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A Monument to Walt Whitman in Moscow

There’s another reason for me to be proud of studying at the First Humanities Building. Near the entrance there now stands a monument to Walt Whitman who has always been greatly admired by the Russian poets. Kornei Chukovsky who was very fond of Whitman and translated a few of his poems, including To You (Whoever you are, I fear you are walking the walks of dreams), analysed several authors’ attitude to the great American’s work; the names included Ivan Turgenev, Leo Tolstoy, Velimir Khlebnikov, and Vladimir Mayakovsky.

Walt Whitman (1819-1892).

 

The poem To You is sometimes seen as a declaration; given Whitman’s sexuality, it is also considered homoerotic. However, it is probably better to read the poem in a much broader sense, as a quest for a soulmate. The lyrical hero isn’t merely searching or waiting for someone to come along; he grabs the first available figure and makes them his own. No doubt, most of us will find it childish, for we’re well aware of another’s privacy. But what Whitman is trying to remind us about is how intimacy is discovered and built, that it cannot be built without violating the private space. Hence the hero is almost maniacally attached to the person’s hidden self, always good but often deformed by the society’s code. The hero is a healer; it is the greatest explorer since Columbus, for his task is to unmask the real “you” in a person: “you have not known what you are, you have slumbered upon yourself all your life”.
As the author of this Russian article says, to love means to guess, to know better. Whitman knows better, as he courageously shines the light on a Man’s infinite, God-like ability to create.

To You

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands,
Even now your features, joys, speech, house, trade, manners,
troubles, follies, costume, crimes, dissipate away from you,
Your true soul and body appear before me.
They stand forth out of affairs, out of commerce, shops, work,
farms, clothes, the house, buying, selling, eating, drinking,
suffering, dying.
Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear.
I have loved many women and men, but I love none better than you.

O I have been dilatory and dumb,
I should have made my way straight to you long ago,
I should have blabb’d nothing but you, I should have chanted nothing
but you.

I will leave all and come and make the hymns of you,
None has understood you, but I understand you,
None has done justice to you, you have not done justice to yourself,
None but has found you imperfect, I only find no imperfection in you,
None but would subordinate you, I only am he who will never consent
to subordinate you,
I only am he who places over you no master, owner, better, God,
beyond what waits intrinsically in yourself.

Painters have painted their swarming groups and the centre-figure of all,
From the head of the centre-figure spreading a nimbus of gold-color’d light,
But I paint myriads of heads, but paint no head without its nimbus
of gold-color’d light,
From my hand from the brain of every man and woman it streams,
effulgently flowing forever.

O I could sing such grandeurs and glories about you!
You have not known what you are, you have slumber’d upon yourself
all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries,
(Your thrift, knowledge, prayers, if they do not return in
mockeries, what is their return?)

The mockeries are not you,
Underneath them and within them I see you lurk,
I pursue you where none else has pursued you,
Silence, the desk, the flippant expression, the night, the
accustom’d routine, if these conceal you from others or from
yourself, they do not conceal you from me,
The shaved face, the unsteady eye, the impure complexion, if these
balk others they do not balk me,
The pert apparel, the deform’d attitude, drunkenness, greed,
premature death, all these I part aside.

There is no endowment in man or woman that is not tallied in you,
There is no virtue, no beauty in man or woman, but as good is in you,
No pluck, no endurance in others, but as good is in you,
No pleasure waiting for others, but an equal pleasure waits for you.

As for me, I give nothing to any one except I give the like carefully
to you,
I sing the songs of the glory of none, not God, sooner than I sing
the songs of the glory of you.

Whoever you are! claim your own at any hazard!
These shows of the East and West are tame compared to you,
These immense meadows, these interminable rivers, you are immense
and interminable as they,
These furies, elements, storms, motions of Nature, throes of apparent
dissolution, you are he or she who is master or mistress over them,
Master or mistress in your own right over Nature, elements, pain,
passion, dissolution.

The hopples fall from your ankles, you find an unfailing sufficiency,
Old or young, male or female, rude, low, rejected by the rest,
whatever you are promulges itself,
Through birth, life, death, burial, the means are provided, nothing
is scanted,
Through angers, losses, ambition, ignorance, ennui, what you are
picks its way.

ТЕБЕ (перевод К. И. Чуковского)

Кто бы ты ни был, я боюсь, ты идешь по пути сновидений,
И все, в чем ты крепко уверен, уйдет у тебя из-под ног и под
руками растает,
Даже сейчас, в этот миг, и обличье твое, и твой дом, и одежда
твоя, и слова, и дела, и тревоги, и веселья твои,
и безумства – все ниспадает с тебя,
И тело твое, и душа отныне встают предо мною,
Ты предо мною стоишь в стороне от работы, от купли-продажи,
от фермы твоей и от лавки, от того, что ты ешь, что ты
пьешь, как ты мучаешься и как умираешь.
Кто бы ты ни был, я руку тебе на плечо возлагаю, чтобы ты
стал моей песней,
И я тихо шепчу тебе на ухо:
“Многих женщин и многих мужчин я любил, но тебя я люблю
больше всех”.

Долго я мешкал вдали от тебя, долго я был как немой,
Мне бы давно поспешить к тебе,
Мне бы только о тебе и твердить, тебя одного воспевать.

Я покину все, я пойду и создам гимны тебе,
Никто не понял тебя, я один понимаю тебя,
Никто не был справедлив к тебе, ты и сам не был справедлив
к себе,
Все находили изъяны в тебе, я один не вижу изъянов в тебе,
Все требовали от тебя послушания, я один не требую его от тебя.
Я один не ставлю над тобою ни господина, ни бога: над тобою
лишь тот, кто таится в тебе самом.

