[10] Only the following year, the melody to which The Internationale is usually sung, was composed by Pierre De Geyter for the choir "La Lyre des Travailleurs" of the French Worker's Party in his hometown of Lille, and the first performed there in July 1888.

[7][11][12] De Geyter had been commissioned by Gustave Delory the future mayor of Lille, who had received the text from a young socialist teacher, Charles Gros.

[16] This version, along with a facsimile reprint of De Geyter's score and translations into English and other languages, also appears in the only English-language selection of Pottier's works, edited by Loren Kruger.

Hideux dans leur apothéose Les rois de la mine et du rail Ont-ils jamais fait autre chose Que dévaliser le travail ?

Ouvriers, paysans, nous sommes Le grand parti des travailleurs La terre n'appartient qu'aux hommes L'oisif ira loger ailleurs Combien de nos chairs se repaissent Mais si les corbeaux, les vautours Un de ces matins disparaissent Le soleil brillera toujours.

Producers, let us save ourselves Decree on the common welfare That the thief return his plunder, That the spirit be pulled from its prison Let us fan the forge ourselves Strike the iron while it is hot

Laborers, peasants, we are The great party of workers The earth belongs only to men The idle will go reside elsewhere How much of our flesh they feed on, But if the ravens and vultures Disappear one of these days The sun will shine always

Chorus In a successful attempt to save Pierre De Geyter's job as a woodcarver, the 6,000 leaflets printed by Lille printer Boldoduc only mentioned the French version of his family name (Degeyter).

Many have been closely literal translations with variations solely to account for rhyme and meter but others have been done to encode different ideology perspectives and or to update contents to adapt the lyrics to relevant more contemporary issues.

[26] The first English version has been attributed to the author Eugène Pottier himself, produced apparently after he fled the fall of the Paris Commune in June 1871 for temporary exile in Britain (until 1873, when he went on to the United States).

By the time of the 1910 International Socialist Congress in Copenhagen, versions had appeared in 18 different languages, including a Danish one by A. C. Meyer, which was sung at the end of a cantata by 500 singers.

Чтоб свергнуть гнёт рукой умелой, Отвоевать своё добро, – Вздувайте горн и куйте смело, Пока железо горячо!

Kogda ž tirany nas zastavjat V boju gerojski pastj za nih – Ubijcy v vas togda napravim My žerla pušek bojevyh!

I jesli grom velikij grjanet Nad svoroj psov i palačej, Dlja nas vsjo takže solnce stanet Sijatj ognjom svoih lučej.

[36] At the time, Walter stated that he believed that "The Internationale" had widespread relevance across Europe, and in 1966 he recounted in correspondence that the OWI had "panicked" when it had learned of the Soviet Union's plans, but Arturo had issued an ultimatum that if "The Internationale", "l'inno di tutte le glebe ed i lavoratori di tutto il mondo" (the anthem of the working classes of the whole world) was not included, that if the already done orchestration and performance were not used as-is, then they should forget about distributing the film entirely.

[40] Winston Churchill, a staunch opponent of communism, had immediately sent word to the BBC via Anthony Eden that "The PM has issued an instruction to the Ministry of Information that the Internationale is on no account to be played by the B.B.C."

[40]) On the evening of 13 July, the BBC instead played, in Maisky's words, "a very beautiful but little-known Soviet song", which he described as demonstrating "the British Government's cowardice and foolishness".

[49] The 1944 movie Tawny Pipit depicted schoolchildren in the fictional village of Lipton Lea welcoming the character Olga Boclova (based upon Ludmilla Pavlichenko) to their town by singing "The Internationale".

[51] He proceeded, according to the political memoirs of his contemporaries, in 1923 to re-translate the lyrics from the original French at the organ in his cousin's home in Beijing, publishing them in New Youth, a journal of which he was the editor-in-chief.

[53] As with Qu and Li, the song is found in many places in political histories of CCP leaders and martyrs to its cause, symbolising their socialist ideals, including Zhu De, Zhou Enlai, and Deng Xiaoping.

[60] It has maintained its status as a de facto CCP anthem, and its continued relevance over the decades can be seen in its inclusion in all three of the 1964 The East Is Red, the 1984 The Song of the Chinese Revolution, and the 2009 The Road to Prosperity.

[54] While the song has a wide influence as an adjunct of official ideology, it has also been used in counter-cultural movements, such as the demonstrators in the 1989 Tiananmen Square protests singing it during their final retreat.

[63] Qu was hired as a translator for students at the Communist University of the Toilers of the East in Moscow, where he met Xiao San in 1922, who had newly arrived from France.

[64] There, Xiao was drawn into the performing arts as a vehicle for revolutionary messages and, in conjunction with other students, translated "The Internationale" and several Soviet songs from the original French and Russian into Chinese, separately from Qu's work in Beijing in 1923.

[72] Although no Afrikaans translation from the early period has been published, Afrikaans-speaking unionists worked in significant numbers in the garment industry in the 1920s and 1930s, and were introduced to international socialism by union secretary, E. S.

Known as Wimbo wa Kimataifa, the Internationale, was translated by the then-party chairman, Mwandawiro Mghanga and performed by the party's band and released in a bundled album, together with other revolutionary songs and poems.

[citation needed] A Yiddish translation of "The Internationale" first appeared in the collection Yidishe folks-lider ('Yiddish Folk Songs') edited by Moshe Beregovski and Itzik Feffer.

[117] One of Aleksandr Lebedev-Frontov's most famous works, which hung in the headquarters of the National Bolshevik Party, is a poster of the French Fantomas aiming a pistol at the viewer, subtitled with the first line of the Russian version of "The Internationale".

Its similar melody to a communist song possibly stemmed from the admiration of some of its members, such as Greek MP Ilias Panagiotaros, for Soviet leader Josef Stalin, as a "great personality".

[120] Peter Miller produced and directed a half-hour documentary on the anthem with interviews with a range of people including Annette Rubinstein, Vladimir Grigoryevich Zak, Marina Feleo-Gonzalez, Pete Seeger, Dorothy Ray Healey, Li Lu and Billy Bragg.