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Poetry
by Chris Zachariou
United Kingdom


Τάκης Ζαχαρίου

Ποιήματα

Γιαλούσα, Κύπρος

Writer's pictureChris Zachariou

Persephone Leaving | Greek Mythology Poems


When Persephone came back to me

a rainbow of colours exploded in my grey life.

 

I had waited for her for so long, I could only see

the child that left and not the woman who returned.

To me, she was still my gentle lover.

 

We swam and kissed in the warm waters of the sea

but in the panic of our loving, I did not hear the blushing

pomegranate fruits calling my lover home.

 

By autumn, sad and melancholy colours were falling

on the ground and brown leaves whispered of winter.

The flowers stopped blooming and all the trees began to die.

 

My Persephone was no longer smiling

and a shadow from another world had fallen on her eyes.

I knew then Hades had come to take her away.

 

Dreams of frozen lands with icy rivers,

of golden chariots and of majestic crowns

were rising in her eyes and the voices

of the dead began to call her home.

 

When September came my sweet child was gone.

This time something told me Persephone will never

come home to me again.


A few words about the poem…

 

The Cycles of Love and Loss: Greek Mythology Poems in "Persephone Leaving"

 

The poem "Persephone Leaving" from the series “Greek Mythology Poems” explores the cyclical nature of love, loss, and the inexorable passage of time through the lens of the mythological figure Persephone. The poem intricately weaves together personal emotion with classical mythology, creating a tapestry of longing and sorrow.

 

At the outset, the return of Persephone brings a vibrant resurgence of life and colour to the narrator's world, a stark contrast to the previous desolation. The vivid imagery of a "rainbow of colours" suggests a rejuvenation of both the natural world and the narrator's emotional state. This initial burst of joy and renewal sets a hopeful tone, highlighting the deep connection between the narrator and Persephone.

 

The shift from joy to an underlying tension becomes evident as the narrator reflects on Persephone's transformation from child to woman. This recognition marks a pivotal moment, as he struggles to reconcile the past with the present, seeing Persephone as both "the child that left" and "not the woman who returned." This duality underscores the complexity of their relationship, fraught with the inevitability of change and growth.

 

As the seasons progress, the poem's tone shifts to one of foreboding. The imagery of swimming in warm lakes and kissing in yellow fields is overshadowed by the unnoticed "ripening fruit hanging on the pomegranate trees," symbolizing the impending separation. The pomegranate, a key symbol in the Persephone myth, foreshadows her return to the underworld, hinting at the unavoidable cycle of departure and return.

 

Autumn's arrival brings a sombre mood, with "sad, and melancholy colours" and "brown leaves whispered of winter." The natural world's decline mirrors a growing sense of loss and inevitability. The once vibrant and joyful world fades as Persephone's demeanour changes, her smile disappearing, and "a shadow from another world" falling upon her eyes. This shadow signifies Hades' claim, emphasizing the inescapable pull of her dual existence.

 

The imagery of "frozen lands with icy rivers" and "golden chariots and majestic crowns" evokes the grandeur and finality of the Underworld. The "voices of the dead" calling her home signal the inevitability of Persephone's departure. The poem concludes with the poignant realization that, with the arrival of September, Persephone is gone, and this time, the narrator senses a permanent farewell.

 

"Persephone Leaving" is a meditation on the themes of love, loss, and the passage of time. Through the mythological framework, it captures the deep emotional resonance of separation and the cyclical nature of life. The interplay of vibrant and melancholic imagery enhances the poem's emotional depth, offering a profound reflection on change and the enduring impact of love and loss.

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