Speaking In Tongues
Scribbling In Voices

Vladimir Mayakovsky

Translated by Alec Vagapov

© Translation by Alec Vagapov, 1968



The Poem of the Soviet Passport
Left March
The Parisian Woman
To Comrade Nette, the Man and the Ship





The Poem of the Soviet Passport


I'd root out bureaucracy once and for ever.
I have no respect for formalities.
May every paper go to the devil
But for this...
A courteous official passes through
The maze of compartments and halls.
They hand in passports, and I, too,
Hand in my red-skinned pass.
Some passports arouse an obliging smile
While others are treated as mud.
Say, passports picturing the British Lion
Are taken with special regard.
A burly guy from the USA
Is met with an exorbitant honor,
They take his passport as if they
Were taking a gift of money.
The Polish passport makes them stare
Like a sheep might stare at a Christmas tree:
Where does it come from, this silly and queer
Geographical discovery?
Without trying to use their brains,
Entirely dead to all feelings,
They take quite coldly passports from Danes
And other sorts of aliens.
Suddenly, as if he had burnt his mouth,
The official stood stock-still:
It's my red passport fall this bound
Into the hands of his majesty.
He takes my pass, as if it were
A bomb, a blade or those sorts of things,
He takes it with extraordinary caution and scare
As if it were a snake with dozens of stings.
The porter meaningly bats his eyes
Ready to serve me for free.
The detective looks at the cop in surprise,
The cop looks at him inquiringly.
I know I'd be fiercely slashed and hanged
By this gendarmerie caste
Only because I have got in my hand
This hammer-and-sickle pass.
I'd root out bureaucracy once and for ever.
I have no respect for formalities.
May every paper go to the devil
But for this...
This little thing, so dear to me,
I withdraw from my loose pantaloons,
Read it and envy me: I happen to be
A citizen of the Soviet Union.



ËÅÂÛÉ ÌÀÐØ

Ðàçâîðà÷èâàéòåñü â ìàðøå!
Ñëîâåñíîé íå ìåñòî êëÿóçå.
Òèøå, îðàòîðû!
Âàøå
ñëîâî,
òîâàðèù ìàóçåð.
Äîâîëüíî æèòü çàêîíîì,
äàííûì Àäàìîì è Åâîé.
Êëÿ÷ó èñòîðèè çàãîíèì.
Ëåâîé!
Ëåâîé!
Ëåâîé!
Ýé, ñèíåáëóçûå!
Ðåéòå!
Çà îêåàíû!
Èëè
ó áðîíåíîñöåâ íà ðåéäå
ñòóïëåíû îñòðûå êèëè?!
Ïóñòü,
îñêàëÿñü êîðîíîé,
âçäûìàåò áðèòàíñêèé ëåâ âîé.
Êîììóíå íå áûòü ïîêîðåííîé.
Ëåâîé!
Ëåâîé!
Ëåâîé!
Òàì
çà ãîðàìè ãîðÿ
ñîëíå÷íûé êðàé íåïî÷àòûé.
Çà ãîëîä
çà ìîðà ìîðå
øàã ìèëëèîíîâ ïå÷àòàé!
Ïóñòü áàíäîé îêðóæàò íàíÿòîé,
ñòàëüíîé èçëèâàþòñÿ ëååâîé, —
Ðîññèè íå áûòü ïîä Àíòàíòîé.
Ëåâîé!
Ëåâîé!
Ëåâîé!
Ãëàç ëè ïîìåðêíåò îðëèé?
 ñòàðîå ñòàíåì ëè ïÿòèòüñÿ?
Êðåïè
ó ìèðà íà ãîðëå
ïðîëåòàðèàòà ïàëüöû!
Ãðóäüþ âïåðåä áðàâîé!
Ôëàãàìè íåáî îêëåèâàé!
Êòî òàì øàãàåò ïðàâîé?
Ëåâîé!
Ëåâîé!
Ëåâîé!

LEFT MARCH

About turn! March!
Away with a talk-show.
Silence, you speakers!
Comrade mouser,
you
have the floor.
Down with the law which for us
Adam and Eve have left.
We'll ruin the jade of the past.
Left!
Left!
Left!
Hey, bluejackets!
Be gone!
Sail away! Overseas!
Or is there anything wrong
with the keels
of your battleships?
May
the vigorous British Lion
Keep howling, frenzied and chafed.
The commune shall not resign.
Left!
Left!
Left!
There
o'er the hills of sorrow
There's a land of the rising sun...
For hunger,
for the sea of horror,
millions, march one by one!
May them gang up against us,
To all their threats we’ll be deaf,
The Entente shall never suppress us.
Left!
Left!
Left!
Can the eagle ever get blind?
Can they make us swing off the road?
Hold
your proletarian hand
tight on the world's throat!
Deck out the sky with drape!
March boldly ahead , don’t be late!
Who's marching out of step?
Left!
Left!
Left!



