Written by
Vladimir Mayakovsky |
Thoughts, go your way home.
Embrace,
depths of the soul and the sea.
In my view,
it is
stupid
to be
always serene.
My cabin is the worst
of all cabins -
All night above me
Thuds a smithy of feet.
All night,
stirring the ceiling’s calm,
dancers stampede
to a moaning motif:
“Marquita,
Marquita,
Marquita my darling,
why won’t you,
Marquita,
why won’t you love me …”
But why
Should marquita love me?!
I have
no francs to spare.
And Marquita
(at the slightest wink!)
for a hundred francs
she’d be brought to your room.
The sum’s not large -
just live for show -
No,
you highbrow,
ruffling your matted hair,
you would thrust upon her
a sewing machine,
in stitches
scribbling
the silk of verse.
Proletarians
arrive at communism
from below -
by the low way of mines,
sickles,
and pitchforks -
But I,
from poetry’s skies,
plunge into communism,
because
without it
I feel no love.
Whether
I’m self-exiled
or sent to mamma -
the steel of words corrodes,
the brass of the brass tarnishes.
Why,
beneath foreign rains,
must I soak,
rot,
and rust?
Here I recline,
having gone oversea,
in my idleness
barely moving
my machine parts.
I myself
feel like a Soviet
factory,
manufacturing happiness.
I object
to being torn up,
like a flower of the fields,
after a long day’s work.
I want
the Gosplan to sweat
in debate,
assignning me
goals a year ahead.
I want
a commissar
with a decree
to lean over the thought of the age.
I want
the heart to earn
its love wage
at a specialist’s rate.
I want
the factory committee
to lock
My lips
when the work is done.
I want
the pen to be on a par
with the bayonet;
and Stalin
to deliver his Politbureau
reports
about verse in the making
as he would about pig iron
and the smelting of steel.
“That’s how it is,
the way it goes …
We’ve attained
the topmost level,
climbing from the workers’ bunks:
in the Union
of Republics
the understanding of verse
now tops
the prewar norm …”
Transcribed: by Mitch Abidor.
|
Written by
Vladimir Mayakovsky |
I'd tear
like a wolf
at bureaucracy.
For mandates
my respect's but the slightest.
To the devil himself
I'd chuck without mercy
every red-taped paper.
But this .
.
.
Down the long front
of coupés and cabins
File the officials
politely.
They gather up passports
and I give in
My own vermilion booklet.
For one kind of passport -
smiling lips part
For others -
an attitude scornful.
They take
with respect, for instance,
the passport
From a sleeping-car
English Lionel.
The good fellows eyes
almost slip like pips
when,
bowing as low as men can,
they take,
as if they were taking a tip,
the passport
from an American.
At the Polish,
they dolefully blink and wheeze
in dumb
police elephantism -
where are they from,
and what are these
geographical novelties?
And without a turn
of their cabbage heads,
their feelings
hidden in lower regions,
they take without blinking,
the passports from Swedes
and various
old Norwegians.
Then sudden
as if their mouths were
aquake
those gentlemen almost
whine
Those very official gentlemen
take
that red-skinned passport
of mine.
Take-
like a bomb
take - like a hedgehog,
like a razor
double-edge stropped,
take -
like a rattlesnake huge and long
with at least
20 fangs
poison-tipped.
The porter's eyes
give a significant flick
(I'll carry your baggage
for nix,
mon ami.
.
.
)
The gendarmes enquiringly
look at the tec,
the tec, -
at the gendarmerie.
With what delight
that gendarme caste
would have me
strung-up and whipped raw
because I hold
in my hands
hammered-fast
sickle-clasped
my red Soviet passport.
I'd tear
like a wolf
at bureaucracy.
For mandates
my respect's but the slightest.
To the devil himself
I'd chuck
without mercy
every red-taped paper,
But this .
.
.
I pull out
of my wide trouser-pockets
duplicate
of a priceless cargo.
You now:
read this
and envy,
I'm a citizen
of the Soviet Socialist Union!
Transcribed: by Liviu Iacob.
|
Written by
Les Murray |
In the World language, sometimes called
Airport Road, a thinks balloon with a gondola
under it is a symbol for speculation.
