandria and died there on his 70th birthday. Most of his life was spent in Alexandria; a life which appears to have been largely uneventful. His poetry is anything but uneventful however, whether based in a distant past or contemporaneous. Almost without exception the poems are sensual, steeped in a Greek heritage of which Cavafy is very proud. Many are homoerotic, homosexuality being to Cavafy the essential spark of the artist鈥檚 ongoing creativity. They are not about 鈥渉ealthful love鈥�, to quote Cavafy. They take place outside 鈥渢he sanctioned bounds鈥� of polite society. They are about 鈥渂eauty of deviant appeal...created for beds that every day morality labels shameless鈥�.
I found the long introduction to the book extremely useful.
I could quote endlessly from the poems but will confine myself to two:
Perception (from Poems 1916-18)
The years of my youth, my sensuous life-
how clearly I see their meaning now!
What useless, what futile repentances鈥�..
But I couldn't see their meaning then.
Within the wanton life of my youth
my poetic will was being shaped,
the territory of my art was being drawn.
And thus repentances were never steadfast.
And my resolutions to restrain myself, to change,
lasted no more than two weeks, at the most.
Very Seldom (from Poems 1905-1915)
He is an old man. Worn out and stooped,
crippled by the years and by abuses,
walking slowly he crosses the narrow street.
But once he goes inside his home to hide
his wretchedness and his old age, he ponders on
the share of youth which still belongs to him.
Now, young men recite his own verses.
His visions pass before their lively eyes.
Their healthy, sensuous minds,
their elegant, firm bodies,
are stirred by his manifestation of Beauty.
Here for me are indications that this poet鈥檚 life may not have been half so dull as it might appear to have been!
Poems 1897-1909, 1905-15, 1916-18, 1919-33.
Cavafy was born on 29 April 1863 in Alexandria and died there on his 70th birthday. Most of his life was spent in Alexandria; a life which appears to have been largely uneventful. His poetry is anything but uneventful however, whether based in a distant past or contemporaneous. Almost without exception the poems are sensual, steeped in a Greek heritage of which Cavafy is very proud. Many are homoerotic, homosexuality being to Cavafy the essential spark of the artist鈥檚 ongoing creativity. They are not about 鈥渉ealthful love鈥�, to quote Cavafy. They take place outside 鈥渢he sanctioned bounds鈥� of polite society. They are about 鈥渂eauty of deviant appeal...created for beds that every day morality labels shameless鈥�.
I found the long introduction to the book extremely useful.
I could quote endlessly from the poems but will confine myself to two:
Perception (from Poems 1916-18)
The years of my youth, my sensuous life-
how clearly I see their meaning now!
What useless, what futile repentances鈥�..
But I couldn't see their meaning then.
Within the wanton life of my youth
my poetic will was being shaped,
the territory of my art was being drawn.
And thus repentances were never steadfast.
And my resolutions to restrain myself, to change,
lasted no more than two weeks, at the most.
Very Seldom (from Poems 1905-1915)
He is an old man. Worn out and stooped,
crippled by the years and by abuses,
walking slowly he crosses the narrow street.
But once he goes inside his home to hide
his wretchedness and his old age, he ponders on
the share of youth which still belongs to him.
Now, young men recite his own verses.
His visions pass before their lively eyes.
Their healthy, sensuous minds,
their elegant, firm bodies,
are stirred by his manifestation of Beauty.
Here for me are indications that this poet鈥檚 life may not have been half so dull as it might appear to have been!
February 4, 2021
韦伪 蟺慰喂萎渭伪蟿伪 渭蔚 蟿伪尉委未蔚蠄伪谓. 螠蔚 苇魏伪谓伪谓 谓伪 谓喂蠋蟽蠅 蟿慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 魏伪喂 蟿慰谓 螝伪尾维蠁畏 蟽伪谓 谓伪 萎渭慰蠀谓 蔚纬蠋. 螝维蟺慰喂伪 蟿伪 蠄喂位蠈 魏伪蟿维位伪尾伪 魏伪喂 蟽魏蔚蠁蟿蠈渭慰蠀谓 蟺慰蟽蠈 蠅蟻伪委伪 胃伪 萎蟿伪谓 谓伪 蔚委蠂伪 渭伪味委 渭慰蠀 蟿畏谓 蟺伪位喂维 渭慰蠀 魏伪胃畏纬萎蟿蟻喂伪 位慰纬慰蟿蔚蠂谓委伪蟼 谓伪 蟿伪 伪谓伪位蠉蟽慰蠀渭蔚 渭伪味委. 韦伪 伪纬伪蟺畏渭苇谓伪 渭慰蠀 蟺慰喂萎渭伪蟿伪 萎蟿伪谓: 螝蔚蟻喂维, 螚 蟺蠈位喂蟼 (classic 魏伪喂 蟿慰 鈥溝兿單蔽晃刮佄扁€� 蟺慰委畏渭伪 渭慰蠀), 螒蟺慰位蔚委蟺蔚喂谓 慰 螛蔚蠈蟼 螒谓蟿蠋谓喂慰谓 魏伪喂 螜胃维魏畏 (伪魏蠈渭伪 苇谓伪 魏位伪蟽喂魏 蟺慰蠀 伪谓蟿喂魏伪蟿慰蟺蟿蟻委味蔚喂 蟿慰 source).
