Tuesday, 30 January 2018

Suddenly appeared, suddeny left

Parting and nostalgia again today, with this Mandarin song I translated to English on June 4 2017 and partially translated to Czech sometime in 2015 before Oct 11, probably in that month or the one before, but can't be sure. The part I translated was just enough to allow this mixed-language video, so the first verse and the chorus. I will side-by-side it with English, leaving a hole after the translated part.


没有一点点防备,
也没有一丝顾虑:
你就这样出现
在我的世界里,
带给我惊喜,
情不自已。
可是你偏又这样
在我不知不觉中
悄悄的消失
从我的世界里,
没有音讯,
剩下的只是回忆…

你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!
你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!

还记得我们曾经
肩并肩一起走过
那段繁华巷口,
尽管你我是陌生人,
是过路人,
但彼此还是感觉到了对方的:
一个眼神,
一个心跳,
一种意想不到的快乐…
好像是
一场梦境,
命中注定。

你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!
你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!

世界之大
为何我们相遇?
难道是缘分?
难道是天意...


你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!
你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!

你存在
我深深的脑海里,
我的梦里,
我的心里,
我的歌声里!


I wasn’t ready at all,
Was not expecting a thing,
You just appeared like that
Into my lonely world:
What a great surprise,
Unstoppable love.
But then once more, as I knew
And was aware of nothing
Slowly you disappeared
Leaving my world again,
Left no news,
All I have left are mem’ries.

You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.
You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.

I still remember that time
When, shoulder to shoulder, we
Walked down that lively alley:
Although we were just strangers then,
And passers-by,
We still felt like we were each other’s partner:
Just one gaze,
Just one heartbeat,
And an unimaginable joy,
As if it were a sweet dream that had come true.

You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.
You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.

In this big world,
Why is it I met you?
Was it our destiny?
Was it the heaven’s will?
Woooh…

You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.
You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.

You are there
Far down deep inside my mind,
In my dreams,
In my heart,
In my singing voice.
Méiyǒu yī diǎndiǎn fángbèi,
Yě méiyǒu yīsī gùlǜ:
Nǐ jiù zhèyàng chūxiàn
Zài wǒ de shìjiè lǐ,
Dài gěi wǒ jīngxǐ,
Qíng bù zì yǐ.
Kěshì nǐ piān yòu zhèyàng
Zài wǒ bù zhī bù jué zhōng
Qiāoqiāo de xiāoshī
Cóng wǒ de shìjiè lǐ,
Méiyǒu yīnxùn
Shèng xià de zhǐshì huíyì

Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.
Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.

Hái jìde wǒmen céngjīng
Jiān bìng jiān yīqǐ zǒuguò
Nà duàn fánhuá xiàngkǒu,
Jǐnguǎn nǐ wǒ shì mòshēngrén,
Shì guòlùrén,
Dàn bǐcǐ háishì gǎnjuédàole duìfāng de:
Yī ge yǎnshén,
Yī ge xīntiào,
Yī zhǒng yìxiǎngbùdào de kuàilè…
Hǎoxiàng shì
Yī chǎng mèngjìng,
Mìng zhòng zhùdìng.

Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.
Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.

Shìjiè zhī dà
Wèihé wǒmen xiāngyù?
Nándào shì yuánfèn?
Nándào shì tiānyì…
Ó

Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.
Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.

Nǐ cúnzài
Wǒ shēnshēn de nǎohǎi lǐ,
Wǒ de mèng lǐ,
Wǒ de xīn lǐ,
Wǒ de gēshēng lǐ.


Nebyla jsem přípravena,
Neočekávala jsem:
Ty nečekaně objevil
Ses ve světě mém,
Jaké překvapení,
Jaká láska!
Ale opět, když to jsem
Nevěděla, netušila,
Tiše jsi zmizel
Ze světa mého,
Beze správ,
Zůstaly jen vspomínky…

Ty jsi tám
Na dně mysli mojí,
Ve snách mich,
V srdci mém,
A ve zpěvu mém.
Ty jsi tám
Na dně mysli mojí,
Ve snách mich,
V srdci mém,
A ve zpěvu mém.













































Friday, 26 January 2018

The moon is my witness (aka manifests my heart)

Today we have two songs which are language versions of one another. The original one is in Chinese, it was sung by a popular singer in China, Deng Lijun (aka Teresa Teng), and is quite well-known over there. It is titled 月亮代表我的心 | Yuèliàng dàibiǎo wǒ de xīn, or "The moon manifests my heart". I translated it to English and French soon after I met it, which was in 2012 when I was finishing High School. Little before this one, I met its Indonesian version, which comes first in this post since I met it first, which is titled Bulan menjadi saksi, or "The moon bears witness [to me]", and which is translated to Italian and Chinese back then, into Albanian in Autumn 2014, into Zulu in Spring 2015, and into Romagnolo Dialect in these days, precisely partly in a December night between the 8th and the 20th, partly on Dec 24, and partly on Dec 25th 2017, the day I'm writing this draft, and finally into Spanish to fill that column on Dec 25th 2017 between 15:05 and 15:17. Then, on Jan 24 2018, Anton Xie watched my Youtube video with the translations of the Chinese song, and thought he'd go ahead and make his own English and French versions, and sent them to me. And I decided to include them here. And that is what the tabs are for. Versions 1 are mine, the others are his. “1”号版是我做的,别的都是谢可为做的。I posted this on 24/2/18, posted the facebook page update, and tagged Anton. He replied «Hakka version?». I said «Not made». And he posted his own version on 24/2/18 ~12:04. So I added it today, 25/2/18, starting ~17:01, at the end of the post. So let's see these translations, shall we?


Bulan Menjadi Saksi

Kau bertanya kepadaku
Cinta kah padamu
Cintaku tulus
Suci dan murni
Bulan menjadi saksi

Kau bertanya kepadaku
Sayang kah padamu
Hanya lah engkau
Yang kusayangi
Bulan menjadi saksi

Pelukan yang hangat
Menyejukan jiwaku
Kecupan yang mesra
Meluluhkan hatiku

Ku berjanji kepadamu
Cintaku abadi
Sampai kiamat
Takkan berubah
Bulan menjadi saksi


月亮为我变证人

你常常来为了问我
我是否恋爱你
爱你得真正
純粋和无猜
月亮为我变证人

你常常来为了问我
我是否珍惜你
你是我所有
已珍惜的人
月亮为我变证人

暖和的个拥抱
让我的精神冷漠
温柔的个接吻
让我的内心粉碎

我今为你承诺我会
到永远恋爱你
直到了末日
没有会变为
月亮为我变证人


Hëna është dëshmitar

Ti shpesh vjen të më pyesësh
Nëse të dua:
Dashuria ime
Është sinqertë,
Hëna është dëshmitar.

Ti shpesh vjen të më pyesësh
Nëse të dëshiroj:
Je i vemti që
Kam dëshiruar,
Hëna është dëshmitar.

Një përqafim i nxehtë,
Më freskon shpirtin tim;
Një puthje e afërm,
Më dubëson thelbin tim

Të premtoj se dashuria
Ime është përjetshëm
Deri në Fundin e Botës
Nuk do të ndryshojë
Hëna është dëshmitar.


Lõna, di-j-a-l nẽca te

T-a-m cmènd s' l'è véra ch'a-t vòi bẽ,
S' a sẽt amôr par te:
'E mi amôr par te
L'è sinẓìr e sãt,
Lõna, di-j-a-l nẽca te!

T-a-m cmènd si me '-t vòi bẽ da bõ,
S' l'è véra ch'a-t vòi bẽ:
A-n vòi brìṣul bē
A inciõn êt' che te,
Lõna, di-j-a-l nẽca te!

Un chêld abràẓ 'd i tu
U-m va l'ãnma a rinfraschê.
Õ 'd i tu dulẓ baṣẽ
U-m sfa sèmpar tòtt 'e cör

E me '-t prumètt ch' 'e mi amôr
U-n a mai da finì:
Par l'etarnitê
U-n a da cãmbiêṙ,
Lõna, di-j-a-l nẽca te.




邓丽君的“月亮代表我的心”

你问我爱你有多深
我爱你有几分
我的情也真
我的爱也真
月亮代表我的心

你问我爱你有多深
我爱你有几分
我的情不移
我的爱不变
月亮代表我的心

* 轻轻的一个吻
已经打动我的心
深深的一段情
叫我思念到如今

# 你问我爱你有多深
我爱你有几分
你去想一想
你去看一看
月亮代表我的心

Repeat * # #


Teresa Teng’s “The moon speaks for my heart”

You ask how deeply I love you,
If I love you at all.
My affection’s true
Like my love for you,
And the moon speaks for my heart.

You ask how deeply I love you,
If I love you at all.
My affection stays,
My love does not change,
And the moon speaks for my heart.

* A single gentle kiss
Has already moved my heart.
And such a deep deep love
Made me miss you up till now.