ÏÀÐÈÆÀÍÊÀ

Âû ñåáå ïðåäñòàâëÿåòå ïàðèæñêèõ æåíùèí
ñ øååé ðàçæåì÷óæåííîé, ðàçáðèëëèàíòåííîé ðóêîé...
Áðîñüòå ïðåäñòàâëÿòü ñåáå! Æèçíü — æåñò÷å —
ó ìîåé ïàðèæàíêè âèä äðóãîé.
Íå çíàþ, ïðàâî, ìîëîäà èëè ñòàðà îíà,
Äî æåëòèçíû îòøëèôîâàííàÿ â ëîùåííîì õàìüå.
Ñëóæèò îíà â óáîðíîé ðåñòîðàíà —
ìàëåíüêîãî ðåñòîðàíà «Ãðàíä-Øîìüåð».
Âûïèâøåãî áóðãóíäñêîãî ìîæåò çàõîòåòüñÿ
äëÿ îáëåã÷åíèÿ ïîéòè ïðîéòèñü.
Äåëî ìàäìóàçåëü — ïîäàâàòü ïîëîòåíöå,
îíà â ýòîì äåëå ïðîñòî àðòèñò.
Ïîêà ó òðþìî ðàçãëÿäûâàåøü ïðûùèê,
îíà ðàçóëûáèâ îáëóïëåííûé ðîò,
ïóäðîé ïîïóäðèò, äóõàìè ïîïðûùåò,
ïîäàñò ïèïèôàêñ è ëóæó ïîäîòðåò.
Ðàáà ÷ðåâîóãîäèé òîð÷èò áåç ñîëíöà,
â êëîçåòíîé øàõòå ïî ñóòêàì êëîïåÿ,
çà ïÿòüäåñÿò ñàíòèìîâ (ïî êóðñó ÷åðâîíöà
ñ ìóæ÷èíû îêîëî ÷åòûðåõ êîïååê).
Ïîä óìûâàëüíèêîì ëàäîíè îìûâàÿ
äûøà äèêîâèíîé ïàðôþìåðíûõ çåëèé,
íàä ìàäìóàçåëüþ íåäîóìåâàÿ,
õî÷ó ñêàçàòü ìàäìóàçåëè :
— Ìàäìóàçåëü, Âàø âèä, èçâèíèòå, æàëîê.
Íà óáîðíóþ ìîëîäîñòü ãóáèòü íå æàëêî Âàì?
Èëè ìíå íàâðàëè ïðî ïàðèæàíîê,
èëè Âû, ìàäìóàçåëü, íå ïàðèæàíêà.
Âûãëÿäèòå Âû òóáåðêóëåçíî è âÿëî,
×óëêè øåðñòÿíûå... Ïî÷åìó íå øåëêà?
Ïî÷åìó íå øëþò Âàì ïàðìñêèõ ôèàëîê
áëàãîðîäíûå ìóñüþ îò ïîëíîãî êîøåëüêà? —
Ìàäìóàçåëü ìîë÷àëà, ãðîõîò íàâàëèâàë
íà òðàêòèð, íà ïîòîëîê, íà íàñ.
Ýòî, êðóæà âåñåëüå êàðíàâàëîâî,
âåñü â ïàðèæàíêàõ ãóäåë Ìîíïàðíàñ.
Ïðîñòèòå, ïîæàëóéñòà, çà ñòèõ ðàñêðåæåùåííûé
è çà îïèñàííûå âîíþ÷èå ëóæè,
íî î÷åíü òðóäíî â Ïàðèæå æåíùèíå,
åñëè æåíùèíà íå ïðîäàåòñÿ, à ñëóæèò.

THE PARISIAN WOMAN

What is your idea of a Parisian woman?
A jeweled beauty with a gemmed hand?
Don't try to fancy! Life is more gloomy!
The Parisian I know is nothing of the kind.
I don't know whether she is old or young,
In a gloss of finery impaired by wear
She works at the toilet of a restaurant
A little restaurant called Grand Chamier.
After having a drop one may have a desire
To refresh oneself by taking the air.
The woman’s job is to help with a towel,
And she is a conjurer in this affair.
You sit at the mirror in the toilet-room
Watching your pimples while she, with a smile,
Will powder your face and put some perfume,
Wipe up the pool and give you a towel.
To please the gluttons she sticks around
In the somber lavatory all day long.
For fifty centimes! (Which is around
Four kopecks for every good turn).
I go to the washstand to wash my hands
Inhaling the marvel of perfumery smell,
Her wretched plainness puzzling my fancy
I want to say to the mademoiselle:
Your appearance is far from being pleasing.
Why should you spent your life in a toilet?
I must have thought too much of Parisians
Or you are not a Parisian at all.
Your manners are languid and you look unhealthy.
The stockings you wear aren't silk but plain.
Why don't moneyed messieurs present you
With bunches of violets now and then?
She didn't reply. The air being rent
By a loud street noise falling on us
That was the noise of the carnival merriment
Of young Parisians in Monte Parnasse.
I am sorry for a harsh poem like this,
For having mentioned a dirty pool,
But it's hard for a woman to live in Paris
If she has to work, — not to sell her soul.