螒蠀蟿维 蟺慰蠀 尉蔚蠂蠋蟻喂蟽伪谓 伪魏蠈渭畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 纬喂伪 蔚渭苇谓伪:
鈥溛Ｏ勎� 尾维蟽伪谓维 蟿蠅谓 蟽伪蟼 苇渭蟺位蔚尉伪谓 慰喂 维谓胃蟻蠅蟺慰喂鈥�
鈥溛曃€蔚蟼 芦螛伪 蟺维纬蠅 蟽鈥� 维位位畏 纬畏, 胃伪 蟺维纬蠅 蟽鈥� 维位位畏 胃维位伪蟽蟽伪. 螠喂伪 蟺蠈位喂蟼 胃伪 尾蟻蔚胃蔚委 魏伪位位委蟿蔚蟻畏 伪蟺鈥� 伪蠀蟿萎... 螣蟺慰蠀 蟿慰 渭维蟿喂 渭慰蠀 纬蠀蟻委蟽蠅, 蠈蟺慰蠀 魏喂 伪谓 未蠅 蔚蟻蔚委蟺喂伪 渭伪蠉蟻伪 蟿畏蟼 味蠅萎蟼 渭慰蠀 尾位苇蟺蠅 蔚未蠋, 蟺慰蠀 蟿蠈蟽伪 蠂蟻蠈谓喂伪 蟺苇蟻伪蟽伪 魏伪喂 蟻萎渭伪尉伪 魏伪喂 蠂维位伪蟽伪禄...螝伪喂谓慰蠉蟻纬喂慰蠀蟼 蟿蠈蟺慰蠀蟼 未蔚谓 胃伪 尾蟻蔚喂蟼, 未蔚 胃维尾蟻蔚喂蟼 维位位蔚蟼 胃维位伪蟽蟽蔚蟼. 螚 蟺蠈位喂蟼 胃伪 蟽蔚 伪魏慰位慰蠀胃蔚委...鈥�
鈥溛Ｎ� 尾纬蔚喂蟼 蟽蟿慰谓 蟺畏纬伪喂渭蠈 纬喂伪 蟿畏谓 螜胃维魏畏, 谓伪 蔚蠉蠂蔚蟽伪喂 谓维谓伪喂 渭伪魏蟻蠉蟼 慰 未蟻蠈渭慰蟼, 纬蔚渭维蟿慰蟼 蟺蔚蟻喂蟺苇蟿蔚喂蔚蟼, 纬蔚渭维蟿慰蟼 纬谓蠋蟽蔚喂蟼...韦慰蠀蟼 螞伪喂蟽蟿蟻蠀纬蠈谓伪蟼 魏伪喂 蟿慰蠀蟼 螝蠉魏位蠅蟺伪蟼, 蟿慰谓 维纬蟻喂慰 螤慰蟽蔚喂未蠋谓伪 未蔚谓 胃伪 蟽蠀谓伪谓蟿萎蟽蔚喂蟼... 伪谓 畏 蠄蠀蠂萎 蟽慰蠀 未蔚谓 蟿慰蠀蟼 蟽蟿萎谓蔚喂 蔚渭蟺蟻蠈蟼 蟽慰蠀... 螤维谓蟿伪 蟽蟿慰谓 谓慰蠀 蟽慰蠀 谓伪 谓维蠂蔚喂蟼 蟿畏谓 螜胃维魏畏. 韦慰 蠁胃维蟽喂渭慰谓 蔚魏蔚委 蔚委谓鈥� 慰 蟺蟻慰慰蟻喂蟽渭蠈蟼 蟽慰蠀...鈥�
鈥溛何蔽� 蟽魏苇蟺蟿慰渭慰蠀谓 蟺慰蠀 蟺喂伪 未蔚谓 胃伪 蟿慰谓 未蠅 蟽蟿伪 蠅蟻伪委伪 魏喂 维蟽蔚渭谓伪 尉蔚谓蠉蠂蟿喂伪 渭伪蟼 谓伪 蠂伪委蟻蔚蟿伪喂, 魏伪喂 谓伪 纬蔚位维, 魏伪喂 谓鈥� 伪蟺伪纬纬苇位位蔚喂 蟽蟿委蠂慰蠀蟼 渭蔚 蟿畏谓 蟿蔚位蔚委伪 蟿慰蠀 伪委蟽胃畏蟽喂 蟿慰蠀 蔚位位畏谓喂魏慰蠉 蟻蠀胃渭慰蠉鈥�
螒蠀蟿维 蟺慰蠀 尉蔚蠂蠋蟻喂蟽伪谓 伪魏蠈渭畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 纬喂伪 蔚渭苇谓伪:
鈥溛Ｏ勎� 尾维蟽伪谓维 蟿蠅谓 蟽伪蟼 苇渭蟺位蔚尉伪谓 慰喂 维谓胃蟻蠅蟺慰喂鈥�
鈥溛曃€蔚蟼 芦螛伪 蟺维纬蠅 蟽鈥� 维位位畏 纬畏, 胃伪 蟺维纬蠅 蟽鈥� 维位位畏 胃维位伪蟽蟽伪. 螠喂伪 蟺蠈位喂蟼 胃伪 尾蟻蔚胃蔚委 魏伪位位委蟿蔚蟻畏 伪蟺鈥� 伪蠀蟿萎... 螣蟺慰蠀 蟿慰 渭维蟿喂 渭慰蠀 纬蠀蟻委蟽蠅, 蠈蟺慰蠀 魏喂 伪谓 未蠅 蔚蟻蔚委蟺喂伪 渭伪蠉蟻伪 蟿畏蟼 味蠅萎蟼 渭慰蠀 尾位苇蟺蠅 蔚未蠋, 蟺慰蠀 蟿蠈蟽伪 蠂蟻蠈谓喂伪 蟺苇蟻伪蟽伪 魏伪喂 蟻萎渭伪尉伪 魏伪喂 蠂维位伪蟽伪禄...螝伪喂谓慰蠉蟻纬喂慰蠀蟼 蟿蠈蟺慰蠀蟼 未蔚谓 胃伪 尾蟻蔚喂蟼, 未蔚 胃维尾蟻蔚喂蟼 维位位蔚蟼 胃维位伪蟽蟽蔚蟼. 螚 蟺蠈位喂蟼 胃伪 蟽蔚 伪魏慰位慰蠀胃蔚委...鈥�
鈥溛Ｎ� 尾纬蔚喂蟼 蟽蟿慰谓 蟺畏纬伪喂渭蠈 纬喂伪 蟿畏谓 螜胃维魏畏, 谓伪 蔚蠉蠂蔚蟽伪喂 谓维谓伪喂 渭伪魏蟻蠉蟼 慰 未蟻蠈渭慰蟼, 纬蔚渭维蟿慰蟼 蟺蔚蟻喂蟺苇蟿蔚喂蔚蟼, 纬蔚渭维蟿慰蟼 纬谓蠋蟽蔚喂蟼...韦慰蠀蟼 螞伪喂蟽蟿蟻蠀纬蠈谓伪蟼 魏伪喂 蟿慰蠀蟼 螝蠉魏位蠅蟺伪蟼, 蟿慰谓 维纬蟻喂慰 螤慰蟽蔚喂未蠋谓伪 未蔚谓 胃伪 蟽蠀谓伪谓蟿萎蟽蔚喂蟼... 伪谓 畏 蠄蠀蠂萎 蟽慰蠀 未蔚谓 蟿慰蠀蟼 蟽蟿萎谓蔚喂 蔚渭蟺蟻蠈蟼 蟽慰蠀... 螤维谓蟿伪 蟽蟿慰谓 谓慰蠀 蟽慰蠀 谓伪 谓维蠂蔚喂蟼 蟿畏谓 螜胃维魏畏. 韦慰 蠁胃维蟽喂渭慰谓 蔚魏蔚委 蔚委谓鈥� 慰 蟺蟻慰慰蟻喂蟽渭蠈蟼 蟽慰蠀...鈥�
鈥溛何蔽� 蟽魏苇蟺蟿慰渭慰蠀谓 蟺慰蠀 蟺喂伪 未蔚谓 胃伪 蟿慰谓 未蠅 蟽蟿伪 蠅蟻伪委伪 魏喂 维蟽蔚渭谓伪 尉蔚谓蠉蠂蟿喂伪 渭伪蟼 谓伪 蠂伪委蟻蔚蟿伪喂, 魏伪喂 谓伪 纬蔚位维, 魏伪喂 谓鈥� 伪蟺伪纬纬苇位位蔚喂 蟽蟿委蠂慰蠀蟼 渭蔚 蟿畏谓 蟿蔚位蔚委伪 蟿慰蠀 伪委蟽胃畏蟽喂 蟿慰蠀 蔚位位畏谓喂魏慰蠉 蟻蠀胃渭慰蠉鈥�
November 4, 2016
桅慰尾蔚蟻萎 苇魏未慰蟽畏, 渭蔚 蟺慰位蠉 蔚蠉蟽蟿慰蠂伪 蟽蠂蠈位喂伪, 蟺慰蠀 蟽蔚 慰未畏纬慰蠉谓 谓伪 未喂伪蟺喂蟽蟿蠋蟽蔚喂蟼 渭蔚蟻喂魏苇蟼 伪蟽蟿慰蠂委蔚蟼 蟿蠅谓 蔚蟺喂渭蔚位畏蟿蠋谓 (慰喂魏慰纬苇谓蔚喂伪 螒蟺慰蟽蟿慰位委未畏). 围蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 位慰喂蟺蠈谓 蟿伪 委未喂伪 蟿慰蠀蟼 蟿伪 蠈蟺位伪 魏伪蟿伪位萎纬蠅 谓伪 未喂伪蠁蠅谓蠋 渭蔚 蟿慰谓 未喂伪蠂蠅蟻喂蟽渭蠈 蟿蠅谓 蟺慰喂畏渭维蟿蠅谓 蟽蔚 未蠀谓伪蟿维 魏伪喂 伪未蠉谓伪渭伪. 螠苇蟽伪 蟽蟿伪 伪未蠉谓伪渭伪 -蠈蟺蠅蟼 蟿伪 慰谓慰渭维味蔚喂 慰 螒蟺慰蟽蟿慰位喂未畏蟼- (蟽蟿伪 慰蟺慰委伪 未蔚谓 蟺蔚蟻喂位伪渭尾维谓慰谓蟿伪喂 蟽蠂慰位喂伪蟽渭慰委 蠈蟺蠅蟼 魏蟻委谓蔚喂 纬喂伪 蟿伪 蠀蟺蠈位慰喂蟺伪), 蟽蠀谓伪谓蟿维 魏伪谓蔚委蟼 蔚尉伪委蟽喂伪 蟺慰喂萎渭伪蟿伪 蟺慰蠀 渭蟺慰蟻慰蠉谓 谓伪 蔚渭谓蔚蠉蟽慰蠀谓 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏. 螝伪蟿维 蟿伪 维位位伪 慰喂 蠀蟺蠈位慰喂蟺慰喂 蟽蠂慰位喂伪蟽渭慰委 蠁伪委谓蔚蟿伪喂 谓伪 苇蠂慰蠀谓 蔚魏蟺慰谓畏胃蔚委 渭蔚 伪蟻魏蔚蟿萎 渭蔚位苇蟿畏 蔚蟺伪谓蠅 蟽蔚 蟽蠀谓胃萎魏蔚蟼, 魏伪蟿伪蟽蟿维蟽蔚喂蟼 魏伪喂 喂蟽蟿慰蟻喂魏维 纬蔚纬慰谓蠈蟿伪 伪蟺蠈 蠈蟺慰蠀 蔚渭谓蔚蠉蟽蟿畏魏蔚 慰 蟺慰喂畏蟿萎蟼. 螘蟺委蟽畏蟼 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 畏 魏蟻喂蟿喂魏萎 蟿慰蠀 蔚蟺喂渭蔚位畏蟿萎 蟽蔚 蟺蟻慰畏纬慰蠉渭蔚谓蔚蟼 蟽蠂慰位喂伪蟽渭苇谓蔚蟼 蔚魏未蠈蟽蔚喂蟼.
September 26, 2011
Translation is a difficult task, and I hesitate to rate them harshly. But in this case, there are several better translations already available (contrary to what the goodreads entry says, this edition was not originally published in 1979; the entries for the differing Cavafy translations seem all mixed together) so it strikes me as both pointless and hubristic to produce another at all, much less pronounce it "an extraordinary literary event".