# You ask how deeply I love you,
If I love you at all.
You just have a think,
You just have a look:
For the moon speaks for my heart.
Teresa Teng's "You shall read this on the moon"

You ask how deep is my love for you
How much do I love you
All my heart is true
All my love is too
You shall read this on the moon

You ask how deep is my love for you
How much do I love you
My heart does not swerve
My love does not change
You shall read this on the moon

* A silent gentle kiss
Has blown my heart away
And such a deep deep love
Made me miss you till this day

# You ask how deep is my love for you
How much do I love you
You just have a thought
You just take a look
You shall read this on the moon
Teresa Teng's "It's all written on the moon"

You ask how deep is my love for you
How much do I love you
All my heart is true
All my love is too
It's all written on the moon

You ask how deep is my love for you
How much do I love you
My heart does not swerve
My love does not change
It's all written on the moon

* A silent gentle kiss
Seemed to blow my heart away
And such sweet deep deep love
Made me miss you till this day

# You ask how deep is my love for you
How much do I love you
You just have a thought
You just take a look
It's all written on the moon



有多深
有几分
我(的)情也真
我(的)爱也真
月光月亮代表我(的)

有多深
有几分
我(的)
我(的)
月光月亮代表我(的)

轻轻一下
已经打动我(的)
深深一段情
心焦思念到今

有多深
有几分
去想下想
去看下看
月光月亮代表我(的)
Testimon la luna m’è

Tu mi domandi spesso se
Ho amore verso te
Il mio amore è
Santo puro e ver:
Testimon la luna m’è

Tu mi domandi spesso se
Ho affetto verso te
Tu sei l’unico
Per cui affetto ho:
Testimon la luna m’è

Un caldo abbraccio tuo
Mi rinfresca l’anima
Un dolce bacio tuo
Il mio cuore scioglier fa

Io ti prometto che il mio amor
Per sempre ci sarà
Per l’eternità
Mai non cambierà:
Testimon la luna m’è


Yuèliàng wèi wǒ biàn zhèngrén

Nǐ chángcháng lái wèile wèn wǒ
Wǒ shìfǒu liàn'ài nǐ
Ài nǐ de zhēnzhèng
Chúncuì hé wú cāi
Yuèliàng wèi wǒ biàn zhèngrén

Nǐ chángcháng lái wèile wèn wǒ
Wǒ shìfǒu zhēnxì nǐ
Nǐ shì wǒ suǒyǒu
Yǐ zhēnxì de rén
Yuèliàng wèi wǒ biàn zhèngrén

Nuǎnhuo de gè yǒngbào
Ràng wǒ de jīngshén lěngmò
Wēnróu de gè jiēwěn
Ràng wǒ de nèixīn fěnsuì

Wǒ jīn wèi nǐ chéngnuò wǒ huì
Dào yǒngyuǎn liàn'ài nǐ
Zhídàole mòrì
Méiyǒu huì biàn wèi
Yuèliàng wèi wǒ biàn zhèngrén


Inyanga ngufakazi

Nina kaning’ ungibuza
Uma ngikuthanda
Uthando lwami
Uqoth' uncwele
Inyanga ngufakazi

Nina kaning’ ungibuza
Uma ngikuthanda
Engiwuthanda
Nguwena yodwa
Inyanga ngufakazi

Ingon’ efudumele
Ipholis’ umoya yam’
Ukwanga emnene
Kudal’ anginamandla

Futh’ unginembis’: uthando
Lwami kunaphakade
Esigcinweni somhlaba
Aluzuguquka
Inyanga ngufakazi


Mi testigo la luna es.

Mi amor, tu me preguntas si
Te quiero de verdad:
Mi amor puro y
Verdadero es,
Mi testigo la luna es.

Mi amor, tu me preguntas si
Te amo de verdad:
Eres sólo tu
Que yo amo,
Mi testigo la luna es.

Tus abrazos de calor
Me rinfrescan la alma.
Tus besos de amor
Me derriten el corazón.

Yo te prometo que mi amor
Jamás se finirá:
Por la eternidad
No se cambiará,
Mi testigo la luna es.




Dèng Lìjūn de “Yuèliàng dàibiǎo wǒ de xīn”

Nǐ wèn wǒ ài nǐ yǒu duō shēn
Wǒ ài nǐ yǒu jǐ fēn
Wǒ de qíng yě zhēn
Wǒ de ài yě zhēn
Yuèliàng dàibiǎo wǒ de xīn

Nǐ wèn wǒ ài nǐ yǒu duō shēn
Wǒ ài nǐ yǒu jǐfēn
Wǒ de qíng bù yí
Wǒ de ài bù biàn
Yuèliàng dàibiǎo wǒ de xīn

* Qīng qīng de yīgè wěn
Yǐjīng dǎdòng wǒ de xīn
Shēn shēn de yīduàn qíng
Jiào wǒ sīniàn dào rújīn

# Nǐ wèn wǒ ài nǐ yǒu duō shēn
Wǒ ài nǐ yǒu jǐ fēn
Nǐ qù xiǎng yī xiǎng
Nǐ qù kàn yī kàn
Yuèliàng dàibiǎo wǒ de xīn

Repeat * # #


"La lune éclaire à mon cœur", par Teresa Teng

Tu me demandes combien je t’aime,
Beaucoup ou seul un peu.
Ce que j’ sens, c’est vrai,
Mon amour, c’est vrai :
La lune éclaire à mon cœur.

Tu me demandes combien je t’aime,
Beaucoup ou seul un peu.
Ce que j’ sens, c’est ferme,
Mon amour ne change :
La lune éclaire à mon cœur.

* Un douce baiser d’amour
Déjà fait battre mon cœur.
Un très profond amour
T’a fait désiré pour moi.

# Tu me demandes combien je t’aime,
Beaucoup ou seul un peu.
Pense-y donc un peu,
Et regarde un peu :
La lune éclaire à mon cœur.
"Car c'est écrit sur la lune", par Teresa Teng

Tu me demandes combien je t’aime,
Meilleur ou seul un peu.
Tout mon coeur est sûr
Comme tout mon amour
Car c'est écrit sur la lune

Tu me demandes combien je t’aime,
Meilleur ou seul un peu.
Tout mon coeur est ferme,
Mon amour ne bouges
Car c'est écrit sur la lune

* Un doux baiser d’amour
Déjà fait battre mon cœur.
Un très profond amour
T’a faite désirée pour moi.

# Tu me demandes combien je t’aime,
Meilleur ou seul un peu.
Pense-y donc un peu,
Et regarde ce soir
Car c'est écrit sur la lune



Nyî mùn ngâi òi nyî yìu to chim
Ngâi òi nyî yìu kí fun
Nga kài tshîn ya cin
Nga kài òi ya cin
Nyiėt-kwong thòi-piáu nga kài sim

Nyî mùn ngâi òi nyî yìu to chim
Ngâi òi nyî yìu kí fun
Nga kài tshîn mô yî
Nga kài òi mô pièn
Nyiėt-kwong thòi-piáu nga kài sim

Khiang-khiang kài tsim yit-hà
Yí-kin tá-thung nga kài sim
Chim-chim kài yit thon chin
Hàm ngâi sim-tsiau nyî tèu kin

Nyî mùn ngâi òi nyî yìu to chim
Ngâi òi nyî yìu kí fun
Nyî hì sióng hà sióng
Nyî hì khòn hà khòn
Nyiėt-kwong thòi-piáu nga kài sim

Saturday, 20 January 2018

Posso averne tante, ma…

Una breve scappata in Italiano oggi, con questa canzone di Battisti, Dieci ragazze per me, tradotta in Cinese il 19/12/2017 e collocata qui in questa serie di post di poesie e canzoni, diciamo, sulla potenza dell'amore perché, nonostante il cantante abbia tutte le ragazze che vuole, conclude che «però io muoio per te».


Dieci ragazze per me
Posson bastare
Dieci ragazze per me
Voglio dimenticare
Capelli biondi da accarezzare
E labbra rosse sulle quali morire, eee
Dieci ragazze per me
Solo per me

Una la voglio perché
Sa bene ballare
Una la voglio perché
Ancor non sa cosa vuol dir l'amore
Una soltanto perché
Ha conosciuto tutti tranne me, eee
Dieci ragazze così
Che dicon dolo di sì

Vorrei sapere chi ha detto
Che non vivo più senza te
Matto
Quello è proprio matto perché
Forse non sa
Che posso averne una
Per il giorno e una
Per la sera
Però quel matto mi conosce
Perché ha detto una cosa vera


Dieci ragazze per me
Posson bastare
Dieci ragazze per me
Io voglio dimenticare
Capelli biondi da accarezzare
E labbra rosse sulle quali morire, eee
Dieci ragazze così
Che dicon dolo di sì

Vorrei sapere chi ha detto
Che non vivo più senza te
Matto
Quello è proprio matto perché
Forse non sa
Che posso averne una
Per il giorno e un
Per la sera
Però quel matto mi conosce
Perché ha detto una cosa vera

Dieci ragazze per me
Dieci ragazze per me
Dieci ragazze per me
Però io muoio per te
Però io muoio per te
Però io muoio per te




十个女孩子为我
可能足够啊
十个女孩子为我
因为我想要忘记
我能抚摸的金黄色的头发
我能够上边死亡的红色的唇,诶诶诶
十个女孩子为我
只有为我

一个我想要因为
会跳舞跳得好
一个我想要因为
她还不知道爱是什么意思
一个只想要因为
别人都有认识没认识我,欸欸欸
十个这样的只会
说好的女孩子诶

我想要知道谁说了
没你我就活不下去
狂了
那人真的狂了因为
可能不知
我能够来跟一个
度过白天跟一个
度过晚上
但那个狂人却认识我
因为他说的话都真正啊


十个女孩子为我
可能足够啊
十个女孩子为我
阿因为我想要忘记
我能抚摸的金黄色的头发
我能够上边死亡的红色的唇,诶诶诶
十个这样的只会
说好的女孩子诶

我想要知道谁说了
没你我就活不下去
狂了
那人真的狂了因为
可能不知
我能够来跟一个
度过白天跟一个
度过晚上
但那个狂人却认识我
因为他说的话都真正啊


十个女孩子为我
十个女孩子为我
十个女孩子为我
但我为你死亡哦
但我为你死亡哦
但我为你死亡哦
Shí ge nǚháizi wèi wǒ
Kěnéng zúgòu a
Shí ge nǚháizi wèi wǒ
Yīnwèi wǒ xiǎng yào wàngjì
Wǒ néng fǔmō de jīnhuángsè de tóufǎ
Wǒ nénggòu shàngbian sǐwáng de hóngsè de chún, éi éi éi
Shí ge nǚháizi wèi wǒ
Zhǐyǒu wéi wǒ

Yī ge wǒ xiǎngyào yīnwèi
Huì tiàowǔ tiào de hǎo
Yī ge wǒ xiǎngyào yīnwèi
Tā hái bù zhīdào ài shì shénme yìsi
Yī ge zhǐ xiǎngyào yīnwèi
Biérén dōu yǒu rènshì méi rènshì wǒ, āi āi āi
Shí ge zhèyàng de zhǐ huì
Shuō hǎo de nǚháizi éi

Wǒ xiǎngyào zhīdào shéi shuōle
Méi nǐ wǒ jiù huó bù xiàqù
Kuángle
Nà rén zhēn de kuángle yīnwèi
Kěnéng bù zhī
Wǒ nénggòu lái gēn yī ge
Dùguò báitiān gēn yī ge
Dùguò wǎnshàng
Dàn nà ge kuángrén què rènshì wǒ
Yīnwèi tā shuō de huà dōu zhēnzhèng a


