Posts Tagged ‘Eros’





As history teaches us, the contrast between life and art has made it easy to think of Cavafy in the abstract, as an artist whose work exists free from tradition and attachment to a specific moment in time. This trend has been prompted by the two elements of his poetry for which he is most famous: his surprisingly contemporary theme (one of his themes, at least), and his attractive and direct style.

Certainly there have always been many readers who appreciate the so-called historical poems, situated in magical places of the Mediterranean during times that have been long dead and acrimonious with sociable irony and a certain tired stoicism. (“Ithaca gave you the beautiful journey, / without her you would not have put in the passage. / But now she has nothing to give you,” he writes in what may be the most famous evocation of ancient Greek culture: the journey is always more important than the fatefully disappointing destination.) This can be seen in the poem:


Honor to all of those who in their lives

have settled on, and guard, a Thermopylae.

Never stirring from their obligations;

just and equitable in all of their affairs,

but full of pity, nonetheless, and of compassion;

generous whenever they’re rich, and again

when they’re poor, generous in small things,

and helping out, again, as much as they are able;

always speaking nothing but the truth,

yet without any hatred for those who lie.

And more honor still is due to them

when they foresee (and many do foresee)

that Ephialtes will make his appearance in the end,

and that the Medes will eventually break through


But it is probably fair to say that the popular reputation of Cavafy rests almost entirely on the remarkably preexisting way in which his other “sensual” poems, often not considered as this poet’s gift, deal with the ever-fascinating and pertinent themes of erotic desire, realization and loss.

The way, too, when memory preserves what desire so often cannot sustain. That desire and longing only makes it appear more contemporary, closer to our own times. Perhaps this is the case with Manolis’ poem:



After leaving our marks

on the sole lamppost

we parted

she to the west

I to the east

with a promise

to meet again

by this lamppost

and trace our marks

though we never thought of the Sirens

the Cyclops and the angry Poseidon

though we never thought of the pricey



No one but Cavafy, who studied history not only eagerly but with a studious respect and meticulous attention to detail, would have recognized the dangers of abstracting people from their historical contexts; and nowhere is this abstraction more dangerous than in the case of Cavafy himself.




You said: “I’ll go to another land, to another sea;
I’ll find another city better than this one.
Every effort I make is ill-fated, doomed;
and my heart —like a dead thing—lies buried.
How long will my mind continue to wither like this?
Everywhere I turn my eyes, wherever they happen to fall
I see the black ruins of my life, here
where I’ve squandered, wasted and ruined so many years.”
New lands you will not find, you will not find other seas.
The city will follow you. You will return to the same streets.
You will age in the same neighborhoods; and in these
same houses you will turn gray. You will always
arrive in the same city. Don’t even hope to escape it,
there is no ship for you, no road out of town.
As you have wasted your life here, in this small corner
you’ve wasted it in the whole world.


Surely his work is as good as great poetry can be and at the same time timeless in the way we like to think that great literature can be alchemizing details of the poet’s life, times and obsessions into something relevant to a large audience over the years and even centuries.

But the tendency to see Cavafy as one of us, as one in our own time, speaking to us with a voice that is transparent and admittedly ours about things whose meaning is self-evident, threatens to take away a specific detail one that, if we give it back to him, makes him look larger than life and more a poet of the future, as it was once described, rather than the time he lived in. This detail also pertains to the biography of Manolis who refers to mythical passages of his home-country and unfolds scenes of sensuality, abandonment and loss.

Cavafy’s style, to begin with, is far less prosaic, much richer although not musical, and rooted deeply in the nineteenth century in which he lived for more than half of its life. Some readers will be surprised to learn that many of Cavafy’s poems, even when he was almost forty, were cast as sonnets or other prepared forms of verse.

Manolis was born in Kolibari a small village west of Chania on the Greek island of Crete in 1947. At an early age his family took him first to Thessaloniki and then to Athens where he was educated, earning a Bachelor of Science in Political Science from the Panteion University of Athens.

The subject in some of Cavafy which tend to be overlooked by readers as difficult are the poems deliberately placed in the dark, geographical and temporal margins of the Greek past: poems which seem not to have much to do with today’s concerns and are often passed in favor of works with more contemporary appeal.

Perhaps this is the case with Manolis who draws from the same Greek sources as Cavafy does making historical references to Greece, the cradle where his soul was born, when he creates the Greek myths interacted in his contemporary poetry. Even far from his motherland Greece where he resides now he still retains in his poetic memory, images and themes he channels through verve in this book and others.