Mendelsohn entirely loses the sensuality that characterizes Cavafy's poetic style. He loses much of the ease of tone as well, producing stiff and somewhat guarded entries. To be just, Mendelsohn is not himself a poet as far as I can determine, but since it was his choice to undertake this endeavor I don't see that as much of an excuse.
Compare, for example, Edmund Keeley's translation of "Body, Remember":
Body, remember not only how much you were loved,
not only the beds you lay on,
but also those desires that glowed openly
in eyes that looked at you, trembled for you
with Mendelsohn's "Remember, Body":
Body, remember not just how much you were loved,
not just the beds where you have lain,
But also those longings that so openly
glistened for you in eyes
To my mind, the later adds nothing in meaning and is slightly inferior in style. Also, why shift the titles? If there is no debate as to word meaning this serves no purpose and makes it harder to look up poems.
Keeley's is a very competent translation. If you can find it, my recommended translation is the older one by Rae Dalven, , with bonus introduction by Auden. Both Dalven and Auden really seem to "get" Cavafy in a way that Mendelsohn fails to.
Mendelsohn entirely loses the sensuality that characterizes Cavafy's poetic style. He loses much of the ease of tone as well, producing stiff and somewhat guarded entries. To be just, Mendelsohn is not himself a poet as far as I can determine, but since it was his choice to undertake this endeavor I don't see that as much of an excuse.
Compare, for example, Edmund Keeley's translation of "Body, Remember":
Body, remember not only how much you were loved,
not only the beds you lay on,
but also those desires that glowed openly
in eyes that looked at you, trembled for you
with Mendelsohn's "Remember, Body":
Body, remember not just how much you were loved,
not just the beds where you have lain,
But also those longings that so openly
glistened for you in eyes
To my mind, the later adds nothing in meaning and is slightly inferior in style. Also, why shift the titles? If there is no debate as to word meaning this serves no purpose and makes it harder to look up poems.
Keeley's is a very competent translation. If you can find it, my recommended translation is the older one by Rae Dalven, , with bonus introduction by Auden. Both Dalven and Auden really seem to "get" Cavafy in a way that Mendelsohn fails to.
March 8, 2013
螔伪胃喂维 蟿蟻伪纬喂魏萎 蟺慰委畏蟽畏 渭蔚 蠁喂位慰蟽慰蠁喂魏苇蟼 蟺蟻慰蔚魏蟿维蟽蔚喂蟼, 蟽魏畏谓喂魏蠈 胃蔚伪蟿蟻喂魏蠈, 位伪谓胃维谓慰蠀蟽伪 蔚喂蟻蠅谓蔚委伪, 蠀蟺慰尾位畏蟿喂魏萎 伪蟿渭蠈蟽蠁伪喂蟻伪, 伪蠀蟿慰蟽伪蟻魏伪蟽渭蠈蟼, 伪委蟽胃畏蟽畏 蟿蟻伪纬喂魏蠈蟿畏蟿伪蟼 魏伪喂 伪未喂蔚尉蠈未慰蠀! 螚 螝伪尾伪蠁喂魏萎 蟺慰委畏蟽畏 蔚委谓伪喂 蔚蟺委魏伪喂蟻畏 魏伪喂 未喂伪蠂蟻慰谓喂魏萎 - 蟿慰 魏伪蟿伪蠁蠉纬喂慰 蟿慰蠀 蟽蠉纬蠂蟻慰谓慰蠀 未慰魏喂渭伪味蠈渭蔚谓慰蠀 伪谓胃蟻蠋蟺慰蠀 蟿蠈蟽慰 伪蟺蠈 蟿喂蟼 蔚尉蠅蟿蔚蟻喂魏苇蟼 魏伪蟿伪蟽蟿维蟽蔚喂蟼 蠈蟽慰 魏伪喂 伪蟺蠈 蟿伪 蔚蟽蠅蟿蔚蟻喂魏维 蔚渭蟺蠈未喂伪 蟺慰蠀 蟽蟿萎谓慰蠀谓 "蟿蔚委蠂畏" 魏伪喂 伪蟺慰渭伪魏蟻蠉谓慰蠀谓 伪蟺蠈 蟿畏谓 螜胃维魏畏
December 25, 2015
The memories and the feelings of our own days weep.
