Konstantinos P. Cavafy Quotes

One of Their Gods When one of them passed through the forum
of Seleucia just as night began to fall,
young, tall, perfect in his beauty,
with the joy of imperishability in his eyes
and his aromatic black hair,
the passers-by would stare,
asking each other if they knew the man:
was he a Greek from Syria, or a foreigner?
But some, who watched with greater attention,
understood and drew aside for him to pass;
and as he vanished under the arcades,
amid the shadow and light of evening,
proceeding to that neighbourhood
which comes alive only at night, with orgies and debauchery,
every kind of drunkenness and lust,
they wondered which of Them he might be,
and for which of his suspect passions
had he come down to the streets of Seleucia
from the Venerable and Sacred Abodes.

Wśród lęku i podejrzeń,
z zamętem w myślach, z trwogą w oczach,
rozpaczliwie szukamy jakichkolwiek sposobów,
aby uniknąć oczywistej grozy,
która jest tuż przed nami.
A jednak się mylimy: nie ma jej na drodze.
Wieści kłamały
(a może ich nie było albośmy ich nie pojęli).
Zupełnie inna klęska, nigdy nie przeczuwana,
nagle jak burza na nas spada
i nie przygotowanych — a czasu już brak — zagarnia.

...I sit and gaze like this for a long time,
recovering through art from the effort of creating it.

What matters to Cavafy, and what so often gives his work both its profound sympathy and its rich irony, is the understanding, which as he knew so well comes too late to too many, that however fervently we may act in the dramas of our lives — emperors, lovers, magicians, scholars, pagans, Christians, catamites, stylites, artists, saints, poets — only time reveals whether the play is a tragedy or a comedy.

Yo bebí un vino fuerte,
como sólo el audaz bebe el placer.

Monotony One monotonous day follows another
monotonous day, without change. The same
things happen, then happen again.
The same moments approach, then grow distant. A month passes and brings another month.
Anyone can guess what’s coming after:
all the tedious events from the day before,
until tomorrow looks nothing like tomorrow.

The Footsteps On an ebony bedstead
adorned with eagles made of coral,
Nero lies deep in sleep – quiet, unconscious, happy:
in the prime of his body’s vigour;
in the beautiful ardour of his youth. But in the alabaster hall
that holds the ancient shrine of the Ahenobarbi,
the Lares of his house are anxious.
These minor household gods are trembling,
trying to conceal their already negligible bodies.
For they heard a terrible noise,
a deadly sound spiralling up the staircase,
iron-soled footsteps shaking the steps.
The miserable Lares, near-fainting now,
huddle in the corner of the shrine,
jostling and stumbling over each other,
one little god falling over the next,
for they knew what sort of noise it was;
they recognize, by now, the footsteps of the Furies.

Dost olmasak da. Ama bu dilek yeter. Belki de çok bile.

On hearing about powerful love, respond, be moved
like an aesthete. Only, fortunate as you’ve been,
remember how much your imagination created for you.
This first, and then the rest — the lesser loves — that you experienced and enjoyed
in your life: the more real and tangible.
Of loves like these you were not deprived — C.P. Cavafy, “Hearing of Love,” Collected Poems. Translated by Edmund Keeley & Philip Sherrard. Edited by George Savidis. Revised Edition. (Princeton University Press 1992)

I have seen the absolute black; it was unspeakably beautiful.

"You said: "I'll go to some other land, I'll go to some other sea.
There's bound to be another city that's better by far.
My every effort has been ill-fated from the start;
my heart — like something dead — lies buried away;
How long will my mind endure this slow decay?
Wherever I look, wherever I cast my eyes,
I see all round me the black rubble of my life
where I've spent so many ruined and wasted years."

You'll find no new places, you won't find other shores.
The city will follow you. The street in which you pace
will be the same, you'll haunt the same familiar places,
and inside those same houses you'll grow old.
You'll always end up in this city. Don't bother to hope
for a ship, a route, to take you somewhere else; they don't exist.
Just as you've destroyed your life, here in this
small corner, so you've wasted it through all the world."

And if you can’t make your life as you’d wish it,
try, at the very least, to accomplish this much:
do not make it less than what it already is
by mixing too excessively with the masses,
by hanging around and endlessly chattering.

Don’t cheapen your life by parading it around,
hauling it everywhere and laying it out there
for the dreary humbug of familiars and fellowship,
until it comes to feel like a curious dead weight.

The Funeral of Sarpedon Zeus is heavy with grief. Sarpedon
is dead at Patroclus’ hands and, right now,
the son of Menoetius and his Achaeans are setting out
to steal the corpse and desecrate it. But Zeus will not allow it.
He had left his beloved child alone
and now he’s lost – for such the Law demanded.
But at least he will honour him in death.
Behold: he sends Phoebus down to the field
with orders to care for the body. Phoebus lifts the hero’s corpse with reverence
and pity, and bears him to the river.
He washes away the blood and dust
and closes the wounds, careful
not to leave a scar; he pours balm
of ambrosia over the body and clothes him
in resplendent Olympian robes.
He blanches the skin and with a comb of pearl
straightens the raven-black hair.
He lays him out, arranging the lovely limbs. The youth seems a king, a charioteer,
twenty-five or twenty-six years old –
relishing his moment of victory,
with the swiftest stallions, upon a golden chariot
in a grand competition. Phoebus, completing his assignment,
calls on his two siblings,
Sleep and Death, commanding them
to carry the body to Lycia, land of riches. So the two brothers, Sleep and Death,
set out on foot to transport the body
to Lycia, land of riches.
And at the door of the king’s palace
they hand over the glorious body
and return to their affairs. As they receive him into the palace
they begin laments and tributes, processions
and libations flowing from sacred vessels
and everything that befits such a sad funeral;
then skilled craftsmen from the city
and artists well known for their work in marble
arrive to fashion the tomb and the stele.

"Voices"

Ideal and dearly beloved voices
of those who are dead, or of those
who are lost to us like the dead.

Sometimes they speak to us in our dreams;
sometimes in thought the mind hears them.

And for a moment with their echo other echoes
return from the first poetry of our lives — like music that extinguishes the far-off night.

Che fece .... il gran rifiuto

Σε μερικούς ανθρώπους έρχεται μια μέρα
που πρέπει το μεγάλο Ναι ή το μεγάλο το Οχι
να πούνε. Φανερώνεται αμέσως όποιος τόχει
έτοιμο μέσα του το Ναι, και λέγοντάς το πέρα

πηγαίνει στην τιμή και στην πεποίθησί του.
Ο αρνηθείς δεν μετανοιώνει. Αν ρωτιούνταν πάλι,
όχι θα ξαναέλεγε. Κι όμως τον καταβάλλει
εκείνο το όχι — το σωστό — εις όλην την ζωή του.