Can Manolis channel the beauty as easily as he describes in his verse? “An ancient time leader / as an anointed and pious / a musical instrument of candor flowing free / ready to speak with words that relieve pain and free the soul?” Yes its main tool is its firsthand experience of the power of Eros. His psychological makeup attracts and conveys authenticity and happiness based on his worship and being adored by sensual and provocative female figures exposing him in an ecstatic transcendence through his bodies of lust and his deep love and dedicated understanding. It is obvious that he finds his purpose in falling in love passionately for his beloved.

He does not hide that before he emerged he wanted to become “a festival / movement song of a bird / a vesper / a simple sigh / that will heal the lips of his beloved.” If he feels impotent in the face of inconceivable and unlimited Destiny, he declares that a woman’s embrace beckons him and he likes to give in to his passion: “dark and vague circle / forever indeterminable / and this, the command / and this, the Obedience / This, the orgasm / and this, the Eros / and this is you.” He feels being favored by Eros he diffuses his burning passion with light that fills his erotic verses. As a gallant defender of lust and sensuality and the true emotions of love, he delivers the joy and joy to the soul.


Both idealism and pragmatism, messianism, but also the tradition in the languor of the senses, the subjects of love dedicated to ephemeral satisfaction and erotic drunkenness make up the changes of its vast poetic content. Having the maturity of an accomplished poet and the ability to create evocative images in a personal way, the poet introduces us to what constitutes the most brilliant expression of his most intimate thoughts and beliefs in front of the world of his time and age.

The way, too, where memory preserves what desire so often can’t sustain. That desire and longing were for other men only makes it appear more contemporary, closer in our own times as we see in this opening poem of Golden Kiss, which poem may seem obscene and prosaic created by a minor poet, but when creating by a poet as Manolis locks up the erotic aura of a Moravia.


like a bird stilled by camera lens

her scandalous vulva visits his mind

from days of that August

on the scorched island

in low tone siesta

in muffled moaning

lest the mirror would crack from tension



In the 1880s and 1890s, Constantine Cavafy was a young man with modest literary ambitions, writing verses and contributing articles, critiques and essays, mostly in Greek but in English (A language in which he was perfectly at home as a result of spending a few of his adolescence years in England), on a number of idiosyncratic subjects, Alexandria and Athenian newspapers. This similarity in biographies binds Cavafy with Manolis who lives in Vancouver and writes poems in Greek and English referring to both countries.


Yannis Ritsos was born in Monemvasia, Greece, on May 1, 1909, in a family of landowners. He did his early schooling and finished high school in Gythion, Monemvasia and after graduating in 1925, he moved to Athens where he began working on typing and copying legal documents. A year later, he returned to his home town where he spent his time writing and painting, another form of art that he devoted himself which along with his writing he kept for the rest of his life, perhaps the painting has given him elements of his sensual poems:



Our women are distant, their sheets smell of goodnight.

They put bread on the table as a token of themselves.

It’s then that we finally see we were at fault; we jump up saying,

‘Look, you’ve done too much, take it easy, I’ll light the lamp.

’She turns away with the striking of the match,

walking towards the kitchen, her face in shadow,

her back bent under the weight of so many dead –

those you both loved, those she loved, those

you alone loved . . . yes . . . and your death also


Listen: the bare boards creaking where she goes.

Listen: the dishes weeping in the dishrack.

Listen: the train taking soldiers to the front.



Sometimes the poems are invested with the fractured logic of the dream with images of dream events or they’re placed in a landscape of dreams that grows, as one reads more, more and more recognizable, less strange, always attractive. At the same time, their locations and quotations are redemptive of a completely recognizable Greece: the balconies, the geraniums, the statuary, women in their black attires and, in a lasting way, the sea. His touch is light, but its effect is profound. Much depends on the image that causes the narrative movement. Some poems are so small, so distilled, that the fragments of history given to us – the kids’ psychodramas – have an irresistible power. “The less I get the bigger it gets,” said Alberto Giacometti and the same powerful reticence is a feature in Ritsos’ shorter poems.


The content of Yannis Ritsos also deserves renewed attention – both the specific themes of the individual poems, which in fact keep the historical and the erotic in a single focus.