*
And, Memory, bring back to me tonight all that you can,
of this love of mine, all that you can.
*
there are pains that will not stay quiet in the heart.
They thirst to get out and give vent to grieving.
*
And, Memory, bring back to me tonight all that you can,
of this love of mine, all that you can.
*
there are pains that will not stay quiet in the heart.
They thirst to get out and give vent to grieving.
April 11, 2018
You never ever quite finish with a book of poetry. It is always waiting to be dipped into...always.
Like old friends,
a reunion is always on the cards and always a pleasure.
Which is why I have only recorded the Starting Date,
in Athens, almost 40 years ago now,
because as far as I can tell,
I will never be finished with this book,
with these poems,
with Cavafy.
You go to poets or write poetry to get questions answered or to see the questions perfectly put.
Or for some clarification.
Not surprisingly, I was tempted to put the poetry books on the philosophy shelf.
But they do deserve a shelf of their own.
Sadly many people don't feel comfortable around poetry.It makes me frustrated, the way you get with people who won't go and see a doctor. Poets tend you and heal you when you didn't even know you were ailing. They can also needle you, just like a bloody doctor. Provoke you and make you take medicine you'd rather not, but of course it all helps in the long run.
Today poetry is ever-present in the lyrics of songs. The music is like the sugar that helps the medicine go down.
I met Constantine Cavafy close to home...his home, not mine. He was an Alexandrian Greek and I was living in Athens at that time teaching English. One of my students gave me the copy I still treasure. Probably thought I needed it. I did. Here was something I didn't know I needed - a refreshing, open and honest way of writing that I had never experienced with a poet before. Cavafy offered me a piece of himself, as all good friends do, which I used when I finally found a real need to express myself in poetry.
His poems were also on topics that resonated with me - poems about history, resignation, acceptance of life, frustrated passions, loss, the comfort of memory and...love. They were intelligent and lucid and did not hold back, readily confronting pain and Life's realities without sentimentality. They were strong potions. Alone in a foreign land I drank deep.
Often friends find you, as Cavafy came to me, unbidden.
Often you have to cast your net wide, browse, re-meet a few times before you are sure;
sometimes its love at first sight!
Enjoy your poets when you find them!!
FIDDLESTICKS
I prayed to God for aid and answers;
But one day found his ears upon the ground.
I sought counsel from the immutable stars;
But then saw one falling from the sky.
I looked for a plan in the lines of my hand;
But it only increased the lines on my brow.
Then Tarot cards came to hand;
But they only dealt in riddles and rhymes.
I played with the I Ching;
But got distracted playing fiddlesticks.
I turned to poetry in desperation;
And found only all my questions perfectly put.
Now I write poetry.
New Year's Day, 1985.
That's from me...now a gem from Cavafy:
LONG AGO
I'd like to speak of this memory,
but it's so faded now - as
though nothing's left
because it was so long ago, in
my adolescent years.
A skin as though of jasmine...
that August evening - was it
August? -
I can still just recall the eyes:
blue, I think they were...
Ah yes, blue: a sapphire blue.
See what I mean now???
Like old friends,
a reunion is always on the cards and always a pleasure.
Which is why I have only recorded the Starting Date,
in Athens, almost 40 years ago now,
because as far as I can tell,
I will never be finished with this book,
with these poems,
with Cavafy.
You go to poets or write poetry to get questions answered or to see the questions perfectly put.
Or for some clarification.
Not surprisingly, I was tempted to put the poetry books on the philosophy shelf.
But they do deserve a shelf of their own.
Sadly many people don't feel comfortable around poetry.It makes me frustrated, the way you get with people who won't go and see a doctor. Poets tend you and heal you when you didn't even know you were ailing. They can also needle you, just like a bloody doctor. Provoke you and make you take medicine you'd rather not, but of course it all helps in the long run.
Today poetry is ever-present in the lyrics of songs. The music is like the sugar that helps the medicine go down.
I met Constantine Cavafy close to home...his home, not mine. He was an Alexandrian Greek and I was living in Athens at that time teaching English. One of my students gave me the copy I still treasure. Probably thought I needed it. I did. Here was something I didn't know I needed - a refreshing, open and honest way of writing that I had never experienced with a poet before. Cavafy offered me a piece of himself, as all good friends do, which I used when I finally found a real need to express myself in poetry.
His poems were also on topics that resonated with me - poems about history, resignation, acceptance of life, frustrated passions, loss, the comfort of memory and...love. They were intelligent and lucid and did not hold back, readily confronting pain and Life's realities without sentimentality. They were strong potions. Alone in a foreign land I drank deep.
Often friends find you, as Cavafy came to me, unbidden.
Often you have to cast your net wide, browse, re-meet a few times before you are sure;
sometimes its love at first sight!
Enjoy your poets when you find them!!
FIDDLESTICKS
I prayed to God for aid and answers;
But one day found his ears upon the ground.
I sought counsel from the immutable stars;
But then saw one falling from the sky.
I looked for a plan in the lines of my hand;
But it only increased the lines on my brow.
Then Tarot cards came to hand;
But they only dealt in riddles and rhymes.
I played with the I Ching;
But got distracted playing fiddlesticks.
I turned to poetry in desperation;
And found only all my questions perfectly put.
Now I write poetry.
New Year's Day, 1985.
That's from me...now a gem from Cavafy:
LONG AGO
I'd like to speak of this memory,
but it's so faded now - as
though nothing's left
because it was so long ago, in
my adolescent years.
A skin as though of jasmine...
that August evening - was it
August? -
I can still just recall the eyes:
blue, I think they were...
Ah yes, blue: a sapphire blue.
See what I mean now???
July 30, 2019
Bir 艧iir kitab谋n谋 "okudum bitirdim" olarak nitelendirmek ne kadar do臒ru bilmiyorum. Hele hele bir 艧airin t眉m 艧iirlerinin topland谋臒谋 bir kitab谋 bitirmek m眉mk眉n de臒il bence. S谋k s谋k de臒il belki; ama zaman zaman geri d枚n眉yor insan kitaba, yeniden okuyor, o sat谋rlar farkl谋 duygulara yol a莽谋yor her seferinde.