Shí ge nǚháizi wèi wǒ
Kěnéng zúgòu a
Shí ge nǚháizi wèi wǒ
Ā yīnwèi wǒ xiǎng yào wàngjì
Wǒ néng fǔmō de jīnhuángsè de tóufǎ
Wǒ nénggòu shàngbian sǐwáng de hóngsè de chún, éi éi éi
Shí ge zhèyàng de zhǐ huì
Shuō hǎo de nǚháizi éi

Wǒ xiǎng yào zhīdào shéi shuōle
Méi nǐ wǒ jiù huó bù xiàqù
Kuángle
Nà rén zhēn de kuángle yīnwèi
Kěnéng bù zhī
Wǒ nénggòu lái gēn yī ge
Dùguò báitiān gēn yī ge
Dùguò wǎnshàng
Dàn nà ge kuángrén què rènshì wǒ
Yīnwèi tā shuō dehuà dōu zhēnzhèng a


Shí ge nǚháizi wèi wǒ
Shí ge nǚháizi wèi wǒ
Shí ge nǚháizi wèi wǒ
Dàn wǒ wèi nǐ sǐwáng ó
Dàn wǒ wèi nǐ sǐwáng ó
Dàn wǒ wèi nǐ sǐwáng ó

Tuesday, 16 January 2018

A night of moonlight

Moonlight theme goes on with the Japanese song Still for your love. Yeah, Japanese song titled in English, with a whole ending bit in English. Or rather, in Japanglish, that is, English with Japanese accent – 'coz really, forever is stressed on "ev", not "er", and amā is definitely not English. Met sometime in 2012 (before fall though, probably before summer), translated to Italian shortly afterwards, two minor tweaks (Fa' -> Di' and "soddisfatto" turned feminine) around 11:05 on Jan 16 2018 as I wrote the draft, don't know why I wrote this in English, but I ain't translating it, let's say we justify this with the bit in Japanglish and a nice unsingable English translation. Why not :). Oh look, a translation into Chinese, probably from summer 2012. And a Japanese and Italian version of the Japanglish! Let's get into it!


なにかがこりそうな
いのりをささげて    じなよ
こんなつきける
あいされまれてたのと
ママはった

ねがい    とおくへかないでと
なぜママ    はなみだながすの
ずっとずっと    そばにいるよ
ちいさなこころで    おもってたけど
あのひとうまでは
こころらされるまでは
そしてすべては空回からまわ
未來みらい千切ちぎれるのを
さぁ    裸足はだしになって    大地だいちって
にじえて    そらつかんで

Iアイ wishウィッシ    むねじゅう字架じかにぎり    あさ
希望きぼうがあなたにそそぎ    よる
やわらかなひかりが    あなたをつつ
明日あすへの勇気ゆうきあたえる

おさなころ
けられたきずおも
こころかか
くらさま世界せかい
こころない世界せかい
ゆりかごにた    やすらかな Finalファイナル Songソン

もう    二度二どと    えないとかってても
いろえてもつながってるから    そら
しろ羽根はねけ    おおきくはばたいて
未來みらいえるよ    この

Iアイ wishウィッシ    むねじゅう字架じかにぎり    あさ
希望きぼうがあなたにそそぎ    よる
やわらかなひかりが    あなたをつつ
明日あすへの勇気ゆうきあたえる

Iアイ wishウィッシ foreverフォエヴァア herハア greatグレイト happinessハッピネッス
アマア    Everyエヴリー nightナイッ inイン your dreamジリーム
Iアイ seeシー youユー, Iアイ feelフィール youユー
アマア    Tearsチアズ stoodストゥードゥ inイン herハア eyesアイズ
アマア    Pleaseプリーズ don'tドント cryクラーイ
アマア    Foreverフォエヴァア stillスチール forフォー youユッ,
Stillスチール forフォー your loveラヴ

英語えいごでの言葉ことば日本語にほんごで:
Iアイ wishウィッシ    ずっと彼女かのじょおおきな
幸福こうふく    毎夜まいよ きみゆめきみ気持きもち-
る    なみだ
った    おねがか-
ないで    Foreverフォエヴァア stillスチール forフォー youユッ,
Stillスチール forフォー your loveラヴ


Una notte che par che qualcosa accadrà
Di’ ’na piccola preghiera, e chiudi gli occhi tuoi.
’Na note in cui la luna si scioglie tal,
Ch’egli poiché era amato a vita è nato
La mamma ha detto

“Deh, per favor, non andare lontan” dicendo
Perché la mamma le lacrime sue versando sta?
“Sempre sempre al fianco mio starà”
Nel mio piccolo cuore stavo pensando, sì, però,
Finché quell’uomo io incontrerò,
Finche io soddisfatta nel cuor sarò…
Ed ogni cosa le sue basi perde poi,
Ho visto che il futuro si sbriciolerà.
Su, discopriti i piedi, da’ calci alla terra,
Salta l’arcobaleno, ed afferra il cielo!

I wish un dì che tengo stretta la croce del mïo cuor,
In una notte che speranza si riversa dentro te,
Una fïevole luce or, tenendo tra le sue braccia te,
Ti dona il coraggio per fino a doman.

Nella mia infanzia,
La ferita impiantata era grave assai,
Sul mio povero cuor premendo,
In questo mondo buio ed angusto,
Nel mondo mio, che cuore non ha,
Sì come in una culla, una tranquilla Final Song

Anche a saper di non poterlo mai più incontrar,
Se anche il color cambiasse il ciel, legati siamo noi.
Con bianche ali al corpo adese sbattendo forte, io
A cambiar il futuro con ’ste mani qua. [me ne andrò

I wish un dì che tengo stretta la croce del mïo cuor,
In una notte che speranza si riversa dentro te,
Una fïevole luce or, tenendo tra le sue braccia te,
Ti dona il coraggio per fino a doman.

I wish forever her great happinese
La la la Every night in your dream
I see you, I feel you
La la la Tears stood in her eyes
La la la Please don’t cry
La la la Forever still for you,
Still for your love

(Le parole Inglesi in Italiano:
I wish sempre a lei grande gioïa,
La la la Nel sogno tuo ogni notte io ti vedo e sento,
La la la Negli occhi pianto avea
La la la Non pianger, per favor,
La la la Forever still for you,
Still for your love.)


在仿佛什么会发生的夜里,
说声一个小的祷告,并把眼睛闭上。
就像今夜月亮溶化的夜里,
«他因为贝爱上曾经来到生活»:
妈妈曾说这话。

«请问,请问,请你不要离我去到远处!»:
维和妈妈说着这样在流下眼泪?
«永远永远会留在我身边»:
虽然我在我小的心里曾在这样思想,
直到我会与那个人愚见,
知道我会在我心里被满足…
然后一切都变为没有基础的,
我又曾经看见未来会被撕碎
哎,请变为赤脚的,请把地球蹴踢,
请把彩虹越跳,请把天空到达!

I wish我愿 把胸口的十字架紧紧握着 的早晨,
以及希望在倾注着直到你的内心 的黑夜,
一个柔和的灯光这里, 并在把你紧紧地拥抱,
把到明天的勇气将会送给你

在我的小的时候
曾经被栽了的伤口多么重重地
在我小小的内心压顶,
在黑暗和窄小的世界里,
在没有内心的世界里,
就像在摇篮一样 平静的一个Final Song最后的歌

虽然 我将会 知道不能再与他愚见,
虽然天空变红色,因我们是悲系的 也都好。
把白的翅膀附着在身, 最大大地拍打着翅膀,
将会把未来改变哟 用这双手!

I wish我愿 把胸口的十字架紧紧握着 的早晨,
以及希望在倾注着直到你的内心 的黑夜,
一个柔和的灯光这里, 并在把你紧紧地拥抱,
把到明天的勇气将会送给你

I wish我愿 再也都为她大幸福
La la la 每夜在你的梦我见你我觉得你
La la la 泪立了在她眼
La la la 请不哭泣
La la la forever still for you,
Still for your love.
Nanika ga okorisouna yo wa
Inori wo sasagete me wo tojina yo
Konna tsuki no tokeru yo ni
Aisare umarete kita no to
Mama wa itta

Onegai tooku e ikanaide to
Naze mama wa namida wo nagasu no
Zutto zutto soba ni iru to
Chiisana kokoro de omotteta kedo
Ano hito ni au made wa
Kokoro yurasareru made wa
Soshite subete wa karamawari
Mirai ga chigireru no wo mita
Saa hadashi ni natte taichi kette
Niji wo koete sora wo tsukande

Ai wisshi mune no jūjika wo nigiri asa wa
Kibou ga anata ni furisosogi yoru wa
Yawarakana hikari ga anata wo tsutsumikomi
Asu e no yūki wo ataeru

Osanai koro ni
Uetsukerareta kizu wa omoku
Kokoro ni noshikakari
Kurai semai sekai de
Kokoro nai sekai de
Yurikago ni nita yasurakana Fanaru Son

Mou nidoto aenai to wakattetemo
Iro wo kaete mo tsunagatteru kara sora wa
Shiroi hane mi ni tsuke ookiku habataite
Mirai wo kaeru yo kono te de

Ai wisshi mune no jūjika wo nigiri asa wa
Kibou ga anata ni furisosogi yoru wa
Yawarakana hikari ga anata wo tsutsumikomi
Asu e no yūki wo ataeru

Ai wisshi foevā hā gureito happinessu
Amā Evrī nai in yo durīmu
Ai shī yū ai fīru yū
Amā chiazu sutūdu in hā aizu
Amā purīzu donto kurā
Amā foevā suchīru fō yū
Suchīru fō yō ravu

(Eigo de no kotoba wa Nihongo de:
Ai wisshi zutto kanojo ni ookina
Koufuku maiyo kimi no yume ni kimi wo kimochi-
shi miru me de namida ga
Atta onegai naka-
naide foevā suchīru fō yū
Suchīru fō yō ravu)


In a night where it looks like something is about to happen
Say a prayer close your eyes
In such a night whe the moon melts
Mom said that
He came to life because he was loved

Please don't go far! Saying this
Why does Mom shed tears?
He will always always be at my side
Though I thought so in my little heart
Till I meet that person
Till my heart is satisfied…
Then everything loses its footing,
I saw the future turning to crumbs
Come on, get barefooted, kick the earth,
Jump over the rainbow, grasp the sky!