Eroticism is one of the appearances of man’s inner life. In this one deludes himself because one is seeking his fixed object of desire. But this object of desire responds to the internal desire. The choice of an object always depends on the individual’s personal tastes: even if it falls on the woman most would have selected, what comes into play is often an unspeakable aspect, not an objective characteristic of this woman unless she has touched the inner being of man she creates the force to choose her.

The notion of disorientation (similar, perhaps, to the effect of a mild virus), when heightened emotion puts us at odds with the world, when the aromas become sour, when a view of the garden becomes desolate, when household objects shed their purpose, is perfectly evoked in these ten lines. There is an immediate recognition of a precarious ontological state tied to a story until, a moment later, we realize that we can see that street, see that window, see through that door:





It was just luck: I open the door, the two women

side by side on the sofa


in his black handkerchief,

mother and daughter, perhaps,


staying immobile, unpronounceable, a mouthful of bread

on the table, a cat sleeping on the couch.


Looking away and the sun at the top of the waves, cicadas

the swallows attractions in blue. They look back.


I almost had it, I almost had it in one of them.

Then Mother got up and closed the door.


This poem by Yannis Ritsos refers us to another poem by Manolis but more sensual and right:


Nothing to hold onto

but ourselves in lust

and the cenotaph with

names engraved in marble

yet in this near futile void

a sudden speck of light

gleams on Suzanne’s breast

as a lightning flash like

when her eyes demanded

a deeper meaning to this: are we

to search for it during this dark night

with our two bodies as the only absolution?


The sensuality of the Mediterranean world may be in the Greek soul of the poets to a greater or lesser degree, as we have seen over the years and centuries, referring to the idea that the Greek gods though dead are alive in the souls of the Greeks: Eros and Dionysus are alive from the bygone days of yesteryears to today and even more so in the case of Manolis who lives in Vancouver but has not forgotten his Cretan roots, and he writes in both Greek and English and shows with his simple poem Golden Kiss the sensual and erotic connection between his poetry and that of Cavafy and Yannis Ritsos.


~Eric Ponty, poet, translator, Sao Paolo, Brazil, 2016



Cloe Koutsoubelis’




Τί άραγε να εννοεί ο εραστής;

Προφανώς, τα καλύτερα χωρίς αυτόν,

αφού οι συνθήκες

αυτά τα απειλητικά τέρατα με τα εννιά κεφάλια

ξεγυμνώνουνε τα δόντια τους.

Χωρίς ντροπή,

Αφού η νερουλή σούπα με τις δικαιολογίες

βράζει καλύτερα σε σιγανή φωτιά,

χωρίς καν νοσταλγία,

γιατί για να διαβάσει κανείς

με τα πόδια ψηλά εφημερίδα

πρέπει να απαλλαγεί

από τις βαριές αρβύλες που θυμούνται.

«Εύχομαι τα καλύτερα», λοιπόν.

Στο κάτω κάτω θα ήταν προτιμότερο να πει

«συγγνώμη που δεν ήμουνα;»





What does the lover mean?

Most likely what’s best for him

since the circumstances,

those threatening monsters with the nine heads

clench their teeth.


since that water diluted soup boils

better in slow fire,

without nostalgia,

as if one is to read a newspaper

with his legs up on a chair

he better undo his heavy

boots that always remember.

“I wish you the best” then.

Would have been better if he wrote:

“Sorry that I couldn’t?”


CLOE and ALEXANDRA, poetry translated by Manolis Aligizakis, Libros Libertad, 2013






Σα να μην ήρθαμε ποτὲ σ᾿ αυτὴν εδῶ τη γη,
σα να μένουμε ακόμη στην ανυπαρξία.
Σκοτάδι γύρω δίχως μία μαρμαρυγή.
Άνθρωποι στων άλλων μόνο τη φαντασία.

Απὸ χαρτὶ πλασμένα κι απὸ δισταγμό,
ανδρείκελα, στης Μοίρας τα τυφλὰ δυο χέρια,
χορεύουμε, δεχόμαστε τον ἐμπαιγμό,
άτονα κοιτώντας, παθητικά, τ’ αστέρια.

Μακρινὴ χώρα είναι για μας κάθε χαρά,
η ελπίδα κι η νεότης έννοια αφηρημένη.
Άλλος δεν ξέρει ότι βρισκόμαστε, παρὰ
όποιος πατάει επάνω μας καθὼς διαβαίνει.