Kavafis son zamanlarda o kadar 莽ok 莽谋kt谋 ki kar艧谋ma, bu bir mesaj olmal谋 diye d眉艧眉nd眉m. :) 脰nce bir dersimde Coetzee'nin Barbarlar谋 Beklerken kitab谋 tart谋艧谋ld谋 ve kitab谋 sunan arkada艧谋m sunumuna Kavafis'in kitapla ayn谋 ismi ta艧谋yan 艧iirini okuyarak ba艧lad谋. Bu sunumdan birka莽 hafta sonra tek dizim Vatan谋m Sensin'de "favori 莽ift"imin :) bir sahnesinde ge莽ti Barbarlar谋 Beklerken (Sahne i莽in: ). Yine birka莽 hafta sonra Z眉lf眉 Livaneli'nin 50. sanat y谋l谋 艧erefine 莽谋kar谋lan alb眉mde Melihat G眉lses'in seslendirdi臒i "脟ok Uzak" par莽as谋n谋 dinledim tesad眉fen. 艦ark谋 da Melihat G眉lses de o kadar i莽ine i艧liyordu ki insan谋n 艧ark谋y谋 Google'da aratt谋臒谋mda s枚zlerinin bir Kavafis 艧iirinden -Gerilerde- al谋nd谋臒谋n谋 枚臒rendim (艦ark谋 i莽in: ). Bu bana bir i艧aret diye d眉艧眉n眉p kitab谋 ald谋m. 陌yi ki de alm谋艧谋m. Hep diyorum, yine diyece臒im, 艧iirle 莽ok aram yok. Buna ra臒men bu kitaptaki 艧iirler -枚zellikle birka莽谋- beni 莽ok 莽ok etkiledi.
陌stos yay谋nlar谋 2013 y谋l谋n谋n Kavafis'in do臒umun 150. 枚l眉m眉n眉n ise 80. y谋l谋 olmas谋 nedeniyle Kavafis Y谋l谋 olarak nitelendirilmesi 艧erefine Kavafis'in t眉m 艧iirlerini bir kitapta toplam谋艧. 脟eviriler Ari 脟okona'ya ait. Ari 脟okona'dan pek 莽ok tragedya ve komedya okudum ve hepsinden de b眉y眉k bir keyif ald谋m. 艦iir 莽evirmek ne kadar zordur tahmin dahi edemiyorum; ancak 艧ahsi kanaatime g枚re 脟okona 艧iirleri de oyunlar gibi ba艧ar谋yla sunmu艧 okuyucuya.
Okuyunuz efendim!
Kavafis son zamanlarda o kadar 莽ok 莽谋kt谋 ki kar艧谋ma, bu bir mesaj olmal谋 diye d眉艧眉nd眉m. :) 脰nce bir dersimde Coetzee'nin Barbarlar谋 Beklerken kitab谋 tart谋艧谋ld谋 ve kitab谋 sunan arkada艧谋m sunumuna Kavafis'in kitapla ayn谋 ismi ta艧谋yan 艧iirini okuyarak ba艧lad谋. Bu sunumdan birka莽 hafta sonra tek dizim Vatan谋m Sensin'de "favori 莽ift"imin :) bir sahnesinde ge莽ti Barbarlar谋 Beklerken (Sahne i莽in: ). Yine birka莽 hafta sonra Z眉lf眉 Livaneli'nin 50. sanat y谋l谋 艧erefine 莽谋kar谋lan alb眉mde Melihat G眉lses'in seslendirdi臒i "脟ok Uzak" par莽as谋n谋 dinledim tesad眉fen. 艦ark谋 da Melihat G眉lses de o kadar i莽ine i艧liyordu ki insan谋n 艧ark谋y谋 Google'da aratt谋臒谋mda s枚zlerinin bir Kavafis 艧iirinden -Gerilerde- al谋nd谋臒谋n谋 枚臒rendim (艦ark谋 i莽in: ). Bu bana bir i艧aret diye d眉艧眉n眉p kitab谋 ald谋m. 陌yi ki de alm谋艧谋m. Hep diyorum, yine diyece臒im, 艧iirle 莽ok aram yok. Buna ra臒men bu kitaptaki 艧iirler -枚zellikle birka莽谋- beni 莽ok 莽ok etkiledi.
陌stos yay谋nlar谋 2013 y谋l谋n谋n Kavafis'in do臒umun 150. 枚l眉m眉n眉n ise 80. y谋l谋 olmas谋 nedeniyle Kavafis Y谋l谋 olarak nitelendirilmesi 艧erefine Kavafis'in t眉m 艧iirlerini bir kitapta toplam谋艧. 脟eviriler Ari 脟okona'ya ait. Ari 脟okona'dan pek 莽ok tragedya ve komedya okudum ve hepsinden de b眉y眉k bir keyif ald谋m. 艦iir 莽evirmek ne kadar zordur tahmin dahi edemiyorum; ancak 艧ahsi kanaatime g枚re 脟okona 艧iirleri de oyunlar gibi ba艧ar谋yla sunmu艧 okuyucuya.
Okuyunuz efendim!
August 6, 2022
Like the beautiful bodies of those who died before they had aged,
sadly shut away in a sumptuous mausoleum,
roses by the head, jasmine at the feet鈥�
so appear the longings that have passed
without being satisfied, not one of them granted
a night of sensual pleasure, or one of its radiant mornings.
sadly shut away in a sumptuous mausoleum,
roses by the head, jasmine at the feet鈥�
so appear the longings that have passed
without being satisfied, not one of them granted
a night of sensual pleasure, or one of its radiant mornings.
March 24, 2014
Cavafy was born into a Greek family living in Alexandria in 1863, a city which he came to love as his own life. For me, he is the poet of memory, both personal and cultural. There are several excellent translated collections of his poems; I have at least four. In all of them you'll find poems musing about ancient Greeks and Romans right next to verses written in late middle age about the fleeting loves of his youth. Here's one of the latter, one of my favorites (from the translation by Rae Dalven):
One Night
The room was poor and squalid,
hidden above the dubious tavern.
From the window you could see the alley
filthy and narrow. From below
came the voices of some workmen
playing cards and carousing.
And there on the much-used lowly bed
I had the body of love, I had the lips,
the voluptuous and rosy lips of ecstasy鈥�
rosy lips of such ecstasy, that even now
as I write, after so many years!
in my solitary house, I am drunk again.
One Night
The room was poor and squalid,
hidden above the dubious tavern.
From the window you could see the alley
filthy and narrow. From below
came the voices of some workmen
playing cards and carousing.
And there on the much-used lowly bed
I had the body of love, I had the lips,
the voluptuous and rosy lips of ecstasy鈥�
rosy lips of such ecstasy, that even now
as I write, after so many years!
in my solitary house, I am drunk again.
March 25, 2019
This is a very well done collection of Cavafy's poetry. His poetry touched my heart deeply! My favorite Greek poet for sure.
February 5, 2011
I was introduced to Greek poet C.P. Cavafy's work by Elizabeth Hand's Waking the Moon. The particular poem published in this book, In the Evening,...I wasn't quite prepared for it to captivate me and drench me into a state of bitter sweet melancholy and nostalgia. A fitting poem for a fascinating book. Determined to find out more about this poet, I then found the canon on the Internet. Such a treasure to discover.
I am confused however by the numerous translations. The versions differ, sometimes subtly altering the ambiance and the meaning of Cavafy's poems. I find myself preferring this translator, only to discover even more magical sentences from another translator. The poem it all began with for me, for example, comes in at least three different versions.
Now which translator did the "best job"? Or is it mostly a matter of personal preference? I might try to compose my own perfect translation by cutting and pasting from the versions available.
Or learn Greek of course.
Translated by Rae Dalven
Anyway, those things would not have lasted long.
The experience of the years shows it to me.