I wish on a morning when I hold on to the cross on my chest
In a night when hope pours into you
A faint light, hugging you,
Gives you courage till tomorrow

In my youth
The planted wound was pressing
Heavily on my heart
In a dark and tight world
In a heartless world
As if in a cradle, a calm Final Song

Even though I understand we surely can't meet a second time
Even if the sky changes color we're linked
Sticking white wings to my body flapping them strongly
I will change the future with these hands

I wish on a morning when I hold on to the cross on my chest
In a night when hope pours into you
A faint light, hugging you,
Gives you courage till tomorrow

I wish forevér her great happiness
Amaa ev'rý night in your dream
I see you I feel you
Amaa tears stoo-duh in her eyes
Amaa please don't-uh cry
Amaa forever stee-ru for you
Stee-ru for your love










Zài fǎngfú shénme huì fāshēng de yè lǐ,
Shuōshēng yī gè xiǎo de dǎogào, bìng bǎ yǎnjīng bìshàng.
Jiùxiàng jīnyè yuèliàng rónghuà de yè lǐ,
“Tā yīnwèi bèi ài shàng céngjīng lái dào shēnghuó”:
Māmā céng shuō zhè huà.

“Qǐngwèn, qǐngwèn, qǐng nǐ bùyào lí wǒ qù dào yuǎn chù!":
Wéihé māmā shuōzhe zhèyàng zài liúxià yǎnlèi?
“Yǒngyuǎn yǒngyuǎn huì liú zài wǒ shēnbiān”:
Suīrán wǒ zài wǒ xiǎo de xīn lǐ céng zài zhèyàng sīxiǎng,
Zhídào wǒ huì yǔ nàgè rén yú jiàn,
Zhīdào wǒ huì zài wǒ xīn lǐ bèi mǎnzú…
Ránhòu yīqiè dōu biànwèi méi yǒu jīchǔ de,
Wǒ yòu céngjīng kànjiàn wèilái huì bèi sīsuì
Āi, qǐng biànwèi chìjiǎo de, qǐng bǎ dìqiú cùtī,
Qǐng bǎ cǎihóng yuètiào, qǐng bǎ tiānkōng dàodá!

I wishWǒ yuàn bǎ xiōngkǒu de shízìjià jǐnjǐn wòzhe de zǎochen,
Yǐjí xīwàng zài qīngzhùzhe zhídào nǐ de nèixīn de hēiyè,
Yī gè róuhé de dēngguāng zhèlǐ, bìng zài bǎ nǐ jǐnjǐn de yǒngbào,
Bǎ dào míngtiān de yǒngqì jiānghuì sònggěi nǐ

Zài wǒ de xiǎo de shíhou
Céngjīng bèi zāile de shāngkǒu duōme zhòngzhòng de
Zài wǒ xiǎoxiǎo de nèixīn yādǐng,
Zài hēi’àn hé zhǎixiǎo de shìjiè lǐ,
Zài méiyǒu nèixīn de shìjiè lǐ,
Jiùxiàng zài yáolán yīyàng píngjìng de yī gè Final SongZuìhòu de Gē

Suīrán wǒ jiānghuì zhīdào bù néng zài yǔ tā yújiàn,
Suīrán tiānkōng biàn hóngsè, yīn wǒmen shì bēi xì de yě dōu hǎo.
Bǎ bái de chìbǎng fùzhe zài shēn, zuì dàda de pāidǎzhe chìbǎng,
Jiānghuì bǎ wèilái gǎibiàn yō yòng zhè shuāng shǒu!

I wishWǒ yuàn bǎ xiōngkǒu de shízìjià jǐnjǐn wòzhe de zǎochen,
Yǐjí xīwàng zài qīngzhùzhe zhídào nǐ de nèixīn de hēiyè,
Yī gè róuhé de dēngguāng zhèlǐ, bìng zài bǎ nǐ jǐnjǐn de yǒngbào,
Bǎ dào míngtiān de yǒngqì jiānghuì sònggěi nǐ

I wishWǒ yuàn zàiyě dōu wèi tā dà xìngfú
La la la měi yè zài nǐ de mèng wǒ jiàn nǐ wǒ juéde nǐ
La la la lèi lìle zài tā yǎn
La la la qǐng bù kūqì
La la la forever still for you,
Still for your love.

Monday, 15 January 2018

Varda la luna

We keep our moonlight theme, but in Italiano, perché oggi abbiamo un canto alpino in Veneto (credo) tradotto in Cinese, e niente Inglese. Come suggerisce il titolo, si tratta di Varda la luna, che ho tradotto in Cinese nel 2014, presumibilmente in Dicembre, e ho postato su Facebook il 23/12/2014. Vediamo 'sto canto!


Varda la luna
Come che la capina.
Varda la luna
Come che la capina.
La passa i monti,
La passa i monti,
La passa i monti,
Il lago e la marina.

O cara mama,
Mi vago a prender acqua.
O cara mama,
Mi vago a prender acqua.
Là c'è il mio amore,
Là c'è il mio amore,
Là c'è il mio amore
Che alla fontana aspetta.

Ma se l'aspetta
E anca se no aspetta.
Ma se l'aspetta
E anca se no aspetta,
Varda la luna,
Varda la luna,
Varda la luna
Come che la capina.

O giovinotto
Che tanto amor mi porti,
O giovinotto
Che tanto amor mi porti,
Varda la luna,
Varda la luna,
Varda la luna
Come che la capina.


哦看到月亮
在天上怎么独行。
哦看到月亮
在天上怎么独行。
它走过高山,
它走过高山,
它走过高山,
也走过湖和大海。

亲爱的妈妈,
我去拿走一点水。
亲爱的妈妈,
我去拿走一点水。
这儿有我心爱,
这儿有我心爱,
这儿有我心爱
在喷泉边等待我。

啊,但是无论
他等待或不等待。
啊,但是无论
他等待或不等待。
哦看到月亮,
哦看到月亮,
哦看到月亮
在天上怎么独行。

哦你后生子,
你这么深地爱我,
哦你后生子,
你这么深地爱我,
哦看到月亮,
哦看到月亮,
哦看到月亮
在天上怎么独行。
Ó kàn dào yuèliàng
Zài tiānshàng zěnme dúxíng.
Ó kàn dào yuèliàng
zài tiānshàng zěnme dúxíng.
Tā zǒuguò gāoshān,
Tā zǒuguò gāoshān,
Tā zǒuguò gāoshān,
Yě zǒuguò hú hé dàhǎi.

Qīn'ài de māmā,
Wǒ qù ná zǒu yīdiǎn shuǐ.
Qīn'ài de māmā,
Wǒ qù ná zǒu yīdiǎn shuǐ.
Zhèr yǒu wǒ xīn'ài,
Zhèr yǒu wǒ xīn'ài,
Zhèr yǒu wǒ xīn'ài
Zài pēnquán biān děngdài wǒ.

A, dànshì wúlùn
Tā děngdài huò bù děngdài.
A, dànshì wúlùn
Tā děngdài huò bù děngdài.
Ó kàn dào yuèliàng,
ó kàn dào yuèliàng,
ó kàn dào yuèliàng
Zài tiānshàng zěnme dúxíng.

Ó nǐ hòu shēngzǐ,
Nǐ zhème shēn de ài wǒ,
ó nǐ hòu shēngzǐ,
Nǐ zhème shēn de ài wǒ,
Ó kàn dào yuèliàng,
Ó kàn dào yuèliàng,
Ó kàn dào yuèliàng
Zài tiānshàng zěnme dúxíng.

Yelaixiang (night-blooming jasmine?)

Keeping on with our moonlight-night theme, we have a Mandarin song today, 夜来香 | Yèláixiāng. Now I don't know what plant this refers to, since Chinese Wikipedia gives as many as six options, but I guess it's the one in the title, "night-blooming jasmine", from the song. Stack Exchange also seems to suggest this is the right plant. Quora spits on my question. In any case, the translation leaves it as a Chinese word, pronounced "Yay-lie-shiang". The translation dates to Jan 8 2018, and was completed by 21:17. On 2/2/18 I tried my hand at Irish, and asked for help on Quora where a big change occured by the following day. It was intended to fill the column next to English, but given the illegibility of Irish spelling I created my own way to spell Irish that is more legible to me, and put it on the right of the standard Irish spelling. So the column is still to be filled as of updating this draft on 5/2/18, and I was thinking of French. But then I thought «Nah, French isn't fun enough, let's do Czech!», and around 23:00 on 16/2/18, I did it, and the translation lies below. Between late 30/7/18 and the morning of 1/8/18, a couple fixes were made to the Czech. Let's jump into this song!


那南风吹来清凉
那夜莺啼声轻唱
月下的花儿都入梦
只有那夜来香
吐露著芬芳
我爱这夜色茫茫
也爱着夜莺歌唱
更爱那花一般的梦
拥抱着夜来香
吻著夜来香

夜来香
我为你歌唱
夜来香
我为你思量
啊啊啊…
我为你歌唱
我为你思量



The south wind's blowing so cool,
The nightingale sings so sweet,
Under the moon al flowers sleep,
There's just the Yelaixiang
Spreading its sweet scent.
I love this boundless night scene,
I love the nightingale's song,
But more I love the flowers' dreams
That hug the Yelaixiang,
Kiss the Yelaixiang.

Yelaixiang,
I now sing for you!
Yelaixiang,
I now long for you!
Ah ah ah...
I now sing for you,
I now long for you.