ÒÎÂÀÐÈÙÓ ÍÅÒÒÅ,
ÏÀÐÎÕÎÄÓ È ×ÅËÎÂÅÊÓ

ß íåäàðîì âçäðîãíóë. He çàãðîáíûé âçäîð.
 ïîðò, ãîðÿùèé êàê ðàñïëàâëåííîå ëåòî,
ðàçâîðà÷èâàëñÿ è âõîäèë òîâàðèù «Òåîäîð
Íåòòå».


Ýòî -- îí. ß óçíàþ åãî.
 áëþäå÷êàõ-î÷êàõ ñïàñàòåëüíûõ êðóãîâ.
-- Çäðàâñòâóé, Íåòòå! Êàê ÿ ðàä, ÷òî òû æèâîé
äûìíîé æèçíüþ òðóá, êàíàòîâ è êðþêîâ.


Ïîäîéäè ñþäà! Òåáå íå ìåëêî?
Îò Áàòóìà, ÷àé, êîòëàìè ïîêèïåë...
Ïîìíèøü, Íåòòå, -- â áûòíîñòü ÷åëîâåêîì
òû ïèâàë ÷àè ñî ìíîþ â äèï-êóïå?


Ìåäëèë òû. Çàõðàïûâàëè ñîíè.
Ãëàç êîñÿ â ïå÷àòè ñóðãó÷à,
íàïðîëåò áîëòàë î Ðîìêå ßêîáñîíå
è ñìåøíî ïîòåë, ñòèõè ó÷à.


Çàñûïàë ê óòðó. Êóðîê àæ ïàëåö ñâåë...
Ñóíüòåñÿ -- êîìó îõîòà!
Äóìàë ëè, ÷òî ÷åðåç ãîä âñåãî
âñòðå÷óñü ÿ ñ òîáîþ -- ñ ïàðîõîäîì.


Çà êîðìîé ëóíèøà. Íó è çäîðîâî!
Çàëåãëà, ïðîñòîðû íàäâîå ïðîðâàâ.
Áóäòî íàâåê çà ñîáîé èç áèòâû êîðèäîðîâîé
òÿíåøü ñëåä ãåðîÿ, ñâåòåë è êðîâàâ.


 êîììóíèçì èç êíèæêè âåðÿò ñðåäíå.
«Ìàëî ëè ÷òî ìîæíî â êíèæêå íàìîëîòü!»
À òàêîå -- îæèâèò âíåçàïíî «áðåäíè»
è ïîêàæåò êîììóíèçìà åñòåñòâî è ïëîòü.


Ìû æèâåì, çàæàòûå æåëåçíîé êëÿòâîé.
Çà íåå -- íà êðåñò, è ïóëåþ ÷åøèòå:
ýòî -- ÷òîáû â ìèðå áåç Ðîññèé, áåç Ëàòâèé,
æèòü åäèíûì ÷åëîâå÷üèì îáøåæèòüåì.


 íàøèõ æèëàõ -- êðîâü, à íå âîäèöà.
Ìû èäåì ñêâîçü ðåâîëüâåðíûé ëàé,
÷òîáû, óìèðàÿ, âîïëîòèòüñÿ
â ïàðîõîäû, â ñòðî÷êè è â äðóãèå äîëãèå äåëà.


Ìíå áû æèòü è æèòü, ñêâîçü ãîäû ì÷àñü.
Íî â êîíöå õî÷ó -- äðóãèõ æåëàíèé íåòó --
âñòðåòèòü ÿ õî÷ó ìîé ñìåðòíûé ÷àñ
òàê, êàê âñòðåòèë ñìåðòü òîâàðèù Íåòòå.

1926

ÒÎ COMRADE NETTE,
THE MAN AND THE SHIP

I startled. Then I saw that it was not a dream.
Nor was it the fancy of a poet.
The «Theodor Nette» turned about to steam
Into the port.


I have recognized him. He arrived
Wearing round spectacles of safety buoys.
Hello, Nette! I'm so glad that you're alive,
A smoky life of funnels, hooks and coils.


Now come here. How's everything?
You must have traveled, boiling, very far...
You remember, when a human being,
Having tea with me in a sleeping car?


People snored while you sat up till morn.
Squinting at the sealing-wax with half closed eyes.
You would talk about Rommie Yakobson
And amuse yourself by learning rhymes.


You'd fall asleep at dawn, revolver at the ready.
Was there anybody going to pry?
Could I think that in a year's time already
As a ship you would appear to my eye ?


Big and bright is the moon that shines in your rear,
The vast is divided in two by its light.
As if you were dragging the trace of a hero
From the scene of a severe naval fight.


We don't believe in communism from the books we read
There is a lot of rubbish in them as a rule.
But this is something that turns all «fibs» to real
And reveals the gist of the idea to the full.


We are living bound by an iron oath,
And we might as well be hanged and crushed
For we want this world to be a common earth
Without Latvias and without Russias.


We have blood, not water flowing in our body.
We are marching through the pistol din
So that consequently we might be embodied
In a ship, a poem or some other lasting thing.


I would live on and on following my bent.
But I have just one wish at length:
I would like to meet my latter end
Just as comrade Nette met his death.