the generous cooperation of the Cavafy Archive, I have the privilege of making this vitally important addition to our understanding of one of the twentieth century’s greatest poets available to English speakers for the first time.
The Unfinished Poems are unusual in at least one crucial respect. More often than not, when previously unknown manuscripts by major authors unexpectedly come to light, the material in question is juvenilia: immature work from the earliest phase of the artist’s career, which he or she has discarded or repressed and which, either through the dogged detective work of dedicated scholars or through happy accidents, suddenly sees the light of day once more. The discovery, in 1994, of Louisa May Alcott’s first novel, which languished in the Harvard University Library until it was discovered by a pair of professors researching Alcott’s papers, and the 2004 discovery of the complete draft of an early novel of Truman Capote among some papers and photographs that had passed into the hands of a former house sitter, are but two recent examples. And yet as exciting and dramatic as these revelations can be, such work tends, inevitably, to be interesting less for any inherent artistic value it possesses than for the light it can shed on the writer’s creative development.
The thirty Unfinished Poems of Cavafy, by contrast, represent the last and greatest phase of the poet’s career: the decade and a half from 1918, when Cavafy was fifty-five—and when, too, he published the first of his “sensual” (or “aesthetic”) poems that were explicitly homosexual in nature—until the year before his death at the age of seventy. For this reason they are of the deepest significance not merely inasmuch as they illuminate the existing works—the Published, Unpublished, and Repudiated Poems—but as serious works of art in themselves, the deeply wrought products of a great poetic consciousness at its peak.
The publication of a writer’s unfinished work is, inevitably, an enterprise that raises complicated questions. This is particularly true in the case of a writer like Cavafy, who ruthlessly culled his own work every year, suppressing anything that did not meet his exacting standards—a process that suggests a stringent adherence to the very highest criteria of polish and perfection. But there is persuasive evidence that Cavafy considered the thirty drafts presented here as work he eventually meant to be recognized and published. The Cavafy Archive contains two lists that the poet made of work in progress: one dates to 1930, and the other was kept and constantly revised between 1923 and 1932. The former contains the titles of twenty-nine poems, of which twenty-five are all of the Unfinished drafts he’d composed by that time, and the latter records the titles of fifty poems, a figure that includes all thirty of the Unfinished drafts. All of the other poems listed in these indices are works Cavafy eventually sent to the printer. Hence the lists strongly indicate that the poet—who, as we know from the manuscripts of his Unpublished Poems, was perfectly willing to mark a finished poem with a note declaring that it “need not be published. But it may continue remaining here. It does not deserve to be suppressed”—made no distinction between those poems that he published and the ones he did not, in the end, have time to complete and publish. It was only time, and finally death, that consigned them, for a while, to obscurity.
“Light on one poem, partial light on another.” Cavafy’s 1927 remark is perhaps nowhere more apt than in the case of the Unfinished Poems. Readers encountering these works will immediately see how fully they partake of Cavafy’s special vision as I have described it above, and part of the excitement of reading them for the first time comes, indeed, from the way they seem to fit into the existing corpus, taking their place beside poems that are, by now, well known; there is a deep pleasure in having, unexpectedly, more of what one already loves. But a great deal of the excitement generated by the Unfinished Poems derives, even more, from the new “light,” as the poet put it, that they now shed on existing work—on our knowledge of the poet, his techniques, methods, and large ambitions.
Of these thirty texts, nine treat contemporary subjects that will be familiar to readers already at home in the poet’s world. There are evocative treatments of the memory of a deliciously illicit encounter on a wharf (“On the Jetty”), and an elderly poet’s reverie about long-past days in which he was a member of a gang of rough young men living at the fringes of society—and on the wrong side of the law (“Crime”). One has as its subject a photograph that elicits thoughts of a bygone love (“The Photograph”); it is a crucial addition to a small but vivid group of poems already known (“That’s How,” “From the Drawer,” “The Bandaged Shoulder”) that indicate how intrigued the poet was by photography and how suggestively it could figure in his work. A short but vivid lyric, entitled simply “Birth of a Poem,” casts a gentle, lunar light on our understanding of the way in which the poet imagined his own creative process to have worked (“imagination, taking / something from life, some very scanty thing / fashions a vision. …”).
A striking longer work, “Remorse,” takes its place beside the most emphatic of Cavafy’s philosophical poems—“Hidden Things,” “Che Fece … Il Gran Rifiuto”—while expanding their moral vision, adding a new note of gentle forgiveness for the unwitting cruelties to which fear and repression condemn us. Surely two of the most remarkable of these contemporary poems are “The Item in the Paper,” where the melodramatic donnée—a young man is reading an item in a paper about the murder of a youth with whom he’d had a liaison—becomes the vehicle for a tender and devastating exploration of a favorite theme, the soul-destroying effects of taboos against illicit love, and the hypocrisy of those who impose them; and “It Must Have Been the Spirits,” the lyric (discussed above, p. XXXVII), about the nocturnal apparition of Cavafy’s younger self, a work in which, as in some of Cavafy’s greatest poems with this motif—“Since Nine—,” “Caesarion”—past and present, the quotidian and the intensely erotic, become disorientingly, thrillingly blurred.
The remaining twenty-one lyrics are historical in nature, although here, as with the best of Cavafy’s work, this label is often a matter of convenience. They have familiar Cavafian settings. There are Hellenistic powers teetering—often unbeknownst to the poems’ smug narrators—on the brink of implosion (“Antiochus the Cyzicene,” “Tigranocerta,” “Agelaus,” “Nothing About the Lacedaemonians”); the corrupted Egypt of the incestuous Ptolemies (“The Dynasty,” “Ptolemy the Benefactor [or Malefactor]”); the Greek-speaking margins of the Roman Empire (the setting of “Among the Groves of the Promenades,” the fourth and last of Cavafy’s Apollonius of Tyana poems, this one about the sage’s sudden, telepathic apprehension, in Ephesus, of Domitian’s murder back in Rome). The early Christian era is vividly represented (“Athanasius,” about the Christian bishop who was ill treated by Julian the Apostate, a recurring Cavafian character), as are the peripheries of the Greek-speaking world during the twilight of Late Antiquity (“Of the Sixth or Seventh Century”). And of course there is the vast arc of Byzantium, from Justinian (the subject of the spooky short lyric “From the Unpublished History”) to the empire’s final days.
To the latter epoch, poignant to any Greek, belongs what is surely one of the most striking of any of Cavafy’s poems, finished or unfinished: “After the Swim.” Here the poet, as often in his greatest mature creations, dissolves the distinctions between “historical” and “erotic” poetry, seducing the reader into thinking that the setting is, in fact, that of the late masterpiece “Days of 1908”—a hot Mediterranean day, a seaside swim, naked ephebic bodies—only to reveal, somewhat disorientingly, that we are in the waning days of Byzantium, haunted by the memory of the great scholar Gemistus Plethon, whose own identity (loyally Christian? covertly pagan?) was itself rather vexed.
Of these historical poems, two groups in particular are worthy of special attention because of their immense value to our understanding of the poet’s imaginative world. The first is a pair of poems, “The Patriarch” and “On Epiphany,” both written in the first half of 1925, whose subject is the fourteenth-century Byzantine ruler John VI Cantacuzenus, “the reluctant emperor”—the regent who felt compelled to take the throne after the foolish widow and conniving ministers of the late emperor, his bosom friend, staged a coup d’état and dragged the empire into a devastating civil war. We know from