Tá an ghaoth ag séideadh go fionnuar
An filiméala ag canadh go binn
Na blathanna ina dtaibhreamh
Níl ann ach cumhracht
Ghéalaidhseáng
Mise ag baint taitneamh as an oíche seo
Agus as ceol an fhiliméala
Grá níos mó agam ar chodladh
Na mbláthanna ag breith barróg
Agus tabhairt póga do Ghéalaidhseáng

Ghéalaidhseáng,
Mise ag canadh duitse
Ghéalaidhseáng,
Cumha orm i do dhiaidh
Ó ó ó
Mise ag canadh duitse
Cumha orm i do dhiaidh
Nà nán fēng chuī lái qīngliáng
Nà yèyīng tí shēng qīng chàng
Yuè xià de huā er dōu rùmèng
Zhǐ yǒu nà yèláixiāng
Tǔlùzhe fēnfāng
Wǒ ài zhè yèsè mángmáng
Yě àizhe yèyīng gēchàng
Gèng ài nà huā yībān de mèng
Yǒngbàozhe yèláixiāng
Wěnzhe yèláixiāng

Yèláixiāng
Wǒ wèi nǐ gēchàng
Yèláixiāng
Wǒ wèi nǐ sīliang
A a a…
Wǒ wèi nǐ gēchàng
Wǒ wèi nǐ sīliang



Vítr jižní věje chladný
Slavík zpívá melodicky
Pod měsícem květy sní
A použe Yelaixiang
Vypustí vůni
Miluji tuto noc rozlehlou
Miluji píseň slavíka
Miluji nejvíc květů spánek
Který objimá Yelaixiang
Líbá Yelaixiang

Yelaixiang
Pro tebe zpívám
Yelaixiang
Pro tebe teskním
Ah ah ah
Pro tebe zpívám
Pro tebe teskním



Tá ăn ghithy ağ syédyad̆h go fyonnúar
An̆ fyilyimyéla ağ canad̆h go byinn
Na blathanna ina dtabhyryam̆h
Nyíly ann ach cúm̆hracht
Ghyélaidhysyáng
Myisye ăğ banyty tat̃ynyam̆h as an íchye syó
Ağŭs as cyól an fhyilyimyéla
Grá nyíos mó ăgam ar chod̆lad̆h
Na mb̆láthanna ağ byryet̆hy barróg
Ağŭs tb̆hóryty póga do Ghyélaidhysyáng

Ghyélaidhysyáng,
Myisye ăğ canad̃h ditysye
Ghyélaidhysyáng,
Cum̆hă orm i do dhyíadhy
Ó ó ó
Myisye ăğ canad̃h ditysye
Cum̆hă orm i do dhyíadhy

Saturday, 13 January 2018

I wish to visit the underworld

This of today is the last poem from P.Berol., and probably the last one to have a WIP-spoiler critical note. [The note has since been added at the end of the post.] It links to the preceding poem both because they are both from P.Berol. (and the same P.Berol. at that) and because in both poems someone wishes to be dead / die. It links to "O Atthis" by papyrus but also by meter, so I redirect you over there for details on that. Let's get to it!


. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
του[x–uu–u–u–x] 3

ἦρ’ α[– xx–uu–ux]
δηρατ . [uu–ux]
Γογγύλα τ’ [ἔφατ’ “Οὔ τι πᾷ τάδ’ ἔγνως,] 6

ἦ τι σᾶμ’ ἔθε[λες δόμεναι τέαις]
παῖσι;” “Μάλιστ’”· [μειβον· Ἔρ-]
μα‹ι›ς̣ γ’ ἔσηλθ᾽ ἔπο[ρος Δίος· τάδ᾿ αὔτῳ] 9

εἶπ̣ο‹ν›· “ὦ δέσποτ᾽ ἐ[πτατόνω λύρας
ο] μὰ γὰρ μακάραν [θέαν
ο]ὔδεν ἄδομ᾽ ἔπαρθ᾽ ἀγαν [ἐπ᾿ ὄλβῳ,] 12

κατθάνην δ᾽ ἴμερός τις [χει με καὶ]
λωτίνοις δροσόεντας [ὄ-]
χ[θ]οις̣ ἴδην Ἀχερ[οντος –u–x 15

κὰ]δ δ᾽ ἐ‹ς› Ἀ͜ίδα [δόμον βάμεν ἔς τ’ ἴδην
νέκρο]ι‹ς› δε̣ύ̣ομ[αι –ux]
. . μή τι[ς –uu–u–u–x]”. 18



[–u–xx–uu–ux
xx–uu–ux
xx–uu–u–u–x 3

–u–xx–uu–ux
xx–uu–ux
Disse] Gongila: [“Nol pote͜i saper tu,] 6

O [mostrar] segno, [alle tu͜e] figli͜e [dar
Prova͜ intendi?”] “Sì” di[ssi.͜ A dar]
Venne Er[mes] di Ze͜us [messaggi͜o͜ a noï;] 9

Dissi͜ allor: “Della lira] tu gran Signor,
Della Li͜eta [De͜a] ’n nome, or
I͜o [n]on godo di ser portata ͜[a gioï 12

Gra[nde], ma di morir desideri͜o [m’ha
E veder d’Acher[onte] la
[R]i[v]a ricca di loto e rugiadosa, 15

[E d’andar giù] nell’A[de, e costì mirar]
Preg[o i morti u–ux]
Ché nessun [uu–u–u–x] 18
[–u–xx–uu–ux
xx–uu–ux
xx–uu–u–u–x 3

–u–xx–uu–ux
xx–uu–ux
Fātă] Gōngy̆lă: [“Nūll’ ĕ’ ēxscĭīstī,] 6

A͞ut vŏl[ēbās] sīgn’ [ēss’ ălĭquōd tŭīs]
Fīlĭīs?” “Quĭdĕm!” īp[să. Hēr-]
mēs vēnīt [Iŏvĭ’] nūn[tĭūs; t’ ĕī hǣc] 9

Dīx’ ĕg’: “Ō dŏmĭn’ hēp[tătŏnī ly̆rǣ]
Pēr Bĕāt’ ĕquĭdēm [dĕăm
N]īl ga͞ude͞o nĭmĭū[m] lĕvār’ [ăd āltăm 12

Lǣtĭti͞am], cŭp[ĭō]qu’ ălĭquīd mŏrī
Ēt [r]ī[p]ās Ăchĕr[ōntĭ’] plē-
nās lōt’ āspĭcĕr’ ātquĕ rōrĕ, 15

[Dē]qu’ ăd Hād[īs dŏm’ īrĕ vĭdērĕquĕ
Mōrtŭōs] prĕcŏ[r –ux]
Nĕquĭs [–uu–u–u–x]”. 18



[–u–xx–uu–ux
xx–uu–ux
xx–uu–u–u–x 3

–u–xx–uu–ux
xx–uu–ux
Then said] Gongyla: [“That you ne’er could know,] 6

Or unto [your sweet] daughters [did you mean to
Make] a sign?” “Yes”, I sa[id.] And to
Us came [Her]mes, [Jove’s minister; to him 9

This] I spoke: “Lord of those sev[en strings unbroke,]
By th’ [Goddess] sadness ne’er doth choke,
I [d]on’t like to be brought to too [much joy,] 12

But to die wish [hath seized me by and by],
And the lotus-full [b]a[n]ks to hi
Of the Acher[on –u–u–

And to go down] in Ha[de’s home] I pra[y, below,
And set eyes on the dead u–]
So that noone [u–u–u–] 18




Critical note

The timeline is easy: there is only one source, P.Berol. 9722, found by the time of Edmonds but not by that of Bergk. The text on fol. 4 is:

Του[
ἦ̣ρ' ἀ[
δήρατ . [
Γογγύλα . [
ἤ τι σᾶμ' ἔθε[λες 5
παῖσι μάλιστα . [ Ἔρ-
μαις̣ γ' ἔσηλθ' ἔπο̣[ρος
εἶ̣π̣ο‹ν› ὦ δέσποτ' ἐ[
[Ο] μὰ γὰρ μακά{ι}ραν [θέαν
[Ο]ὖδεν ἄδομ' ἔπα̣ρθ' ἄγαν [ 10
κατθάνην δ' ἴμερός τις . [
λωτίνοις δροσό̣εντας [ὄ-
χ[θ]οις̣ ἴδην Ἀχ̣ερ̣[
[κὰ]δ δ' ἐ‹ς› Αἴδα [
[ . ]ιν δε̣ύ̣ομ̣[ 15
. . μή τι [

as I discuss in the transcriptions post. And it's already spoiler time!



The story of my text is also pretty simple. The original text I translated had lines 9-15 straight out of "the doc", the preceding part taken from Bibliotheca Augustana for critical notation, Edmonds for content, and "the doc" for meter, so it was BA's critical notation and Edmonds' content made to fit the meter of "the doc", which was clearly explained as cr+gl||gl||phal, whereas Edmonds and BA both had metrical Gibberish in my eyes, and finally, the last stanza was presumably BA's notation with (this is for certain) my own completion. The present text combines the old text with the critical notation of the papyrus transcription I did. Some parts of said transcriptions contradict the matching ones in my old text, and that is where the angle-bracket corrections come in. Dropping the completions, the text is agreed upon by Lobel-Page and Campbell and Voigt, except for some critical notation details and the fact Campbell reads l. 10 as ο]ὖδεν ἄδομ' ἔπερθα γᾶ[ς ἔοισα, with that epsilon for alpha for which cfr. the transcription post. Also, I may have pushed faint vestige reading to another level. In any case, I will stop here, and leave any other comment to my Lobel-Page vs. Voigt vs. Campbell comparison, prepared for the morbidly curious. I will just note that, again, I didn't bother adjusting the critical notation in the translation, because in any case the adjustments would be minor (also, I'm damn lazy :) ).

Monday, 8 January 2018

I want to have died

Today we radically change meter, but we go back to our friend P.Berol. whence the O Atthis poem was taken, and we have this poem by Sappho, in stanzas of three lines with scheme gl||gl||gld (glyconian, glyconian, glyconian expanded with a dactyl), where Sappho nostalgically evokes her past relationship with her female friend (well, Sappho was a Lesbian after all :) ), whose name is not in the poem anymore. The title of the post is the title given by Greek Wikisource to this poem, and also its first extant line, which is the poem's second since the first one was torn away from the papyrus. The meter is rendered by stanzas of three lines with scheme -u-uu-u-||-u-uu-u-||-u-uu-uu-u-, with the first two lines rhyming and the last one rhyming between consecutive stanzas. The note is, again, a WIP-spoiler (yep, we're back there: after a no-note post, a WIP-spoiler-note post). [The note has since been added at the end of the post.] Ll. 16-17 were integrated with a quote from Athenaeus, and Greek Wikisource failed to realize that, reporting the quote as fragment 46, and this poem as an unnumbered fragment between 87 and 90 (yeah, the numbering there is dumb since it skips numbers and allows for unnumbered fragments), so that, as I translated the fragments more or less in GW order, I translated the quote separately, and then the poem. Those separate translations are reported after the poem. Let's get into it!