Πέρασαν τόσα χρόνια, πέρασε ο καιρός.
Ω! κι αν δεν ήταν η βαθιὰ λύπη στο σώμα,
ω! κι αν δεν ήταν στην ψυχὴ ο πραγματικὸς
πόνος μας, για να λέει ότι υπάρχουμε ακόμα…






As if we’ve never appeared on this earth

as if we still dwell in inexistence

darkness around us with no shred of light

men only in the imagination of others


puppets made of paper and hesitation

in the blind hands of Fate

we dance, we passively accept mockery

and we lifelessly gaze the stars


each joy a faraway land for us

hope and youth but vague concepts

no one notices that we exist

but the one who steps on us while passing.


Years have passed as if the intense

sorrow wasn’t in the body

if real pain wasn’t in our souls

to cry out that we still exist.



Karyotakis-Polydouri, translated by Manolis Aligizakis, Libros Libertad, 2016






(Τόσο πολὺ τα σώματα κουράστηκαν,
που ελύγισαν, εκόπηκαν στα δυο.)
Κι έφυγαν οι ψυχές, πατούνε μόνες των,
αργά, τη χλόη σαν ανοιχτὸ βιβλίο.

(Τα σώματα κυλούν χάμου, συσπείρονται
στρεβλωμένα.) και φαίνονται στο βάθος
τριαντάφυλλα κρατώντας, να πηγαίνουνε
με τ᾿ όνειρο οι ψυχὲς και με το πάθος.

(Χώμα στο χώμα γίνονται τα σώματα.)
Μα κείθε απ᾿ τον ορίζοντα, σαν ‘ηλιοι
δύουν οι ψυχές, τον ουρανὸ που φόρεσαν,
ή σαν απλὰ χαμόγελα σε χείλη






Bodies extremely tired

bent, cut in half

souls deserted them, walk alone

on the grass slowly, open books laid


the bodies lied down, crunched

distorted and they appear

at the far end holding roses and with

the dream and passion they go


dust to dust the bodies become

yet far in the horizon, like suns

the souls go down dressed in sky

or like simple smiles on lips


KARYOTAKIS–POLYDOURI//THE TRAGIC LOVE STORY, Translated by Manolis Aligizakis, Libros Libertad, 2016




Σὰν δέσμη ἀπὸ τριαντάφυλλα
εἶδα τὸ βράδυ αὐτό.
Κάποια χρυσή, λεπτότατη
στοὺς δρόμους εὐωδιά.
Καὶ στὴν καρδιὰ
αἰφνίδια καλοσύνη.
Στὰ χέρια τὸ παλτό,
στ᾿ ἀνεστραμμένο πρόσωπο ἡ σελήνη.
Ἠλεκτρισμένη ἀπὸ φιλήματα
θά ῾λεγες τὴν ἀτμόσφαιρα.
Ἡ σκέψις, τὰ ποιήματα,
βάρος περιττό.

Ἔχω κάτι σπασμένα φτερά.
Δὲν ξέρω κἂν γιατί μᾶς ἦρθε
τὸ καλοκαῖρι αὐτό.
Γιὰ ποιὰν ἀνέλπιστη χαρά,
γιὰ ποιὲς ἀγάπες
γιὰ ποιὸ ταξίδι ὀνειρευτό.






I saw this evening

like a bouquet of roses

a faint fragrance

golden abundant in the street

and in the heart

sudden benevolence

the overcoat on hand

the moon on the turning face

you could say the atmosphere

was electrified by the kisses

thoughts and poems

needless weight.


I have my broken wings

I don’t know why

this summer is upon us

for which hopeless joy

for which love

for which dreamy voyage?



KARYOTAKIS-POLYDOURI//The Tragic Love Story, Translated by Manolis Aligizakis, Libros Libertad, Vancouver, BC, 2016




Ω, χαμηλώστε αυτό το φως!
Στη νύχτα τι ωφελάει;
Πέρασε η μέρα. Φτάνει πια.
Ποιος ξέρει ο Ύπνος μου κρυφός
αν κάπου εδώ φυλάη

κι’ αν του ανακόβεται η στιγμή
ναρθή, που τον προσμένω.
Έχω στο στόμα την ψυχή
μου παρατήσαν οι λυγμοί
το στήθος κουρασμένο.

Πάρτε το φως! Είνε καιρός
να μείνω πια μονάχη.
Φτάνει η απάτη μιας ζωής.
Κάθε προσπάθεια ένας εχθρός
για τη στερνή μου μάχη.

Ας παύσουν πλέον οι σπαραγμοί.
Ας μου απομείνει κάτι
για να πλανέψω τη νυχτιά
να σκύψη κάπως πιο θερμή
στο ανήσυχό μου μάτι.