Живописцы писали кишащие толпы людей и меж ними одного –
посредине,
И одна только голова была в золотом ореоле,
Я же пишу мириады голов, и все до одной в золотых ореолах,
От руки моей льется сиянье, от мужских и от женских голов
вечно исходит оно.

Сколько песен я мог бы пропеть о твоих величавых и славных
делах,
Как ты велик, ты не знаешь и сам, проспал ты себя самого,
Как будто веки твои опущены были всю жизнь,
И все, что ты делал, для тебя обернулось насмешкой.
(Твои барыши, и молитвы, и знанья – чем обернулись они?)

Но посмешище это – не ты,
Там, в глубине, под спудом затаился ты, настоящий.
И я вижу тебя там, где никто не увидит тебя,
Пусть молчанье, и ночь, и привычные будни, и конторка,
и дерзкий твой взгляд скрывают тебя от других и от самого
себя, – от меня они не скроют тебя,
бритые щеки, нечистая кожа, бегающий, уклончивый взгляд
пусть с толку сбивают других – но меня не собьют,
Пошлый наряд, безобразную позу, и пьянство, и жадность,
и раннюю смерть – я все отметаю прочь.

Ни у кого нет таких дарований, которых бы не было и у тебя
Ни такой красоты, ни такой доброты, какие есть у тебя,
Ни дерзанья такого, ни терпенья такого, какие есть у тебя.
И какие других наслаждения ждут, такие же ждут и тебя.

Никому ничего я не дам, если столько же не дам и тебе,
Никого, даже бога, я песней моей не прославлю, пока
не прославлю тебя.

Кто бы ты ни был! иди напролом и требуй!
Эта пышность Востока и Запада – безделица рядом с тобой,
Эти равнины безмерные и эти реки безбрежные – безмерно
безбрежен и ты, как они,
Эти неистовства, бури, стихии, иллюзии смерти – ты тот,
кто над ними владыка,
Ты по праву владыка над природой, над болью, над страстью,
над каждой стихией, над смертью.

Путы спадают с лодыжек твоих, и ты видишь, что все хорошо
Стар или молод, мужчина или женщина, грубый, отверженный
низкий, твое основное и главное громко провозглашает себя
Через рожденье и жизнь, через смерть и могилу, – все тут
ничего не забыто! –
Через гнев, утраты, честолюбье, невежество, скуку твое Я
пробивает свой путь.

The Building of My Life

 

First Humanities Building,
Lomonosov Moscow State University

This is a true story. Around September 1996 I had a dream in which I saw a modern-looking building decorated with a plaque with carved figures on its facade. In the dream it was a building in which I was studying. In July 1997 I passed the entrance exams successfully, I had my first exam session in winter, and in summer I had the second session. I was sitting outside on the grass with a few unimates, watching the First Humanities building of the Moscow State University. I was observing the building and the plaque, as if I never saw them before. Then it downed on me that my dream came true.

The building, a hall of residence converted into a place of study, was by no means glamorous. The huge space of the cloakroom on the ground floor was always full of people and smoke. Smoking in public places is mainly permitted in Russia, and in 1997 when I began to study there the numbers of smokers was staggering. It used to house the faculties of Management, History, Philosophy, Philology, and Law.

My personal memories of studying here are by and large positive. I cannot help but affectionately recall waiting for our Latin tutor for some 20 minutes, and then to have to walk up and down stairs between floor 3 and 10, searching for a free room. Queuing up in student canteens, with little more than 10 minutes on my hands. Passing every single exam with an excellent mark. Queuing up in cloakroom next to a couple, a rather cool guy and a besotted girl who was planting nibbling kisses on his cheeks and lips while he was talking about the ancient Russian history. Being late for a seminar on an exceptionally snowy day and receiving the commendation from the tutor, a demobilised general, for “actually making it”. Watching infatuated couples embraced in a passionate kiss. Bizarrely, when a few years ago a former unimate told me he remembered me in a similar embrace, I genuinely couldn’t remember. Writing poems during lectures and seminars. Composing a play in verses, staging it, and receiving accolade from both students and tutors. The list can go on and on.

I am being asked now and again why I didn’t stay there. Generally, I chose to work and to make an impact in the sphere much more public than historical studies. But, on a grander scale, it merely means to me that I followed a George Bernard Shaw’s quote: those who can, do; those who can’t, teach. By that I don’t mean that my teachers weren’t good enough to “do” it; a lot of them are world-known, so it would be audacious of me to imply any inability of “doing” on their part. After all, to be a good teacher is also a skill. And I have always loved research, and I do like the whole process of sharing the knowledge, exchanging ideas, and passing on skills. I guess I didn’t see teaching in purely academic terms, it has always meant more to me, and in this sense I was neither interested, nor did I feel qualified to teach on that grander, universal, scale.

The title of the post is short yet poignant: this First Humanities Building, however glamourless, was the cradle in which I was born again, mentally and creatively. I realised recently that while for some people the question was “am I good enough for the MSU?“, to me the question was “Is there any better academia for me than the MSU?” Every time the answer was “no”, so by July 1997 when we had entrance exams I wasn’t trying to become a student there – I already was. My mind was entirely set on that idea. You can think of it as another example of law of attraction working, but I’m also thinking of the mechanism of a sale. It is done before it’s done. Looks like in my case it was done at night when I dreamt of that modern building with carved figures.

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