But Destiny arrived in some haste and stopped them.
The beautiful life was brief.
But how potent were the perfumes,
On how splendid a bed we lay,
To what sensual delight we gave our bodies.
An echo of the days of pleasure,
An echo of the days drew near me,
A little of the fire of the youth of both of us,
Again I took in my hands a letter,
And I read and reread till the light was gone.
And melancholy, I came out on the balcony
Came out to change my thoughts at least by looking at
A little of the city that I loved,
A little movement on the street and in the shops.
Translated by John Cavafy
By no means could those things have lasted long.
The experience of the years has shown it me.
Still, it was somewhat hurriedly that fate
stopped them. The enraptured time was quickly gone.
But how the perfumes did inebriate 鈥�
What a transcendent bed we lay upon,
what joy voluptuous our bodies knew!
A resonance of the voluptuous days,
a resonance thereof comes close to me,
some glow of the two of us in our young days:
a faded letter I take up anew
and read and read it till the daylight drops.
And I go out upon the balcony
to quit my thoughts 鈥� to change them while I gaze
at the dear old town, at the quick life along
the darkening street and by the lighted shops.
Translated by Edmund Keeley/Philip Sherrard
It wouldn鈥檛 have lasted long anyway鈥�
the experience of years makes that clear.
Even so, Fate did put an end to it a bit abruptly.
It was soon over, that wonderful life.
Yet how strong the scents were,
what a magnificent bed we lay in,
what pleasure we gave our bodies.
An echo from my days given to sensuality,
an echo from those days came back to me,
something of the fire of the young life we shared:
I picked up a letter again,
and I read it over and over till the light faded away.
Then, sad, I went out on to the balcony,
went out to change my thoughts at least by seeing
something of this city I love,
a little movement in the street and the shops.
I am confused however by the numerous translations. The versions differ, sometimes subtly altering the ambiance and the meaning of Cavafy's poems. I find myself preferring this translator, only to discover even more magical sentences from another translator. The poem it all began with for me, for example, comes in at least three different versions.
Now which translator did the "best job"? Or is it mostly a matter of personal preference? I might try to compose my own perfect translation by cutting and pasting from the versions available.
Or learn Greek of course.
Translated by Rae Dalven
Anyway, those things would not have lasted long.
The experience of the years shows it to me.
But Destiny arrived in some haste and stopped them.
The beautiful life was brief.
But how potent were the perfumes,
On how splendid a bed we lay,
To what sensual delight we gave our bodies.
An echo of the days of pleasure,
An echo of the days drew near me,
A little of the fire of the youth of both of us,
Again I took in my hands a letter,
And I read and reread till the light was gone.
And melancholy, I came out on the balcony
Came out to change my thoughts at least by looking at
A little of the city that I loved,
A little movement on the street and in the shops.
Translated by John Cavafy
By no means could those things have lasted long.
The experience of the years has shown it me.
Still, it was somewhat hurriedly that fate
stopped them. The enraptured time was quickly gone.
But how the perfumes did inebriate 鈥�
What a transcendent bed we lay upon,
what joy voluptuous our bodies knew!
A resonance of the voluptuous days,
a resonance thereof comes close to me,
some glow of the two of us in our young days:
a faded letter I take up anew
and read and read it till the daylight drops.
And I go out upon the balcony
to quit my thoughts 鈥� to change them while I gaze
at the dear old town, at the quick life along
the darkening street and by the lighted shops.
Translated by Edmund Keeley/Philip Sherrard
It wouldn鈥檛 have lasted long anyway鈥�
the experience of years makes that clear.
Even so, Fate did put an end to it a bit abruptly.
It was soon over, that wonderful life.
Yet how strong the scents were,
what a magnificent bed we lay in,
what pleasure we gave our bodies.
An echo from my days given to sensuality,
an echo from those days came back to me,
something of the fire of the young life we shared:
I picked up a letter again,
and I read it over and over till the light faded away.
Then, sad, I went out on to the balcony,
went out to change my thoughts at least by seeing
something of this city I love,
a little movement in the street and the shops.
June 29, 2016
螒纬维蟺畏蟽伪 蟺慰位蠉 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 螝伪尾维蠁畏 伪谓 魏伪喂 蟽蟿畏谓 伪蟻蠂萎 谓蠈渭喂味伪 蟺蠅蟼 胃伪 蔚委谓伪喂 未蠀蟽谓蠈畏蟿慰蟼 (蟺慰位位苇蟼 蠁慰蟻苇蟼 蔚委谓伪喂 伪位位维 蠈蠂喂 蟿蠈蟽慰 蠈蟽慰 谓蠈渭喂味伪) 魏伪喂 蟺慰位蠉 尾伪蟻蔚蟿蠈蟼. 螒蠀蟿蠈 蟿慰 蔚渭蟺蠈未喂慰 渭蔚 尾慰萎胃畏蟽蔚 谓伪 蟿慰 尉蔚蟺蔚蟻维蟽蠅 畏 苇魏未慰蟽畏 蠈位蠅谓 蟿蠅谓 未畏渭慰蟽喂蔚蠀渭苇谓蠅谓 蟺慰喂畏渭维蟿蠅谓 蟿慰蠀 渭蔚 蔚蟺喂渭苇位蔚喂伪 蟿慰蠀 巍苇谓慰蠀, 螇蟻魏慰蠀 魏伪喂 危蟿维谓蟿畏 螒蟺慰蟽蟿慰位委未畏 畏 慰蟺慰委伪 蔚委谓伪喂 魏伪蟿伪蟺位畏魏蟿喂魏萎 魏伪喂 未委谓蔚喂 蟺位萎蟻畏 蟽蠂慰位喂伪蟽渭蠈 纬喂伪 蟿伪 渭喂蟽维 蟺慰喂萎渭伪蟿伪 蟿慰蠀 魏伪喂 纬喂伪 蟿伪 蠀蟺蠈位慰喂蟺伪 (蟿伪 慰蟺慰委伪 胃蔚蠅蟻蔚委 芦螒未蠉谓伪渭伪禄) 蠀蟺维蟻蠂蔚喂 蔚魏蟿蔚谓萎蟼 蟽蠂慰位喂伪蟽渭蠈蟼 蟽蟿慰 螖喂伪未委魏蟿蠀慰 (魏蠀蟻委蠅蟼 纬喂伪 蟿伪 喂蟽蟿慰蟻喂魏维 蟺慰喂萎渭伪蟿伪). 螔蟻萎魏伪 蟿畏谓 蟺慰委畏蟽畏 蟿慰蠀 蔚尉伪喂蟻蔚蟿喂魏萎 魏伪喂 蟻畏尉喂魏苇位蔚蠀胃畏 纬喂伪 蟿畏谓 蔚蟺慰蠂萎 蟺慰蠀 纬蟻维蠁蟿畏魏蔚, 魏伪胃蠋蟼 蔚委谓伪喂 渭慰谓蟿苇蟻谓伪 魏伪喂 苇蠂蔚喂 苇谓伪 未喂魏蠈 蟿畏蟼 蟽蟿蠀位. 螤慰委畏蟽畏 蟺慰蠀 蟽蠀纬魏喂谓蔚委 魏伪喂 蟽蔚 魏维谓蔚喂 谓伪 蟿畏谓 伪纬伪蟺萎蟽蔚喂蟼. 螣 渭苇纬伪蟼 螒位蔚尉伪谓未蟻喂谓蠈蟼 未喂魏伪喂蠋胃畏魏蔚 魏伪喂 伪蟼 蟺蟻慰蟽蟺维胃畏蟽伪谓 谓伪 蠂蟿委蟽慰蠀谓 蟿蟻喂纬蠉蟻蠅 蟿慰蠀 渭蔚纬维位伪 魏伪喂 蠀蠄畏位维 韦蔚委蠂畏...