«[Ἄτθιδ’ οὔποτ’ ἄρ’ ὄψομαι,]
τεθνάκην δ’ ἀ̣δόλως θέ̣λω».
Ἄ με ψισδομένα κατ̤[ε]λί‹μ›πανεν

πόλλα, καὶ τόδ' ἔειπέ [μο]ι·
«ᾮμ' ὠς δεῖνα πεπ[όνθ]αμεν
Ψάπφ' μάν̣ σ̣' ἀέκοι̣σ̣' ἀ̣πυλιμπάνω»

Τὰν δ' ἔγω τάδ' ἀμειβ̣ό̣μαν
«Χαίροισ' ἔρχεο κἄ̣με̣θεν
μέμναισ̤'· οἶσθ[α] γὰρ ὤς ‹σ›' ἐπεδήπομεν.

Αἰ δὲ μή,͜ λλά σ' ἔγω θέλω
ὄ̣μναισαι (τὰ σὺ λ[ά]θεαι)
ὄ̣‹σ›' [μ]μες φ[ίλα] καὶ κάλ' ἐ̣πάσχομεν·

πό̤[λλοις γὰρ στεφάν]οις ἴων
καὶ [βρόδων κρ]ο̣κίων τ̣' ὔμοι
κ̣ά̣ρ̣ [σῷ] πὰρ ἔμοι π‹ε›ρεθήκα‹ο›,

καὶ πόλλαις ὐπαθύμιδας
πλέκταις ἀμπ' ἀπάλᾳ δέρᾳ
ἀνθέων ἐ̣ρ[άτων] πεποημμέ̣ναις,

καὶ πόλλῳ̣ λ̣[ιπάρ]ως μύρῳ
βρενθείῳ τ[ε κάλον] ‹χρόα›
ἐξαλείψαο κα[ὶ βα]σιληΐῳ,

καὶ στρώμν̤[αν ἐ]πὶ μολθάκαν
ἀπάλαν πὰρ [ὀπ]αυόν̣ων̤
ξίης̣ πόθο̣[ν αἶψα νε]ανίδ̣ων,

κωὔτε τις [λόφος οὔ]τ̣ε τι
ἶρον οὔδ' ὔ[δατος ῤέ]ον̤
πλετ' ὄππ̣[ποθεν ἄμ]μες ἀπ̣έσκομεν,

οὔκ ἄλσος τ[ι πὰρ εἴ]αρος
[ὤραις πλήροέ τις] ψόφος,
[ἀλλ' ἄμμεων γλύκιαι μ]ελαοίδιαι».



«[Mai più Attide rivedrò.]
Esser morta davver io vo’».
Ella molto piangendo da me vi͜a͜ andò,

Queste cose po͜i disse ͜[a me]:
«Quanto͜ abbiamo so[ffe]rto, a͜h͜imè!
Saffo;͜ inver controvoglia da te vi͜a vo».

I͜o risposi a le͜i così:
«Va’, sta’ bene,͜ e ricordati,
Deh, di me: quanto ben t’ho voluto, sa͜i.

Volentier ti ricorderò 10
[Quel che tu] scordera͜i, se no:
Bella͜ e [cara] la nostra vit’era assa͜i.

D’ viole molte ghirlande, sì,
E di ro[se͜ e di cro]chi, qui,
Presso͜ a me, [sul tu͜o capo] ponevi tu

E͜ intrecciate ipotimidi
Sul tuo tenero collo, qui,
Molte, d’ fiori a[mati], ponevi tu,

E di molto ͜[abbondante] pre-
zioso͜ unguento, adatto͜ a͜ un re,
[Il bel corpo] splendente facevi͜ a te,

E su͜ un morbido letto po͜i,
Presso ten’re [co]m[p]agne,͜ anc’ o͜i,
[Presto d’ verg]ini voglia cavavi͜ a te,

Né ͜[a collina] né ͜[a tempio] ma͜i
Né [a specchio di acqua] anda͜i
U’ non fossi andata di pri͜a con te,

Né ma͜i bosco [riempivasi,
Pri]mavera [vicina, di]
Chiasso, [ma d’ co]ri [dolci di me͜ e di te].




Κἀπάλαις ὐπαθύμιδας
πλέκταις ἀμπ' ἀπάλᾳ δέρᾳ.


Sul mol collo͜ ipotimidi
Intrecciate e morbide.
«[Ātthĭd’ ha͞ud spĕcĭ’ ūmquăm,] ăc
Mōrtŭ’ ēssĕ quĭdēm vŏlō.
Mūltās flēns lăcrĭmās ĕă īvĭt ābs

Mēquĕ, dīxĭt ĕt hōccĕ [mī]:
«P[āss]ǣ quām mălă, mē!, sŭmŭs,
Sāpph’; īnvīt’ ĕgŏ tē quĭdĕm ābs ĕō.»

Dīxīqu’ īps’ ĕgŏ hǣc ĕī:
«Vālēns īquĕ, mĕīquĕ tū
Mēmēntō, scĭs ĕnīm, vŏlŭī bĕnĕ.

Sīvĕ nōn, ĕgŏ tū vŏlō
([Qu’ ōblī]scērĭ’) rĕcūlt’ hăbe͞as
Quāntă [cārăquĕ] pūlchrăquĕ vīxĭmŭs;

[Cōrō]nās vĭŏlār’ ĕnĭm
Ēt rŏ[sû̄mquĕ crŏ]cû̄mquĕ mū[l-
tās tŭō căpĭtī] făcĭēns ĕrās,

Īntēxtās hy̆pŏthȳmĭdēs
Mūltās mōll’ hŭmĕrōquĕ, fāc-
tās c[ārō] tĭbĭ flōr’, ădĕrānt quĭdĕm.

Ūnguēntōquĕ rĕgāl’ ădūng-
gēbās [cōrpŭ’] tĭbī prĕtĭ-
ōsō [pūlchrŭm], ĕrāt quŏquĕ mūltŭm ĭd,

Lēctō mōllĕ sŭpēr, prŏpĕ
Tĕnĕrās cŏmĭtēs, cŭpĭ-
dĭnēm [vīr]gĭnŭm ābs [răpĭdē] iăci͞ens

Ĕrās tū, nĕquĕ [cōllĭ’] nĕc
Tēmplūm, [fōns] nĕquĕ [vēr’ ăquǣ]
Fu͞it, qu[ō n]ōs quĭd’ ădīrĕ vĭtārĭmŭs,

Nēc nĕmūs [prŏp’ hŏrās v]ĕrĭs
Rūmōr [plēnŭm hăbēbăt, ăt
Dūlcēs nōstr’ ĭn ĕīs rĕsŏnānt ch]ŏrī.



«[Atthis never again I’ll see,]
I in sooth wish I dead could be».
And with many a tear me she did forsake,

Then she told [me]: «Poor me! Alas,
We have su[ffe]red so great a mass,
Sappho: thee I unwilling indeed forsake».

This in answering her I said:
«Go, farewell, and of me be led
Mem’ry with thee: how much I thee loved, you know.

And, if not, shall I willinglỳ
Thee remind ([which] will go from [thee])
Through how much [nice] and good [we] indeed did go.

Many violet-garlands you,
And of [cro]cus and ro[ses] too,
Having made, [on your tender head] placed by me,

Hypothymids indeed a lot
’Round your tender neck you did put,
Interwoven from flowers so d[ear] to thee,

With much ointment [abundantlỳ],
Precious, regal indeed, to thee
[That so beautiful body] anointedst thou,

And upon a soft bed you lay
By your tender [gi]r[l-fri]ènds, away
Sending th’ longing [for virg]ins [’twixt now and now],

Neither [hill] nor [a temple] nor
[Water pool] that I’ve known before
Was there, far from the which we would keep our feet,

Nor [through] little wood, [near being s]pring,
[There did echo a] noisy thing,
[But through’t echoed our cho]ruses, [oh, so sweet].




Īntēxtās hy̆pŏthȳmĭdēs
Mōllēs mōllĕquĕ cērvīcĕ.


Plaited soft hypothymides
Place you round the soft neck of yours.


Critical note

First, the timeline. At the level of Bergk, we only have a quotation, and a "pseudoquotation". The former is Bergk 51, from Athenaeus's Deipnosophistai (for a change), book XV, reported by Bergk as saying «Ἐκάλουν δὲ καὶ οἷς περιεδέοντο τὸν τράχηλον στεφάνους ὑποθυμιάδας. Καὶ Σαπφώ· καὶ πολλαῖς ὑποθυμιάδας πλέκταις ἄντια παλαιδέραι». Now, the intro is "Garlands tied around the neck were also called "hypothymiads". And Sappho [says]". The quotation itself is ll. 16-17 in a rather corrupted state. The obvious corrections are applying barytonesis to πολλαῖς to get πόλλαις and correcting ὑποθυμιάδας to ὐπαθύμιδας, to a) get the meter working (glyconians here), b) apply Aeolic psylosis, c) recall that Aeolic has ὑπὰ for ὑπὸ. The second line is pretty badly garbled, and indeed there are two options: Bergk's ἀμπ' ἀπάλᾳ δέρᾳ, closer to the tradition, proposed by "Schweighaeuserus" (which I assume is a Latinized, umlaut-e form of Schweighäuser), and ἀντ' ἀπαλᾶν δεράν, which if read as ἀντ' ἀπάλαν δέραν for barytonesis is closer to the tradition for the ἀντ', but farther from it for the plural, and besides, ἀντὶ meas "face to face", so "hypothymids against the neck" when Athenaeus just said "tied around the neck"? Come on: surely it's ἀμφὶ, or ἀμπ' if we elide it and apply some weird psilosis to it. That kind of psilosis is weird because it does not stem from "ignoring a spiritus asper", since the phi is in the root preposition, but is justified (I assume) by guessing that the τι in the tradition stems from a misinterpreted π. Why Bergk decided to change καὶ πόλλαις to κἀπάλαις is beyond me. I mean, yeah, same adjective in the next line, but that ain't enough to alter the tradition when it makes perfect sense, is it now? Anyways, this gives exactly Greek Wikisource's fragment 46, which I assume stems from Bergk's edition, maybe through a number of intermediate transmission vehicles. Why Greek Wikisource failed to realize that this is blatantly a quote from the big poem, which GW has, is beyond me. All I can say is that I realized it after getting to the big poem, which was after fr. 46 (it was around 87ish), meaning I translated 46 and then came to the big 87ish and was like "Why the deformed quotation way before this poem?". The pseudoquotation is again from Athenaeus, and again from book XV, and is Bergk 55. Athenaeus says «Σαπφὼ δὲ ὁμοῦ μέμνηται τοῦ τε βασιλείου καὶ τοῦ βρενθείου, λέγουσα οὕτως· βρενθείω βασιληΐω», thus in codices, while "vulgo" has βρενθίῳ βασιλείῳ. While it is clear that Athenaeus referred here to ll. 20-21, this is not a direct quote, as the next source clearly reveals βασιληΐῳ in l. 21, and βρενθείῳ in l. 20, whereas the quote makes it seem like the same line had both. Already by Edmond's time, P.Berol. 9722 had emerged, and its fol[ium] 2 contained a lot of the poem. This papyrus (or rather parchment) is discussed at the transcriptions post, where the following text, combined with the quotation, is given:

Τεθνάκην δ' ἀ̣δόλω̣ς θέ̣λω
Ἄ με ψισδομένα κατ̤[ε]λί‹μ›πανεν
πόλλα, καὶ τόδ' ἔειπέ [μο]ι
ᾮμ' ὠς δεῖνα πεπ[όνθ]αμεν
Ψάπφ' μάν̣ σ̣' ἀέκοι̣σ̣' ἀ̣π{.}υλιμπάνω 5
Τάνδ' ἔγω τάδ' ἀμειβ̣ό̣μαν
Χαίροισ' ἔρχεο κἄ̣με̣θεν
μέμναισ̤' οἶ{ι}σθ[α] γὰρ ὤς ‹σ›' ἐπεδήπομεν
α̣ἰ δὲ μὴ λλά σ' ἔγω θέλω
ὄ̣μναισαι τὰ σὺ λ[ά]θεαι 10
ὄ̣‹σ›' [μ]μες φ[ίλα] καὶ κάλ' ἐ̣πάσχομεν
πο̤[ 10 letters ]οις ἴω
καὶ [ 9 letters κρ]ο̣κίων τ̣' ὔμοι
κ̣ά̣ρ̣ [ 9 letters ] πὰρ ἔμοι π‹ε›ρεθήκα‹ο›
καὶ π̣ό[λλαις ὐπα]θ̣ύμιδας 15
πλέκ[ταις ἀμφ' ἀ]πάλᾳ δέρᾳ
ἀνθέων ἐ̣ . [ 5 letters ] πεποημμέ̣ναις
καὶ πόλλῳ̣ λ̣[ιπάρ]ως μύρῳ
βρενθείῳ . [ 6 letters ] . . . . νν̣ . .
ἐξαλείψαο κα[ὶ βα]σιληΐῳ 20
καὶ στρώμν̤[αν ἐ]πὶ μολθάκαν
ἀπάλαν πα . [ 6 letters ] . . . ν̣ων̤
ξίης̣ πόθο̣[ν 6 letters ] . νίδ̣ων
κωὔτε τις [ 5 letters οὔ]τ̣ε τι {τ̣ι̣}
ἶρον οὔδ' ὐ[ 7 letters ] . ν̤ 25
πλετ' ὄππ̣[ποθεν ἄμ]μες ἀπ̣έσκομεν
οὔκ ἄλσος . [ 8 letters ] . ρος
[ 20 letters ] ψόφος
[ 18 letters μ]ελαοίδιαι

From Edmonds' text, it seems the image I have includes a fragment which was found between Edmonds and Lobel-Page, and joined to P.Berol. Indeed, the image of P.Berol. shows hints of several possible joint lines. If there was another scrap, it would explain why Edmonds seems to ignore the line endings on some lines in the second half of the poem. I relegated this here because I don't have any certainty that the "Lobel Σ.μ. p. 79" mentioned by Campbell as a source for this actually gave those ends. Edmonds' text has missing line endings from l. 21 to its end, and it omits ll. 25-30 for some reason. It exhibits a not-too-careful critical notation, and some reading creativity. Anyways, «then came I to gaze upon this», as I said in another post with a spoiler in the critical note. So here is your spoiler with what I wrote in the Paracritical Note.



Note that I have tacitly corrected a couple of blatant mistakes in the text above. Let us see where I got my fillings from.
  • L. 1 is straight-up invented by Edmonds, who not only invented the line, but also the psi he says is visible in the papyrus.
  • From there to l. 10, everything is pretty much standard.
  • The underlined letters in l. 11 are the result of fitting a completion found on, I assume, Greek Wikisource to the vestiges in the papyrus. It may have stemmed from Edmonds originally.
  • Same goes for l. 12.
  • Ll. 13-14 are completed this way by Campbell too.
  • L. 15 is the result of fitting a completion found on Rosati's Scrittori di Grecia Antica to the papyrus, realizing that it was possible to have a rho at the start (cfr. transcriptions post).
  • Ll. 19 and 21 are standard.
  • L. 20 is from GW I guess, and is rendered impossible by the papyrus, but I had to stick with it because it's what I translated.
  • Ll. 16-17 are integrated with Athenaeus's quotation.
  • L. 18 is completed as in GW (I assume). Other options are ἔ[κατον] and ἔ[βαλες], the last one being Campbell's.
  • L. 22 is standard.
  • L. 23 is from GW I suppose.
  • L. 24 is just the straightforward πόθο[ν, the very reasonable and papyrus-text-suggested νε]ανίδων, and a guessed filler for the missing two syllables, again from GW I suppose.
  • The following stanza has a funny story. None of my sources completed it, except for the horrid safopoemas, which had it as:

    χωΰτε τις[λόγος οδ]τε τι Τρον ούδ' ύ[δατος ρ6χ]
    ϊπλετ' όπ π [όθεν Εμ]
    μες άπέσχομεν

    Amending this Gibberish in a natural way leads to:

    κωὔτε τις [λόγος οὔ]τε τι
    ἶρον ούδ' ὔ[δατος †ρ6χ†]
    ἔπλετ' ὄππ[όθεν ἄμ]μες άπέσκομεν

    The translation in safopoemas reads:

    Y no hubo colina profana | And there was no profane hill
    o sagrada, ni fuentes de aguas | Or sacred, nor springs of water
    a donde no hayamos ido | Where we haven't gone to

    This suggests λόγος may be a typo / OCR error / whatever for λόφος, "crest of a hill" according to Perseus's Greek Word Study Tool. The word ρ6χ does't immediately suggest any recostruction that matches "springs". I don't know exactly what I did, but eventually ῤέον, "running", presented itself, interpreted as "running body" or "stream": close enough. Coming back to this, I thought of ῥόος, same meaning. It appears, however, that Voigt knew the origins of these completions. Specifically, the supposed λόφος is probably the χόρος (oh my OCR…) proposed by Diehl in a work of his, whereas the supposed ῤέον/ῤόος is Edmonds' work, when in an article he wrote he proposed ῤόα, same meaning. I kept my guesses because that is what I translated, but the double-underdot nu in the papyrus is a (not too strong) argument in favor of ῤέον.
  • The last stanza is my own phantasy, except maybe for εἴαρος and μελαοίδιαι. While I know I'm not the first to propose the latter, I don't know if anyone thought of the former.
If anyone is curious, I prepared a two-part Lobel-Page vs. Voigt vs. Campbell comparison, and here are part 1 and part 2. And that concludes my note, I guess. Note that I didn't bother updating the bracketing of the translations, at least not yet. Any mismatch is because of that: the bracketing in the Greek changed a lot when I took the critical notation from the papyrus transcription.
The last thing to note is that, in Voigt's critical note to l. 19, there is a suggestion of [τε κόμαν or ῥύ[δο]ν at line end, and that made me think of βρενθείῳ τ[ε κόμαν] κάλαν {ν̣ . .} as a possibility, which fits the traces in the papyrus. I can't do that here because of the translations, but I will adopt this reading for the all-Sappho posts.

Saturday, 6 January 2018

Ode to a beautiful woman

Today we stick to Sapphic stanzas with this poem by Sappho from P.Oxy. 1231 fr. 14, a papyrus discussed in the transcriptions post. The completion is essentially by Edmonds, with one or perhaps more minor tweaks by me. The tweak I have in mind is that I didn't double the nu in φύν' in l. 6, a doubling that made no sense to me because there were no metrical requirements for it and I had no other justifications for it. Oh, and that I avoided the synaeresis (or should I say something like synekphonesis?) of ἔμοι and οὐ in l'6 by putting an elision in its place. That was probably why I originally had Μοι τότ' οὐ φύν' there, but really, an enclitic at line start is not pretty. Another reason may have been to avoid the doubled tau in τόττ', another unjustified doubling, just like ὄττα. But I couldn't avoid the latter without discarding the completion. I even adopted the reading ἔρωτος ἤλγει instead of ἔρωτος ἤδη to have a complete phrase there, a choice apparently justified by doubtful readings in the papyrus. The last stanzas is completed by me. The translations are in the usual meters. Let's go!


. . . . . . . . . .
. . . . . . . . . .
. . . . . ]ἔ̣ρωτος ἤλ̣γ̣[ει
. . . . .

ὄττα γάρ κ’ ἐνάν]τ̣ιον εἰσίδω σ[ε,
Τόττ’ ἔμ' οὐ φύν’ Ἐ]ρμιόνα τεαύ[τα
φαίνεται,] ξάνθᾳ δ’ Ἐλένᾳ σ’ ἐΐσ̣[κ]ην
[οὖδεν ἄει]κες,

[αἰ θέ]μ̣ις θνάταις· τόδε δ’ ἴ̣σ̣[θι]· τᾷ σᾷ
[καλλόνᾳ] παίσᾱν κέ μ̣ε τᾶν μερίμνᾱν
[ταὶς θυή]λ̣αις ἀντιδ[όναι, πό]θοις δὲ̣
[παῖσί σε τίην·

’Ᾱχέροντος δ’ ἐς δροσόεν]τ̣ας ὄχθοις
[κὰθ θανοίσας βᾶν κε σέθεν, σέθεν] τ’ αἶν’
[αὔξετ’ ὤς μοι ἔστι τε, παν]νυχίσ̣[δ]ην
[σύν τέ σ’ ἔρημαι].