Thumbs down to ear and tongue:
World can be written and read, even painted
but not spoken.
People use their own words.
Latin letters are in it for names, for e.
g.
OK and H2S O4, for musical notes,
but mostly it's diagrams: skirt-figure, trousered figure
have escaped their toilet doors.
I (that is, saya,
Ego, watashji wa) am two eyes without pupils;
those aren't seen when you look out through them.
You has both pupils, we has one, and one blank.
Good is thumbs up, thumb and finger zipping lips
is confidential.
Evil is three-cornered snake eyes.
The effort is always to make the symbols obvious:
the bolt of electricity, winged stethoscope of course
for flying doctor.
Prams under fire? Soviet film industry.
Pictographs also shouldn't be too culture-bound:
A heart circled and crossed out surely isn't.
For red, betel spit lost out to ace of diamonds.
Black is the ace of spades.
The kind of spades
reads Union boss, the two is feeble effort.
If is the shorthand Libra sing , the scales.
Spare literal pictures render most nouns and verbs
and computers can draw them faster than Pharaoh's scribes.
A bordello prospectus is as explicit as the action,
but everywhere there's sunflower talk, i.
e.
metaphor, as we've seen.
A figure riding a skyhook
bearing food in one hand is the pictograph for grace,
two animals in a book read Nature, two books
Inside an animal, instinct.
Rice in bowl with chopsticks
denotes food.
Figure 1 lying prone equals other.
Most emotions are mini-faces, and the speech
balloon is ubiquitous.
A bull inside one is dialect
for placards inside one.
Sun and moon together
inside one is poetry.
Sun and moon over palette,
over shoes etc are all art forms — but above
a cracked heart and champagne glass? Riddle that
and you're starting to think in World, whose grammar
is Chinese-terse and fluid.
Who needs the square-
equals-diamond book, the dictionary,to know figures
led by strings to their genitals mean fashion?
just as a skirt beneath a circle meanas demure
or ao similar circle shouldering two arrows is macho.
All peoples are at times cat in water with this language
but it does promote international bird on shoulder.
This foretaste now lays its knife and fork parallel.
|
Written by
Robert William Service |
This is the yarn he told me
As we sat in Casey's Bar,
That Rooshun mug who scammed from the jug
In the Land of the Crimson Star;
That Soviet guy with the single eye,
And the face like a flaming scar.
Where Lenin lies the red flag flies, and the rat-grey workers wait
To tread the gloom of Lenin's Tomb, where the Comrade lies in state.
With lagging pace they scan his face, so weary yet so firm;
For years a score they've laboured sore to save him from the worm.
The Kremlin walls are grimly grey, but Lenin's Tomb is red,
And pilgrims from the Sour Lands say: "He sleeps and is not dead.
"
Before their eyes in peace he lies, a symbol and a sign,
And as they pass that dome of glass they see - a God Divine.
So Doctors plug him full of dope, for if he drops to dust,
So will collapse their faith and hope, the whole combine will bust.
But say, Tovarich; hark to me .
.
.
a secret I'll disclose,
For I did see what none did see; I know what no one knows.
I was a Cheko terrorist - Oh I served the Soviets well,
Till they put me down on the bone-yard list, for the fear that I might tell;
That I might tell the thing I saw, and that only I did see,
They held me in quod with a firing squad to make a corpse of me.
But I got away, and here today I'm telling my tale to you;
Though it may sound weird, by Lenin's beard, so help me God it's true.
I slouched across that great Red Square, and watched the waiting line.
The mongrel sons of Marx were there, convened to Lenin's shrine;
Ten thousand men of Muscovy, Mongol and Turkoman,
Black-bonnets of the Aral Sea and Tatars of Kazan.
Kalmuck and Bashkir, Lett and Finn, Georgian, Jew and Lapp,
Kirghiz and Kazakh, crowding in to gaze at Lenin's map.
Aye, though a score of years had run I saw them pause and pray,
As mourners at the Tomb of one who died but yesterday.
I watched them in a bleary daze of bitterness and pain,
For oh, I missed the cheery blaze of vodka in my brain.
