31.

31.
Мати дармо на клони ти

9. Ах постався Мила милого
Май проси їх щуро мило
Ма цей би ся спамятали
Волю нам не запинали .

10. Що и уже не зводила
На колінах юн просила
Мати і нути то не хоге
Кармо висхали мої ое .

11. Вже сiм була став стоми
Руки і ноги цілувала
Слозен ьками ся вмивала

11. Вже сiм була став стоми ла
Слозеньками цiлом просила
Мати і нути то не аоге
Дармо висхали мої ое .

31.
Mother you bow in vain

9. Ah the dear one stood up for her dear one
Dear one ask them kindly dear one
So that they would come to their senses
They would not stop our will .

10. What and already not deceived
On her knees the young one begged
Mother and to go that not wants
In vain my eyes have raised .

11. Already she has been standing tired
Kissed hands and feet
With tears she washed herself

11. Already she has been standing tired
With tears the whole she begged
Mother and to go that not wants
In vain my eyes have raised .

The core of this page (and the surrounding notebook entries) is the brutal tension between military duty and personal/family devastation — specifically, the soldier’s grim march into battle or barracks death versus a mother’s raw, futile desperation to keep her son home.

The theme revolves around conscription as a death sentence: anonymous marching columns, commanders issuing storm orders, bodies stretchered off fields or buried without honors/uniforms in barracks, all stripped of glory or reward. Interwoven is the intimate counterpoint of maternal grief — the mother on her knees, kissing hands and feet, weeping, pleading — rendered powerless against the machine of empire.

The crossed-out part (on page 31, right-hand side of the image) is this couplet, which has a large X drawn over it:

Мати і нути то не хоге
Кармо висхали мої ое .
It was the first attempt at the closing lines of the stanza. The writer crossed it out and immediately rewrote a corrected version right below it (as the second “11.”):
Мати і нути то не хоче
Дармо висхали мої ое .
(The main changes are “хоге” → “хоче” and “Кармо” → “Дармо”.) This is a clear in-the-moment correction in the notebook.

(The crossed-out lines had two clear spelling mistakes — “хоге” instead of “хоче” = “wants,” and “Кармо” instead of “Дармо” = “in vain / for nothing.” The meaning stayed exactly the same; the writer just corrected the spelling on the spot.)