Posts Tagged ‘ephebes’

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Τώρα τά διπλώνω στά τέσσερα, στά οχτώ, στά δεκάξη

ν’ απασχολώ τά δάχτυλά μου. Καί τώρα θυμήθημα

πώς έτσι μετρούσα τή μουσική σάν πήγαινα στό Ωδείο

μέ μπλέ ποδιά κι άσπρο γιακά, μέ δυό ξανθές πλεξούδες

— 8, 16, 32, 64, —

κρατημένη απ’ τό χέρι μιάς μικρής φίλης μου ροδακινιάς όλο φώς

καί ρόζ λουλούδια,

(συχώρεσέ μου αυτά τά λόγια — κακή συνήθεια ) — 32, 64, — κ’ οι

δικοί μου στήριζαν

μεγάλες ελπίδες στό μουσικό μου τάλαντο. Λοιπόν, σούλεγα γιά

τήν πολυθρόνα —

ξεκοιλιασμένη — φαίνονται οι σκουριασμένες σούστες, τά άχερα —

έλεγα νά τήν πάω δίπλα στό επιπλοποιείο,

μά πού καιρός καί λεφτά καί διάθεση — τί νά πρωτοδιορθώσεις; —

έλεγα νά ρίξω ένα σεντόνι πάνω της, — φοβήθηκα

τ’ άσπρο σεντόνι σέ τέτοιο φεγγαρόφωτο. Εδώ κάθησαν

άνθρωποι πού ονειρεύτηκαν μεγάλα όνειρα, όπως κ’ εσύ κι όπως

κ’ εγώ άλλωστε,

καί τώρα ξεκουράζονται κάτω απ’ τό χώμα δίχως νά ενοχλούνται απ’ τήν

βροχή ή τό φεγγάρι.

Άφησέ με νάρθω μαζί σου.

Θα σταθούμε λιγάκι στήν κορφή τής μαρμάρινης σκάλας τού Άη – Νι

κόλα,

ύστερα εσύ θά κατηφορίσεις κ’ εγώ θά γυρίσω πίσω

έχοντας στ’ αριστερό πλευρό μου τή ζέστα απ’ τό τυχαίο άγγιγμα τού

σακκακιoύ σου

κι ακόμη μερικά τετράγωνα φώτα από μικρά συνοικιακά παράθυρα

κι αυτή τήν πάλλευκη άχνα απ’ το φεγγάρι πούναι σάν μια μεγάλη συνο-

δεία ασημένιων κύκνων —

καί δέ φοβάμαι αυτή τήν έκφραση, γιατί εγώ

πολλές ανοιξιάτικες νύχτες συνομίλησα άλλοτε μέ τό Θεό πού μού

εμφανίστηκε

ντυμένος τήν αχλύ καί τή δόξα ενός τέτοιου σεληνόφωτος,

καί πολλούς νέους, πιό ωραίους κι από σένα ακόμη, τού εθυσίασα,

έτσι λευκή κι απρόσιτη ν’ ατμίζομαι μές στή λευκή μου φλόγα, στή λευ-

κότητα τού σεληνόφωτος,

πυρπολημένα απ’ τ’ αδηφάγα μάτια των αντρών κι απ’ τή δισταχτικήν

έκσταση των εφήβων,

πολιορκημένα από εξαίσια, ηλιοκαμένα σώματα,

άλκιμα μέλη γυμνασμένα στό κολύμπι, στό κουπί, στό στίβο, στό ποδό-

σφαιρο ( πού έκανα πώς δέν τάβλεπα )

μέτωπα, χείλη καί λαιμοί, δάχτυλα καί μάτια,

στέρνα καί μπράτσα καί μηροί ( κι αλήθεια δέν τάβλεπα )

—ξέρεις, καμμιά φορά, θαυμάζοντας, ξεχνάς, ό,τι θαυμάζεις, σού φτάνει

ο θαυμασμός σου, —

θέ μου, τί μάτια πάναστρα, κι ανυψωνόμουν σέ μιάν αποθέωση αρνημέ-

ων άστρων

γιατί, έτσι πολιοκρημένη απ’ έξω κι από μέσα,

άλλος δρόμος δέ μούμενε παρά μονάχα πρός τά πάνω ή πρός τά κάτω.

—    Όχι, δέ φτάνει.

Άφησέ με νάρθω μαζί σου.

Now I fold them in four in eight in sixteen

to keep my fingers busy And now I remember

that’s how I kept the beat in music long ago at

Music School with a blue uniform and white collar with

two blond braids – eight sixteen thirty-two sixty-four

held by the hand of a small peach tree a friend of mine

full of light and rosy flowers

(forgive me for these words – bad habit) – 32 – 64 – and

my family had

so many hopes for my music talent So I was saying to you

about the armchair –

disemboweled – the rusted springs are visible the straw –

I thought of taking it to the furniture shop next door

but who has the time the money and desire – what can you

fix first? – I thought of throwing a sheet on it – but I was afraid

of the white sheet in this moonlight Here sat

people who dreamed great dreams like you and like me

and now they rest under the earth without being disturbed by

rain or moon

Let me come with you

We shall stop for a while at the top of the marble stairs

of Saint Nicolas

then you will go down the road and I’ll return

having on my left side the warmth from touching your coat

by chance

and even some square lights from the small neighborhood

windows

and this snow white vapor from the moon that resembles a big

procession of silver swans –

and I don’t fear this expression because during

many spring nights I talked to God who appeared to me

dressed in the haze and glory of moonlight such as this

and I sacrificed to Him many young men even more handsome

than you

thus white and unreachable I became vapor in my white flame

in the whiteness of moonlight

conflagrated by the insatiable eyes of men and by the hesitant

ecstasy of ephebes

besieged by graceful sunburned bodies

vigorous limbs trained in swimming in oaring in gymnastics

and football (though I pretended I didn’t notice)

foreheads lips and necks knees fingers and eyes

chests and arms and thighs (and truly I didn’t notice them)