Πάρτε το φως! Είνε η στιγμή!
Τη θέλω όλη δική μου.
Είνε η στιγμή να κοιμηθώ.
Πάρτε το φως! Με τυραννεί…
μου αρνιέται την ψυχή μου.




Please, dim this light

what use is it in the night?

The day has passed, enough.

Perhaps my sleep waits

for me somewhere around here


and even if it finds it hard

to come, I long for it.

My soul waits in my mouth

I’ve stopped sobbing

my breast is tired


take the light away. Time has

come for me to be alone

enough fraud for one life

each effort becomes an enemy

in my last fight


let the laments stop

let me keep something

with which to fool the night

so that it may look warmly

at my concerned eyes.


Take the light away.

My moment has come.

It’s time to sleep.

Take the light. It tyrannizes me.

It denies me my soul.



KARYOTAKIS-POLYDOURI//The Tragic Love Story, Translated by Manolis Aligizakis, Libros Libertad, Vancouver, BC, 2016


Σ’ ένα νέο που αυτοκτόνησε

Αυτόν τον καταδίωκε ένα πνεύμα
στις σκοτεινές εκτάσεις της ζωής του.
Οι ασχολίες του, οι χαρές του, σ’ ένα νεύμα
προσχήματα γινόνταν της ορμής του.

Τα ωραία βιβλία, η σκέψη, ένα ορμητήριο
λίγες στιγμές. βίαιος στον έρωτά του.
Ύστερα γέμιζε η όψη του μυστήριο
και τίποτε δεν ταίριαζε κοντά του.

Ένας περίεργος ξένος επλανιόταν
αναμεσόμας, μ’ όψη αλλοιωμένη.
Την υποψία μας δε μας την αρνιόταν
πως κάτι φοβερό τον περιμένει.

Ήταν ωραίος παράξενα, σαν κείνους
που ο Θάνατος τους έχει ξεχωρίσει.
Δινόταν στους φριχτότερους κινδύνους
σαν κάτι να τον είχε εξασφαλίσει.

Ένα πρωί, σε μια κάρυνη θήκη
τον βρήκαμε νεκρό μ’ ένα σημάδι
στον κρόταφο. Ήταν όλος σα μια νίκη,
σα φως που ρίχνει γύρω του σκοτάδι.

Είχε μια τέτοια απλότη και γαλήνη,
μια γελαστή μορφή ζωντανεμένη!
Όλος μια ευχαριστία σα νάχε γίνει.
Κ’ η αιτία του κακού σημαδεμένη




For who was chased by a ghost

in the dark extensions of his life

his joys, his commitments in a flash

turned into pretenses for his ardor.


The beautiful books, his mind a starting

point, some moments violent lover

then his face turned mysterious

nothing next to him would match a strange man


who stayed around us with a distorted face

he wouldn’t accept our suspicion

that something horrible was coming to him

he was strangely beautiful like those


who Death had already marked

he gave himself to every danger

as if someone had already claimed him.

They found him with a single mark on his temple,


he was a total victory like the light

that sheds around it darkness. He was simple and serene

a smiling reborn face

as if he had become a thank you

logos on the cross hairs of evil.


KARYOTAKIS/POLYDOURI — THE TRAGIC LOVE STORY, translated by Manolis Aligizakis, Libros Libertad, Vancouver, BC, 2016



images of absence cover


Στου τοίχου το σύνορο ο Χάρος στεκόταν. Τον είδα

κι αχνά του γέλασα κι ο άκαρδος έπαιξε

κίβδηλα τα νομίσματα στη τσέπη του σα

να `λεγε κι εσένα, τον ιδεαλιστή, κάποια στιγμή

θα σ’ αγοράσω κι ο αγέρας που γλυκόπαιζε

με τα μαλλιά σου


μου θύμιζε ερωτικό τραγούδι που με

το χάιδεμά του έψελνα την ομορφιά σου

νόημα κάμπου εύφορου που ατένισα με δάκρια

στα μάτια.

