The influence of Constantine Cavafy’s (1863–1933) poetry outside of Greece has mainly proceeded through translations. Only in the last two decades has some attention been given to formal structures, such as meter and rhyme, which play a significant role in at least a third of his poems. Cavafy shows particular ingenuity creating one form, which is found in eighteen examples. It consists of visible hemistiches and a fixed syllabics structure. Cavafy built on the traditional structure of the Dekapentasyllavo or Greek folk song but allowed a flexible number of syllables, six or seven for either hemistich, together with a clear caesura. In later years, Cavafy would compromise the integrity of the meaningful phrase in each hemistich but never violated his own rules of syllabics. Syllabics look, feel, and sound different when they are applied in translation. They are a hidden structure with historical antecedents. Cavafy’s 18 are not limited to a theme or subject, yet the lack of attention to the form of these poems obfuscates Cavafy’s engagement with Modern Greek folk songs and his attempts to modernize their form.

中文翻译：

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CAVAFY's 18 的特征：级联包围和音节形式

Constantine Cavafy（1863-1933）诗歌在希腊以外的影响主要是通过翻译进行的。仅在过去的二十年里，韵律和韵律等形式结构才受到关注，这在他至少三分之一的诗歌中发挥了重要作用。Cavafy 展示了创造一种形式的特殊独创性，在 18 个例子中可以找到。它由可见的半音节和固定的音节结构组成。Cavafy 建立在 Dekapentasyllavo 或希腊民歌的传统结构之上，但允许灵活数量的音节，无论是 hemistich 还是 6 或 7 个，以及清晰的 caesura。在后来的几年里，Cavafy 会在每一个 hemistich 中妥协有意义的短语的完整性，但从不违反他自己的音节规则。音节的外观，感觉，当它们应用于翻译时，听起来会有所不同。它们是具有历史先例的隐藏结构。Cavafy 的 18 首诗并不局限于一个主题或主题，但由于缺乏对这些诗歌形式的关注，Cavafy 对现代希腊民歌的参与以及他对其形式现代化的尝试变得模糊不清。