.
an invisible procession going by
with exquisite music, voices,
don’t mourn your luck that’s failing now,
your work that failed, your life's plans
all proving deceptive -- don’t mourn them uselessly.
As one long prepared, and graced with courage,
say goodbye to her, the Alexandria that is leaving.
Above all, don’t fool yourself, don’t say
it was a dream, your ears deceived you:
don’t degrade yourself with empty hopes like these.
As one long prepared, and graced with courage,
as is right for you who proved worthy of this kind of city,
go firmly to the window
and listen with deep emotion, but not
with the whining, the pleas of a coward;
listen -- your final delectation -- to the voices,
to the exquisite music of that strange procession,
and say goodbye to her, to the Alexandria you are losing.
C. P. Cavafy (1863-1933): The God Abandons Antony, 1911, trans. by Edmund Keeley and Philip Sherrard, 1992
Απολείπειν ο θεός Aντώνιον Αναγνωρισμένα
αόρατος θίασος να περνά
με μουσικές εξαίσιες, με φωνές—
την τύχη σου που ενδίδει πια, τα έργα σου
που απέτυχαν, τα σχέδια της ζωής σου
που βγήκαν όλα πλάνες, μη ανωφέλετα θρηνήσεις.
Σαν έτοιμος από καιρό, σα θαρραλέος,
αποχαιρέτα την, την Aλεξάνδρεια που φεύγει.
Προ πάντων να μη γελασθείς, μην πεις πως ήταν
ένα όνειρο, πως απατήθηκεν η ακοή σου·
μάταιες ελπίδες τέτοιες μην καταδεχθείς.
Σαν έτοιμος από καιρό, σα θαρραλέος,
σαν που ταιριάζει σε που αξιώθηκες μια τέτοια πόλι,
πλησίασε σταθερά προς το παράθυρο,
κι άκουσε με συγκίνησιν, αλλ’ όχι
με των δειλών τα παρακάλια και παράπονα,
ως τελευταία απόλαυσι τους ήχους,
τα εξαίσια όργανα του μυστικού θιάσου,
κι αποχαιρέτα την, την Aλεξάνδρεια που χάνεις.
(Από τα Ποιήματα 1897-1933, Ίκαρος 1984)
And now Antony once more sent Caesar a challenge to single combat. But Caesar answered that Antony had many ways of dying. Then Antony, conscious that there was no better death for him than that by battle, determined to attack by land and sea at once. And at supper, we are told, he bade the slaves pour out for him and feast him more generously; for it was uncertain, he said, whether they would be doing this on the morrow, or whether they would be serving other masters, while he himself would be lying dead, a mummy and a nothing. Then, seeing that his friends were weeping at these words, he declared that he would not lead them out to battle, since from it he sought an honourable death for himself rather than safety and victory.
During this night, it is said, about the middle of it, while the city was quiet and depressed through fear and expectation of what was coming, suddenly certain harmonious sounds from all sorts of instruments were heard, and the shouting of a throng, accompanied by cries of Bacchic revelry and satyric leapings, as if a troop of revellers, making a great tumult, were going forth from the city; and their course seemed to lie about through the middle of the city toward the outer gate which faced the enemy, at which point the tumult became loudest and then dashed out. Those who sought the meaning of the sign were of the opinion that the god to whom Antony always most likened and attached himself was now deserting him.
Plutarch (c. 46-120 AD): from The Life of Marcus Antonius in Parallel Lives, late 1st c, trans. by Bernadotte Perrin in the Loeb Classics Series, 1920
The Banquet of Cleopatra (details): Giovanni Battista Tiepolo, 1746-7 (Palazzo Labia, Venice)