– you know sometimes in admiring you forget what you

admire your admiration is enough –

my god what eyes filled with stars and I rose in an apotheosis

of denied stars

because besieged as I was from outside and from within

I had no other path but only upward or downward

– no it’s not enough

Let me come with you.

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I am from Constantinople by descent, but I was born in Alexandria— at a house on Seriph Street; I left at a young age and spent many of years of my childhood in England. I visited that country later on as an adult although for a short period of time. I also lived in France. During my adolescence I lived in Constantinople for about two years. I haven’t visited Greece for long time. My last employment was as a clerk at a Government office under the Ministry of Public works of Egypt. I speak English, French, and some Italian.’

This auto-biographical note of Constantine P. Cavafy or Konstantinos Petrou Kavafis, (Κωνσταντίνος Πέτρου Καβάφης), published in 1924 in the celebratory issue of the magazine New Art, may be supplemented with the following.

Cavafy was born on April 17/29th of 1863. Son of a family of merchants, he had eight older siblings all of whom died before him. Two of his brothers were painters, and another wrote poems in English and French; a cousin of his translated Shakespeare.

His father died in 1870 leaving the family in difficult financial position. Cavafy’s mother moved the family to England, where the two eldest sons took over their father’s business. However, their inexperience caused the ruin of the family fortunes and they returned to Alexandria. But the few years that Cavafy spent in England shaped his poetic sensibility and he became so comfortable with the second language that he wrote his first poems in English.

After the brief time he spent in England he moved with his mother to Constantinople where he lived with his grandfather; his stay here was brief and he arrived in Alexandria in 1879. Although they lived in great poverty and discomfort, he wrote his first poems during this period. After working for short periods for the Alexandrian Newspaper and the Egyptian Stock Exchange, at the age of twenty-nine Cavafy took up an appointment as a special clerk in the Irrigation Service of the Ministry of public works, a position he held for the next thirty years. Much of his young ambition during those years was devoted to writing poems and prose essays.

Constantine Cavafy had a very small circle of people around him. He lived with his mother until her death in 1899, and after that with his unmarried brothers. For much of his adult life he lived alone. Influential relationships included his twenty-year acquaintance with E.M. Forster.

Cavafy had one long lasting friendship with Alexander Singopoulos, whom Cavafy designated as his heir and literary executor when he was sixty years old, ten years before his death.

Cavafy remained virtually unknown in Greece until late in his career. He was introduced to the mainland Greek literary circles through a favorable review written by the well known Greek writer Xenopoulos in 1903; however, he got little recognition since his writing style was different from the mainstream Greek poetry of the time. Some twenty years later, after the war of 1919-1923 between Greece and Turkey, a new generation of poets such as Karyotakis would find some inspiration in Cavafy’s work.

It is generally accepted that Cavafy was a homosexual and themes of gay relationships appear in a number of his poems; indeed there is hardly any reference to a woman or a kore, as in Elytis’ works where the kore is a predominant sensual image. In Cavafy, we find numerous sensual references to young men or ephebes, all in their early twenties.

Since his death his reputation has grown and now he is considered one of the finest Greek poets; his work has been published again and again and is taught in schools in Greece, and in colleges and universities throughout the world. A film about his life was produced in Greece in 1996.

He is considered one of the most influential poets of modern Greece and along with Palamas, Kalvos, Seferis, Elytis, Egonopoulos and Ritsos he was instrumental in the revival and recognition of Greek poetry both in Greece and abroad.

His first published poem was printed for the magazine Hesperos in 1886. After that he kept publishing his poems in various magazines in Alexandria and Athens, as well as in some private editions of his friends. He also published articles and philosophical diatribes in newspapers and magazines of Leipsia, Constantinople, Alexandria and Athens.

In 1926, the military government of Pangalos, after a submission by G. Haritakis, awarded him the “Silver Medal of Phoenix”. The same year the periodical Alexandrian Art was launched under his guidance.

After his death a collection of 154 poems was published under the care of his executor Alexander Singopoulos and his then wife Rica, and with the collaboration of the painter Takis Kalmouchos. Since 1948 “Ikaros” has been the publisher of Cavafy’s works in Greece.

The first official presentation of Cavafy in Greece was in the Hellinika Grammata by Gregory Xenopoulos in 1903. At the same time the English writer E. M. Forster was the first one to introduce the poet to international readers.

Cavafy’s poems have been translated into just about all the European languages, and the majority of his more mature poetic creations have been translated and published from 1951 to 1980: twice in English, twice in French, once in German, and once in Italian.

He died of cancer of the larynx on April 29, 1933, on his seventieth birthday, in Alexandria.

In Canada, the most valuable work on Cavafy has been created by Greek Canadian Poet Manolis by translating and publishing a selection of poems in Constantine P. Cavafy – Poems.

View Poems in English by Cavafy

Cavafy, Poems in Greek
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