I stared, my eyes were hypnotized by that saturnine host,
When with a start that shook my heart I saw - I saw a ghost.
As in foggèd glass I saw him pass, and peer at me and grin -
A man I knew, a man I slew, Prince Boris Mazarin.
Now do not think because I drink I love the flowing bowl;
But liquor kills remorse and stills the anguish of the soul.
And there's so much I would forget, stark horrors I have seen,
Faces and forms that haunt me yet, like shadows on a screen.
And of these sights that mar my nights the ghastliest by far
Is the death of Boris Mazarin, that soldier of the Czar.
A mighty nobleman was he; we took him by surprise;
His mother, son and daughters three we slew before his eyes.
We tortured him, with jibes and threats; then mad for glut of gore,
Upon our reeking bayonets we nailed him to the door.
But he defied us to the last, crying: "O carrion crew!
I'd die with joy could I destroy a hundred dogs like you.
"
I thrust my sword into his throat; the blade was gay with blood;
We flung him to his castle moat, and stamped him in its mud.
That mighty Cossack of the Don was dead with all his race.
.
.
.
And now I saw him coming on, dire vengeance in his face.
(Or was it some fantastic dream of my besotted brain?)
He looked at me with eyes a-gleam, the man whom I had slain.
He looked and bade me follow him; I could not help but go;
I joined the throng that passed along, so sorrowful and slow.
I followed with a sense of doom that shadow gaunt and grim;
Into the bowels of the Tomb I followed, followed him.
The light within was weird and dim, and icy cold the air;
My brow was wet with bitter sweat, I stumbled on the stair.
I tried to cry; my throat was dry; I sought to grip his arm;
For well I knew this man I slew was there to do us harm.
Lo! he was walking by my side, his fingers clutched my own,
This man I knew so well had died, his hand was naked bone.
His face was like a skull, his eyes were caverns of decay .
.
.
And so we came to the crystal frame where lonely Lenin lay.
Without a sound we shuffled round> I sought to make a sign,
But like a vice his hand of ice was biting into mine.
With leaden pace around the place where Lenin lies at rest,
We slouched, I saw his bony claw go fumbling to his breast.
With ghastly grin he groped within, and tore his robe apart,
And from the hollow of his ribs he drew his blackened heart.
.
.
.
Ah no! Oh God! A bomb, a BOMB! And as I shrieked with dread,
With fiendish cry he raised it high, and .
.
.
swung at Lenin's head.
Oh I was blinded by the flash and deafened by the roar,
And in a mess of bloody mash I wallowed on the floor.
Then Alps of darkness on me fell, and when I saw again
The leprous light 'twas in a cell, and I was racked with pain;
And ringèd around by shapes of gloom, who hoped that I would die;
For of the crowd that crammed the Tomb the sole to live was I.
They told me I had dreamed a dream that must not be revealed,
But by their eyes of evil gleam I knew my doom was sealed.
I need not tell how from my cell in Lubianka gaol,
I broke away, but listen, here's the point of all my tale.
.
.
.
Outside the "Gay Pay Oo" none knew of that grim scene of gore;
They closed the Tomb, and then they threw it open as before.
And there was Lenin, stiff and still, a symbol and a sign,
And rancid races come to thrill and wonder at his Shrine;
And hold the thought: if Lenin rot the Soviets will decay;
And there he sleeps and calm he keeps his watch and ward for aye.
Yet if you pass that frame of glass, peer closely at his phiz,
So stern and firm it mocks the worm, it looks like wax .
.
.
and is.
They tell you he's a mummy - don't you make that bright mistake:
I tell you - he's a dummy; aye, a fiction and a fake.
This eye beheld the bloody bomb that bashed him on the bean.
I heard the crash, I saw the flash, yet .
.
.
there he lies serene.
And by the roar that rocked the Tomb I ask: how could that be?
But if you doubt that deed of doom, just go yourself and see.
You think I'm mad, or drunk, or both .
.
.
Well, I don't care a damn:
I tell you this: their Lenin is a waxen, show-case SHAM.
Such was the yarn he handed me,
Down there in Casey's Bar,
That Rooshun bug with the scrambled mug
From the land of the Commissar.
It may be true, I leave it you
To figger out how far.
|