Interpretation of “The statue” by Yiannis Poulopoulos

2024-12-09

In this article, I interpet one of the most recognisable Greek songs of all time. The statue is among the many masterpieces performed by Yiannis Poulopolos: https://www.youtube.com/watch?v=KYVA0ztUlpw. Others include Tonight I will drink the moon (Θα πιω απόψε το φεγγάρι), My dear neighbour (Γειτονάκι μου), Beloved room (Καμαρούλα), and many others.

These songs occupy a central place in contemporary Greek culture, as people of all ages have at one point or another listened to them. The first time I remember paying attention to The statue was in my pre-teen years. At the time, I thought it was a nice song, but could not appreciate its profoundity. This only happens with experience. Here I am now, then, to expound on the meaning of this work of art.

Below are the original lyrics, followed by my translation and commentary.

Το άγαλμα

Ερμηνεία:  Γιάννης Πουλόπουλος
Στίχοι:    Λευτέρης Παπαδόπουλος
Μουσική:   Μίμης Πλέσσας


Χθες μεσάνυχτα και κάτι κατηφόρισα
στην μικρή την πλατεΐτσα που σε γνώρισα
Κάποιο άγαλμα που μ'είδε με θυμήθηκε
και τον πόνο μου να ακούσει δεν αρνήθηκε

Και του μίλησα για σένα και για μένανε
και τα μάτια του βουρκώναν και όλο κλαίγανε
Του'πα για το φέρσιμο σου και για τα άλλα σου
τα ασυγχώρητα τα λάθη τα μεγάλα σου

Κι ύστερα με πιάσαν θεέ μου κάτι κλάματα
που με βρήκανε κουρέλι τα χαράματα
Με το άγαλμα ως το δρόμο προχωρήσαμε
μου εσκούπισε τα μάτια και χωρίσαμε

The statue

Singer:  Yiannis Poulopoulos
Lyrics:  Lefteris Papadopoulos
Music:   Memes Plessas


Yesterday past midnight I headed towards
the tiny cosy square where I made your acquaintance
A statue that saw me remember me
and did not refuse to listen to my pain

And I talked to it about you and me
and its eyes were tearful and would keep crying
I told it about your behaviour and the others
the unforgivable big mistakes of yours

And afterwards my god I cried heavily
that they found me in taters at dawn
With the statue we walked up to the street
it dried my eyes and we parted ways

The song is about those moments in a person’s life when all they need is to be heard. The statue is not a talkative figure. They are not there to argue with the poetic “I”, nor to pass judgement. Statues of this sort provide an outlet for a deep seated feeling that needs to be expressed without the fear of reprisal. The one who opens up to the statue must feel safe in order to let it all out.

Unlike a therapist, the statue does not condition the person into the role of a patient. Those who cry at tiny squares are not expecting to be treated or to get some prescription on the immediate next steps. No. The song’s first person view presents us with a case of complex emotions, encompassing frustration and disappointment, but also determination and courage to keep going. Those who go through such a moment are not in need of treatment per se. What they benefit from is a reminder that the world does not end at the point of any given hardship.

Statues are cold and distant, yet there is a certain depth, stability, and authenticity to not exhibiting apparent compassion; to not being over the top in reacting to someone’s emotional state. These are the kind of unassuming and trustworthy fellows who seemingly do not care about the vicissitudes of life and who take it easy even in the face of extraordinary circumstances. They are readily available for those who need them. Their compassion is one that is felt, although not necessarily advertised.

Consistent with the theme of not offering therapy, all statues do is set the protagonist back on track. They will stop there though, because it is up to the individual to proceed on their path. One’s burdens do not belong to another and it is a mistake to make such an attempt. Statues may be robust, but they are not unbreakable.

Our protagonist shows fortitude and fearlessness in opening up to a statue: to a form that may look fundamentally different from a human. It is not though. There are some among us who are more statue-like in their disposition. The song recognises as much, in that it has the statue cry. Those people are no less human. They simply have a different way of expressing our shared humanity. The poetic “I” has learnt this lesson in the best possible way: by feeling it. Others may understand as much through artistic representations. And—who knows?—they too may encounter a statue when they need it, provided they are open to such an experience.