螒纬伪蟺畏渭苇谓伪 渭慰蠀 蟺慰喂萎渭伪蟿伪: 芦螡苇慰喂 蟿畏蟼 危喂未蠋谓慰蟼 (400 渭.围)禄, 芦螒位蔚尉伪谓未蟻喂谓慰委 螔伪蟽喂位蔚委蟼禄, 芦螠苇蟻蔚蟼 蟿慰蠀 1903禄, 芦螠蠉蟻畏蟼路 螒位蔚尉维谓未蟻蔚喂伪 蟿慰蠀 340 渭.围禄, 芦巍蠅蟿慰蠉蟽蔚 纬喂伪 蟿畏谓 蟺慰喂蠈蟿畏蟿伪禄, 芦螘蟺苇蟽蟿蟻蔚蠁蔚禄, 芦螘魏蠈渭喂蟽伪 蔚喂蟼 蟿畏谓 韦苇蠂谓畏禄, 芦螜蠅谓喂魏蠈谓禄, 芦螚 蟺蠈位喂蟼禄 魏伪喂 蟺慰位位维 维位位伪...
螒纬伪蟺畏渭苇谓伪 渭慰蠀 蟺慰喂萎渭伪蟿伪: 芦螡苇慰喂 蟿畏蟼 危喂未蠋谓慰蟼 (400 渭.围)禄, 芦螒位蔚尉伪谓未蟻喂谓慰委 螔伪蟽喂位蔚委蟼禄, 芦螠苇蟻蔚蟼 蟿慰蠀 1903禄, 芦螠蠉蟻畏蟼路 螒位蔚尉维谓未蟻蔚喂伪 蟿慰蠀 340 渭.围禄, 芦巍蠅蟿慰蠉蟽蔚 纬喂伪 蟿畏谓 蟺慰喂蠈蟿畏蟿伪禄, 芦螘蟺苇蟽蟿蟻蔚蠁蔚禄, 芦螘魏蠈渭喂蟽伪 蔚喂蟼 蟿畏谓 韦苇蠂谓畏禄, 芦螜蠅谓喂魏蠈谓禄, 芦螚 蟺蠈位喂蟼禄 魏伪喂 蟺慰位位维 维位位伪...
April 20, 2019
螘蟺维尉喂伪 慰谓慰渭维味蔚蟿伪喂 慰 渭蔚纬伪位蠉蟿蔚蟻慰蟼 螆位位畏谓伪蟼 蟺慰喂畏蟿萎蟼. 螒蟺蠀胃渭蔚谓慰蟼, 蔚蟻蠅蟿喂魏蠈蟼, 伪谓蠀蟺蔚蟻尾位畏蟿慰蟼.
June 22, 2008
Cavafy's mixture of two primary subjects -- antiquity and and his life as gay man in Alexandria -- can seem an odd one at first, and though I've tried to find a strong thematic link between the two, at best, I hear a similar tone of nostalgia and loss in his treatment of these subjects. This seemingly disparate subjects, however, make for a pleasurably evolving reading experience.
Initially, I found C's famous poems about antiquity the more appealing ones; for a man fascinated with the distant past, C. ended up writing poems that speak just as well to our own historic times today, as to his. One need look no further than perhaps his most famous poem, "Waiting for the Barbarians" (surely Coetzee had this poem in mind when he gave his early novel the same name!)for evidence of this timely relevance. The last two lines say it all:
"And now, what's going to happen to us without barbarians?
They were, those people, a kind of solution."
(Chilling words when one considers our current policies in Iraq.)
Poems such as "The Horses of Achilles" and "The God Abandons Anthony" are equally powerful. I love these poems, and though they do reinforce powerful themes and ideas -- certainly an important criterion of great poetry -- they don't reveal much new upon successive readings.
The love poems, however, to my surprise, offer more reward with repeated readings. At first, I read them quickly, as an afterthought, more out of curiosity than deep interest, just because they were Cavafy. But gradually over time, I have found myself returning to some of these works again and again, and being increasingly moved by them. They have a quietly haunting tone of sadness of lost love that deepens rather than plateau's with successive readings.
My favorite example is "Two Young Men, 23 to 24 Years Old." A young man sits alone in a cafe, drinking up what little money he has while waiting for his lover, thinking he's been abandoned and beginning to "have disturbing thoughts / about the immoral life he was living." Eventually, though, these thoughts vanish when his lover shows up later, flush with winnings from a card game, and "their good looks, their exquisite youthfulness, / the sensitive love they shared/ were refreshed, livened, invigorated / by the sixty pounds from the card table." Unable to use the homes of the "respectable families (where they were no longer wanted anyway)," the men rent a room in a "very special house of debauchery," where they spend of the rest of the night buying expensive drinks before finally, at 4am, "happy, they gave themselves to love."
The mood in this poem takes several sharp turns, from near despair to elation, from illusion of youthful celebration (dependent on money) to (hidden) freedom of wild carousing to blissful lovemaking. But throughout these shifts is also an underlying tone of sadness and desperation. These young men may have their looks and money and each other, but they must hide their love, a love that can be expressed only with an unpredictable profit from gambling, and though the poem appears to end on an tender and optimistic note, Cavafy also seems to suggest that this moment of ecstatic freedom will be a short-lived one that will not survive the light of day, when the men will find themselves once again broke and ostracized from their families. And it seems doubtful that, unlike Anthony in "The God Abandons Anthony," they will be able to face their condition by listening to the "exquisite music of the strange procession,/ and say goodbye to her, to the Alexandria you are losing." Anthony has to "lose" Alexandria only once, but these two young men, only "23 to 24 years old" must face the rest of their lives losing a part of Alexandria everyday. That's a heart-breaking poem!
In the final analysis, I wouldn't be surprised if Cavafy's love poems prove more enduring than his historical poems.
(As for translations, I've read two -- Keeley and Sherrard, and the recent Barnstone -- and I prefer K/S because the language is a bit livelier, in places, than Barntone's, but you can't go wrong with either.)
PS I would also recommend two fine essays on Cavafy:
* "Pendulums's Song," Joseph Brodsky, from Less Than One
* "Lost Cities," Rachel Cohen, from Best American Essays 2003(actually, Cohen compares Cavafy and Pessoa, so that's an added bonus for Pessoa fans!)
Initially, I found C's famous poems about antiquity the more appealing ones; for a man fascinated with the distant past, C. ended up writing poems that speak just as well to our own historic times today, as to his. One need look no further than perhaps his most famous poem, "Waiting for the Barbarians" (surely Coetzee had this poem in mind when he gave his early novel the same name!)for evidence of this timely relevance. The last two lines say it all:
"And now, what's going to happen to us without barbarians?
