You can usually stir up debate by comparing song lyrics to poetry. As a publication that highlights the exploits of songwriters, we believe that writing a song presents a unique set of challenges and opportunities that make a great song just as worthy as a great poem, even as these two separate types of artistic statement require different skill sets.
As a published poet and one of the most acclaimed songwriters of his or any other generation, Leonard Cohen knew both worlds. And he brought them together brilliantly in his 2001 song “Alexandra Leaving.”
From Poem to Song
Leonard Cohen took a long hiatus from recording that lasted from 1992 to 2001. A good chunk of that time was spent at a kind of Buddhist spiritual retreat, as Cohen tried to shake the unhappiness that had dogged him for years while also spending time with a beloved Zen master.
When he returned to recording with the modestly titled Ten New Songs in 2001, he did so with Sharon Robinson along for the ride as co-writer and producer. Robinson helped take songs like “Alexandra Leaving” and shape them with melodies and instrumental backing that helped put the proper spotlight on Cohen’s words. On this particular track, she also sings the entire song with him, taking the octave above Cohen’s brooding lower register.
“Alexandra Leaving” is partly based on a poem called “The God Abandons Antony,” which was written by Greek poet Constantine P. Cavafy and first published in 1911. It depicts the downfall of the Roman statesman Marcus Antonius (or Mark Antony) at Alexandria. Instead of mourning this devastating defeat, the poet encourages Antony to embrace the sights and sounds of it, just as he embraced his victories.
Cohen uses phrases from the poem in his lyrics, but he shifts the backdrop and the situation. Instead of a defeat in battle, the person the narrator addresses in “Alexandra Leaving” has suffered a romantic setback. Just as the poet wanted Antony to face his fate, the narrator in the song suggests this person should take the girl’s departure for what it is instead of trying to rationalize it or explain it away.
Examining the Lyrics of “Alexandra Leaving”
After a quick, ominous weather report (Suddenly the night has grown colder), Cohen sets the scene: The God of Love preparing to depart / Alexandra hoisted on his shoulder / They slip between the sentries of the heart. Cohen poises this poor soul on the precipice of his devastation, urging him to confront what’s inevitable: It’s not a trick, your senses all deceiving / A fitful dream the morning will exhaust.
This guy is trying to kid himself that her physical presence means that she’s not halfway out the door: Even though she sleeps upon your satin / Even though she wakes you with a kiss. The narrator chides him for his self-deception: Do not think the moment was imagined / Do not stoop to strategies like this.
Cohen paraphrases Cavafy’s words when he sings, As someone long prepared for this to happen / Go firmly to the window, drink it in. The idea is that he should be grateful for what he had, instead of focusing on what he’s about to lose: And you who had the honor of her evening / And by that honor had your own restored. Stirring, flowing words like those from Cohen would be the envy of any poet.
Say goodbye to Alexandra leaving, Cohen implores in the refrain, with Robinson cooing above him. Then say goodbye to Alexandra lost. It’s a song inspired by a poem that’s rendered in as poetically as possible. Confusing? Maybe. Or you could simplify it by saying that “Alexandra Leaving” is just Leonard Cohen being Leonard Cohen, and everyone should inherently understand that it’s marvelous.
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