Πάλεψα απεγνωσμένα με το θεριό μέσα μου

και με τραγούδι μέλισσας

στο χάος του κορμιού μου θέλησα να χαρίσω

μελωδία που να μιλά για χρέος και γι’ αθανασία

έννοια που τόσο ξαφνικά με συνεπήρε

και δεν μπορούσα τα δάκρια να συγκρατήσω

ο κόλπος σου στιγμής παράδεισος που

ν’ απιθώσω ήθελα τον υπερούσιο εαυτό μου

τίποτα να μην αφήσω στα κακόβουλα χέρια

της μοίρας


Hades stood at the edge of the wall. I saw him,

smiled at him, and him, the heartless,

played with his worthless coins in his pocket

as if saying, even you, the idealist,

I shall someday buy out

And the wind joyfully played with your hair,

my beloved,

reminding me of an erotic song that

with its caress I hymned your beauty

meaning of the barren plain I gazed

with tears in my eyes.

Desperately I fought against the beast

inside me

and with the song of the bee my ally

I longed to apply onto chaos a melody

that talked of duty and immortality

concept that much overtook me

I couldn’t hold my tears and

your womb a momentary heaven

where I yearned to entrust my superior self

nothing to leave in the hands of the capricious


IMAGES OF ABSENCE, Ekstasis Editions, Victoria, BC, 2015


Maria Polydouris’

Σαν πεθάνω

Θα πεθάνω μιαν αυγούλα μελαγχολική του Απρίλη,
όταν αντικρύ θανοίγη μέσ’ στη γάστρα μου δειλά
ένα ρόδο – μια ζωούλα. Και θα μου κλειστούν τα χείλη
και θα μου κλειστούν τα μάτια μοναχά τους σιωπηλά.

Θα πεθάνω μιαν αυγούλα θλιβερή σαν την ζωή μου,
που η δροσιά της, κόμποι δάκρι θα κυλάη πονετικό
στο άγιο χώμα που με ρόδα θα στολίζη τη γιορτή μου,
στο άγιο χώμα που θα μου είνε κρεβατάκι νεκρικό.

Όσα αγάπησα στα χρόνια της ζωής μου θα σκορπίσουν
και θαφανιστούν μακριά μου, σύννεφα καλοκαιριού.
Όσα μ’ αγάπησαν μόνο θάρθουν να με χαιρετίσουν
και χλωμά θα με φιλάνε σαν αχτίδες φεγγαριού.

Θα πεθάνω μιαν αυγούλα μελαγχολική του Απρίλη.
Η στερνή πνοή μου θάρθη να στο πη και τότε πια,
όση σου απομένει αγάπη, θάναι σα θαμπό καντύλι
– φτωχή θύμηση στου τάφου μου την απολησμονιά

WHEN I DIE I’ll die during a melancholy April dawnwhen a rose will shyly bloom in my pota little new life — and my lips will closeand my eyes will close automatically, silently. I’ll die during a dawn grieving like my life its freshness like a consoling tear flowingto the holy ground that will adorn my joy with rosesthe holy ground that will become my death bed. What I loved in my life will scattervanish far away like summer cloudsonly who loved me will come to say goodbyeand they will kiss me like pale moon rays. I’ll die during a melancholy April dawnmy last breath will come to let you knowthe love you felt will become foggy candle,poor memory, forgetfulness in my grave.


Posted: November 30, 2016 by vequinox in Aligizakis Manolis, Art, Greek Poets, Literature
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Kostas Karyotakis’


Τὰ παιδάκια ποὺ παίζουν στ᾿ ἀνοιξιάτικο δείλι
μιὰ ἰαχὴ μακρυσμένη —
τ᾿ ἀεράκι ποὺ λόγια μὲ τῶν ρόδων τὰ χείλη
ψιθυρίζει καὶ μένει,

τ᾿ ἀνοιχτὰ παραθύρια ποὺ ἀνασαίνουν τὴν ὥρα,
ἡ ἀδειανὴ κάμαρά μου,
ἕνα τραῖνο ποὺ θά ῾ρχεται ἀπὸ μία ἄγνωστη χώρα,
τὰ χαμένα ὄνειρά μου,

οἱ καμπάνες ποὺ σβήνουν, καὶ τὸ βράδυ ποὺ πέφτει
ὁλοένα στὴν πόλη,
στῶν ἀνθρώπων τὴν ὄψη, στ᾿ οὐρανοῦ τὸν καθρέφτη,
στὴ ζωή μου τώρα ὅλη…


The children that play in the spring dusk

far away echo —

the breeze whispers and remains

in the lips of the rose petals

the open windows that breath the hour

my vacant room —

a train coming from a foreign land

my vanished dreams

chime of bells that fades, evening that descends

onto the city —

onto the faces of people, into the mirror of the sky

in all my life right now.