They were, those people, a kind of solution."
(Chilling words when one considers our current policies in Iraq.)
Poems such as "The Horses of Achilles" and "The God Abandons Anthony" are equally powerful. I love these poems, and though they do reinforce powerful themes and ideas -- certainly an important criterion of great poetry -- they don't reveal much new upon successive readings.
The love poems, however, to my surprise, offer more reward with repeated readings. At first, I read them quickly, as an afterthought, more out of curiosity than deep interest, just because they were Cavafy. But gradually over time, I have found myself returning to some of these works again and again, and being increasingly moved by them. They have a quietly haunting tone of sadness of lost love that deepens rather than plateau's with successive readings.
My favorite example is "Two Young Men, 23 to 24 Years Old." A young man sits alone in a cafe, drinking up what little money he has while waiting for his lover, thinking he's been abandoned and beginning to "have disturbing thoughts / about the immoral life he was living." Eventually, though, these thoughts vanish when his lover shows up later, flush with winnings from a card game, and "their good looks, their exquisite youthfulness, / the sensitive love they shared/ were refreshed, livened, invigorated / by the sixty pounds from the card table." Unable to use the homes of the "respectable families (where they were no longer wanted anyway)," the men rent a room in a "very special house of debauchery," where they spend of the rest of the night buying expensive drinks before finally, at 4am, "happy, they gave themselves to love."
The mood in this poem takes several sharp turns, from near despair to elation, from illusion of youthful celebration (dependent on money) to (hidden) freedom of wild carousing to blissful lovemaking. But throughout these shifts is also an underlying tone of sadness and desperation. These young men may have their looks and money and each other, but they must hide their love, a love that can be expressed only with an unpredictable profit from gambling, and though the poem appears to end on an tender and optimistic note, Cavafy also seems to suggest that this moment of ecstatic freedom will be a short-lived one that will not survive the light of day, when the men will find themselves once again broke and ostracized from their families. And it seems doubtful that, unlike Anthony in "The God Abandons Anthony," they will be able to face their condition by listening to the "exquisite music of the strange procession,/ and say goodbye to her, to the Alexandria you are losing." Anthony has to "lose" Alexandria only once, but these two young men, only "23 to 24 years old" must face the rest of their lives losing a part of Alexandria everyday. That's a heart-breaking poem!
In the final analysis, I wouldn't be surprised if Cavafy's love poems prove more enduring than his historical poems.
(As for translations, I've read two -- Keeley and Sherrard, and the recent Barnstone -- and I prefer K/S because the language is a bit livelier, in places, than Barntone's, but you can't go wrong with either.)
PS I would also recommend two fine essays on Cavafy:
* "Pendulums's Song," Joseph Brodsky, from Less Than One
* "Lost Cities," Rachel Cohen, from Best American Essays 2003(actually, Cohen compares Cavafy and Pessoa, so that's an added bonus for Pessoa fans!)
September 11, 2022
"Como cuerpos bellos de muertos que no envejecieron
y los encerraron, con l谩grimas, en espl茅ndido mausoleo
鈥攃on rosas en la cabeza y en los pies jazmines鈥�,
as铆 parecen los deseos que pasaron
sin cumplirse; sin que ninguno mereciera
una noche de placer, o un alba luminosa".
No sab铆a qu茅 esperar de Cavafis. Solo conoc铆a los fragmentos m谩s famosos de sus poemas 脥taca y El dios abandona a Antonio. He encontrado un poeta er贸tico y sensual incluso cuando trata temas hist贸ricos. Pero sus mejores poemas son los que ocurren en cafeter铆as, callejones y burdeles.
"...a una casa de corrupci贸n se fueron y pidieron
un cuarto en que dormir, y bebidas caras, y volvieron a beber.
Y cuando se les acabaron las bebidas caras,
y cuando ya eran cerca de las cuatro,
al amor se entregaron felices".
y los encerraron, con l谩grimas, en espl茅ndido mausoleo
鈥攃on rosas en la cabeza y en los pies jazmines鈥�,
as铆 parecen los deseos que pasaron
sin cumplirse; sin que ninguno mereciera
una noche de placer, o un alba luminosa".
No sab铆a qu茅 esperar de Cavafis. Solo conoc铆a los fragmentos m谩s famosos de sus poemas 脥taca y El dios abandona a Antonio. He encontrado un poeta er贸tico y sensual incluso cuando trata temas hist贸ricos. Pero sus mejores poemas son los que ocurren en cafeter铆as, callejones y burdeles.
"...a una casa de corrupci贸n se fueron y pidieron
un cuarto en que dormir, y bebidas caras, y volvieron a beber.
Y cuando se les acabaron las bebidas caras,
y cuando ya eran cerca de las cuatro,
al amor se entregaron felices".
December 30, 2018
Gr膩mata, kas saist膩s ar rind膩m:
"Ir jau pusviens. Cik 膩tri pag膩ja laiks.
Ir jau pusviens. Cik 膩tri pag膩ja gadi."
(1918)
"Ir jau pusviens. Cik 膩tri pag膩ja laiks.
Ir jau pusviens. Cik 膩tri pag膩ja gadi."
(1918)
March 23, 2014
There are many translations of Cavafy's poems. Cavafy is thought by other poets to be among the poetry greats of all time. He writes often of love, but he also writes of man's psychological wiliness and attempts to fool himself. His work is very simple, filled with visual, emotional, and erotic cues. He wrote stirringly of man's political nature as it is formed from his personal imperfection. Barnstone, in her Foreword to this volume [translates and] quotes "In a Large Greek Colony, 200 B.C.E." The poem, written in 1928, is a "gentle and sane" criticism of progressivism, and can, with little revision, describe the men and women of our good Senate who, with great heat and words, perform surgery on our lives. The civility of his resistance is memorable. I wish we all had such wisdom in our criticisms. The last two stanzas of the poem read:
My favorite poem in this collection is called Desires :
"And when, with good luck, they finish their work,Barnstone says of this:
having ordered and pared everything down to the last detail,
they leave, taking away their rightful wages, as well.
We'll see what remains, after
so much expert surgery.
Perhaps the time had not yet come.
Let's not rush; haste is a dangerous thing.
Premature measures bring regret.
Certainly and unfortunately, there is much disorder in the Colony
But is there anything human without imperfection?
And anyway, look, we're moving ahead."
"The last two stanzas [of this poem] are delicious and the penultimate line is the signature supreme...It may be his homosexuality--the fact that it was such an omnipresent subject for him--placed him inevitably on the radical edge and even created in him a huge tolerance, and understanding of loneliness, isolation, and suffering, a pity for the despised, for the outcast, and a sympathy for the outsider, Jew, Pagan, Christian, which made it impossible for him to demonize the other, what the politically stupid, thoughtless, or narrow of our time required...Also he was manifestly good, and sane and whole, and most of all, kind."Read the whole poem. It tells us something.
My favorite poem in this collection is called Desires :
"Like beautiful bodies of the dead that haven't aged
and were locked in a mausoleum with tears,
with roses at their heads and jasmine at their feet,
that is what desires look like when they pass
without having fulfilled, without even
a single night of passion, or a shining morning." (1904)
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