It is an issue that derive profit intelligently the path that this poetry has made over the years and gives it in its complete version. As can be understood by the quote, the Songs of Alexandria are divided into verses plain and precious, as if the poet them istoriasse of ancient silk; echo of the steps of deities and feed on homosexual love, as if time were still in Alexandria greek. And how can we forget that in the same years in which he writes Kuzmin, in the same city, wandered Constantine Cavafy, who was also looking for old pleasures. They not met the two, no, as recalled by the curator. So gloss: «Se la Alessandria di Kavafis è tutta protesa verso il mondo ellenistico nella sua dimensione mitica e universale, o immersa nella più riconoscibile contemporaneità - elegiaca o sordida che sia - la città del poeta russo si diramainuna pluralità di epoche, dalle quali la cosmopolitica metropoli reale, così come si presentava agli occhi dei viaggiatoridifine ottocento, appare pressoché esclusa».
The stories of the poets, you know, are often marked by a succession of steps that are lost pearls streets of the city. And it is inevitable that in their imaginations come tumbling History If Kuzmin takes the features of the October Revolution, he first observes with interest and then rushes into disappointment and hardship and solitude, forced more to translate that to write. With hindsight it is even more poignant the leave of Alexandria that closes the Chants: «Ah! Me ne vado da Alessandria,/ e a lungo non la rivedrò!/ Cipro vedrò, cara alla Dea,/ vedrò Tiro, Efeso e Smirne,/ vedrò Atene - sogno di gioventù,/ la remota Bisanzio e Cortù,/ e, meta d’ogni mio peregrinare, coronamento d'ogni auspicio/ - l'eccelsa Roma io vedrò! -/ Tutto vedrò all'infuori di te!/ Mia gioia - ah! - io me ne vado,/ e a lungo non ti rivedrò!».
Silvio Perrella