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Michael DirdaAt its best, his mature work hardly seems poetry at all. (Marguerite Yourcenar once likened his short pieces to reading notes or aides-memoires .) Cavafy prefers nouns and avoids epithets, uses rhyme sparingly if at all, offers lots of historical or physical detail, and typically casts a poem as a dramatic monologue. Even his titles are oddly prosaic, though touched with a kind of shabby grandeur: "A Byzantine nobleman in exile composing verses" or "The melancholy of Iason Kleandros, poet in Kommagini, 595 C.E." In fact, Cavafy gains most of his power, as the Greek poet George Seferis insists, when we view his work as "one and the same poem" and "read him with the feeling of the continuous presence of his work as a whole.
— The Washington Post