Myres Alexandria 340A.D is the longest of Constantine P. Cavafy's published poems. It was written in March 1929, and then published a month later on 19 April 1929. This poem touches upon various societal themes discussed by Cavafy, such as love, politics and religion.
Myres Alexandria 340A.D follows the poet himself, Cavafy, adopting the persona of a young pagan.[1] He mourns the death of the beautiful Myres. He goes to the Christian home of the deceased, where preparations are being made for Myres' funeral. At the same time, the poet finds the opportunity to commemorate the hedonistic life of Alexandria shortly before paganism and its believers were persecuted.[2] Alexandria in 340 AD is in a transitional period as Christianity slowly begins to prevail and paganism with all the freedom in erotic expression and the appreciation for beauty and love, which moves the poet, now goes into a final period of decline.
| Στέκομουν κ’ έκλαια σε μια άκρη του διαδρόμου. Και σκέπτομουν που η συγκεντρώσεις μας κ’ η εκδρομές χωρίς τον Μύρη δεν θ' αξίζουν πια και σκέπτομουν που πια δεν θα τον δω στα ωραία κι άσεμνα ξενύχτια μας να χαίρεται, και να γελά, και ν’ απαγγέλλει στίχους με την τελεία του αίσθησι του ελληνικού ρυθμού και σκέπτομουν που έχασα για πάντα την εμορφιά του, που έχασα για πάντα τον νέον που λάτρευα παράφορα.[3] | Stékomoun k’ éklaia se mia ákri tou diadrómou. Kai sképtomoun pou i synkentróseis mas k’ i ekdromés chorís ton Mýri den th' axízoun pia kai sképtomoun pou pia den tha ton do sta oraía ki ásemna xenýchtia mas na chaíretai, kai na gelá, kai n’ apangéllei stíchous me tin teleía tou aísthisi tou ellinikoú rythmoú kai sképtomoun pou échasa gia pánta tin emorfiá tou, pou échasa gia pánta ton néon pou látreva paráfora. | I stood at one end of the vestibule and wept. And I thought how our reunions and excursions would no longer be worth-while without Myres; and I thought how I would see him no more at our fine, immodest all-night revels enjoying himself, and laughing, and reciting verses with his perfect sense of Greek rhythm; and I thought how I had lost his beauty forever, how I had lost forever the youth whom I so madly adored.[4] |
Late Roman and Byzantine protagonists of Cavafy, illustrate the religious fluidity of that era in the most consummate way.[5] Nearly all cases show that the transition from paganism to Christianity was not that simple or rapid. This can be seen in this poem, as Myres was a devout Christian but participated in actions deemed pagan.[6]
Furthermore, the adoption of a pagan mask by Cavafy, creates many questions about the religious position of the poet. He is known for changing his perspective on the subject of religion, sometimes writing nostalgically about paganism and other times supporting Christianity. Ultimately, Cavafy enjoyed creating impressions about his beliefs, resulting in confusion among his scholars and readers.
This historical poem is endowed with many elements of theatricality as the poet gives us with great directorial detail the space where the events of the poem take place, as well as the movements of the persons.[7]