[–u–x–uu–u–x
–u–x–uu–u–x
–u–x–u] soffr[ì] d’amore
[–uu–x

Se] t[i] miro͜ [innan]zi, [allor mi pare
Ch’E]rmïone͜ a te non si͜a stata pa[re],
Te͜ alla bionda Elena si[mi]l fare
[Giust]o [cred’io,

Se]͜ una donna [p]uò; sap[pi] questo, cara:
Colla tu͜a [bellezza] i͜o ripag[ara]
D’ogne cura [’l du]olo, [risposta dara
A͜ ogni di]sìo.

[D’Acheronte͜ alla rugi͜ad]osa costa
[Morta te andre͜i, tra le dive [posta
Ti farò com’ so, presso a me te posta
Vo’ tut]ta no[t]te.
[–u–x–uu–u–x
–u–x–uu–u–x
–u–x–u] ămōrĕ pās[ā’st
–uu–x

Nāmquĕ] t[ē mē ān]tĕ vĭdēns, [tĭbīmĕt
Nōn vĭdētŭr Hē]rmĭŏnē quĭdēm pār,
Sīmĭlēm blōndǣqu’ Hĕlĕnǣ t’h[ăbē]rĕ
[Nīl mĭhĭ tūr]pĕ,

[Sī f]ăs ēst mōrtālĭbŭ’; sc[ī]quĕ hōccĕ:
[Bēllĭtātī] tu͞a [săc]răm ōmn’ ăg[ām] me͞am
Pœ̄năm, āc [dēs]īdĕrĭīs quĭdēm [tē
Ōmnĭbŭs ōptō;

Rōrĕ plē]nās [ādqu’ Ăchĕrōntĭ’] rīpās
[Mōrtŭā t’ īrēmquĕ, tŭāmquĕ] fāmăm
Crēscăm ūt lĭcēt, hĭŏ] nō[c]tĕ [cūnc]tā
[Tē prŏp’ hăbērĕ].


[–u–x–uu–u–x
–u–x–uu–u–x
–u–x–uu] suffer[ed] love
[–uu–x

[When] I see y[ou] standing [bef]ore me, dear,
[Then I think He]rmïone [was not] near
[To you], and to Helen the blonde thee near
Pla[ci]ng [seems right,

If] to mortals [gra]nted; and kn[ow] you this:
Any [sacr]ifice, for your [beauty’s bliss]
I woul[d pay] of grief, [yours is any wi]sh
[That have I might.

To the river Acheron’s dew]y shores
[If you died I’d go, and to you] fame[’s doors
As I can I’ll op’n, a whole] ni[g]ht [indoors
With you I crave].

Wednesday, 3 January 2018

Being left

Here is another bit of parting sorrow: two songs, one in Mandarin, one in Min Nan, the dialect version of the Mandarin one, both titled "Tomorrow" in their respective languages, that is 明天 | míngtiān and 明仔載 | bîn-á-tsài, both translated to English, the latter in late Dec 2017, probably on the 28th, and the former way back before May 14, 2013, probably in that spring.


看着你离开
心里涌上了悲哀
对你情似海
如今却要分开
不管未来
不管多少的无奈
你有我
还有我
在遥远未来
我静静的等待

你不在
世界一片空白
你不在
爱的眼泪流成海
希望你的明天
看见幸福的将来
我的爱永远
在等待

所有从开始,
然后从“你不在”
Kànzhe nǐ líkāi
Xīn lǐ yǒngshàngliǎo bēi'āi
Duì nǐ qíng sì hǎi
Rújīn què yào fēnkāi
Bù guǎn wèilái
Bù guǎn duōshǎo de wúnài
Nǐ yǒu wǒ
Hái yǒu wǒ
Zài yáoyuǎn wèilái
Wǒ jìngjìng de děngdài

Nǐ bù zài
Shìjiè yī piàn kòngbái
Nǐ bù zài
Ài de yǎnlèi liú chéng hǎi
Xīwàng nǐ de míngtiān
Kànjiàn xìngfú de jiānglái
Wǒ de ài yǒngyuǎn
Zài děngdài

Suǒyǒu cóng kāishǐ,
Ránhòu cóng “nǐ bù zài”


Watching you leave me
My heart's grief is gushing free
My love's like a sea
But now you will leave me
Whate'er may be
Howe'er helpless I may be
You'll have me
Still have me
All eternity
I will wait quietly

Without thee
All the world is empty
Without thee
My love's tears become a sea
I hope your tomorrow
WIll a happy future see
My love always will
Wait for thee




送妳送到这儿
是我最大的勇气
惜妳惜命命十分珍惜
妳当做靠山予
按怎怎么
管好歹的心情
妳有我
妳有我
嫁别人
我只有金金睁大眼睛

明仔載明天
妳就离开我
明仔載明天
妳是别人的心肝
希望你的眼神
看见幸福的将来
我对妳的爱
寄托孤单

所有从开始,然后*
Sàng lí sàng kàu tsia
Sī guá tsuè tuā ê ióng-khì
Sioh lí sioh-miā-miā
Hōo lí tòng-tsuè khò-suann
M̄-kuán án-tsuánn
M̄-kuán hó-pháinn ê sim-tsiânn
Lí ū guá
Lí ū guá
Lí beh kè pa̍t-lâng
Guá tsí-ū kim-kim-khuànn

* Bîn-á-tsài
Lí tio̍h beh lī-khui guá
Bîn-á-tsài
Lí sī pa̍t-lâng ê sim-kuann
Hi-bāng lí ê gán-sîn
Khuànn-kìnn hīng-hok ê tsiong-lâi
Guá tuì lí ê ài
Kià-thok koo-tuann

Sóo-ū tsîng khai-sí, liân-āu *


Being with you so far
Is the best I dare to do
Deeply I love you
You think I just support you
No matter how,
Or how things will be for you
I'm here for you,
Here for you
If you marry, I
Can but watch you so do

*Just a while
And I'll be left by you
Just a while
There'll be someone else with you
I hope that your feelings
Will a happy future see
For my love for you
I give to solitude

All from start, then *

Intimate strangers: powerful love

Back to English with this beautiful Chinese song translated to English late in the evening of July 2 2017, where a once powerful love has created a great contradiction, evident in the title 最熟悉的陌生人 | Zuì shóuxī de mòshēngrén, "Most intimate strangers", and a lot of grief and solitude. Then on 11/3/18 in the evening I wanted to add Turkish to the languages on this blog, so I chose this song and translated the first 4 lines. In the afternoon of 11/4 I did 4 more, and between 28 and 29/4 I did the rest. I sent it to my Turkish friend, and on 7/5 we reworked it by translating the English version below into Turkish. on the evening of 13/6 and furing the whole 14/6 until ~17:30 I metabolized the reworking and tried to fit it better to the music. Below I give the original, the rework, and the for-now final revision.


还记得吗
窗外那被月光染亮的海洋
你还记得吗
是爱让彼此把夜点亮
为何后来我们
用沉默取代依赖
曾经朗朗星空
渐渐阴霾

心碎离开
转身回到最初荒凉里等待
为了寂寞
是否找个人填心中空白
我们变成了世上
最熟悉的陌生人
今后各自曲折
各自悲哀

只怪我们爱得那么汹涌
爱得那么深
于是梦醒了
搁浅了
沉默了
挥手了
却回不了神
如果当初在交会时能忍住了
激动的灵魂
也许今夜我不会让自己在思念里
沉沦

心碎离开
转身回到最初荒凉里等待
为了寂寞
是否找个人填心中空白
我们变成了世上
最熟悉的陌生人
今后各自曲折
各自悲哀

只怪我们爱得那么汹涌
爱得那么深
于是梦醒了
搁浅了
沉默了
挥手了
却回不了神
如果当初在交会时能忍住了
激动的灵魂
也许今夜我不会让自己在思念里
沉沦

我们变成了世上
最熟悉的陌生人
今后各自曲折
各自悲哀

只怪我们爱得那么汹涌
爱得那么深
于是梦醒了
搁浅了
沉默了
挥手了
却回不了神
如果当初在交会时能忍住了
激动的灵魂
也许今夜我不会让自己在思念里
沉沦

也许今夜我不会让自己在思念里
沉沦



Do you recall
That sea lit up by the moon outside the window
Do you still recall
How we lit each other’s night thanks to love
Oh why did we later
With silence replace our trust
Such a brightly lit sky
Slowly turned foggy

With broken hearts
We split and turned to wait again in desolation
For solitude
Did you look for someone to fill you heart’s void
The most familiar strangers
Of all we have now become
Each of us will now walk
His own sad maze

It’s just ‘cause our love surged up so violent
And so very deep
Then we woke up,
Got stranded,
And waved hands,
And stayed silent,
But could not recover
But if at the beginning we could have held back
Our stormy souls
Maybe I would not be here tonight sinking into my
Pining

With broken hearts
We split and turned to wait again in desolation
For solitude
Did you look for someone to fill you heart’s void
The most familiar strangers
Of all we have now become
Each of us will now walk
His own sad maze

It’s just ‘cause our love surged up so violent
And so very deep
Then we woke up,
Got stranded,
And waved hands,
And stayed silent,
But could not recover
But if at the beginning we could have held back
Our stormy souls
Maybe I would not be here tonight sinking into my
Pining

The most familiar strangers
Of all we have now become
Each of us will now walk
His own sad maze

It’s just ‘cause our love surged up so violent
And so very deep
Then we woke up,
Got stranded,
And waved hands,
And stayed silent,
But could not recover
But if at the beginning we could have held back
Our stormy souls
Maybe I would not be here tonight sinking into my
Pining

Maybe I would not be here tonight sinking into my
Pining
Hái jìde ma
Chuāng wài nà bèi yuèguāng rǎnliàng de hǎiyáng
Nǐ hái jìde ma
Shì ài ràng bǐcǐ bǎ yè diǎnliàng
Wèihé hòulái wǒmen
Yòng chénmò qǔdài yīlài
Céngjīng lǎnglǎng xīngkōng
Jiànjiàn yīnmái

Xīnsuì líkāi
Zhuǎnshēn huí dào zuìchū huāngliáng lǐ děngdài
Wèile jìmò
Shìfǒu zhǎo ge rén tián xīn zhōng kòngbái
Wǒmen biànchéngle shì shàng
Zuì shóuxī de mòshēngrén
Jīn hòu gèzì qūzhé
Gèzì bēi'āi

Zhǐ guài wǒmen ài de nàme xiōngyǒng
Ài de nàme shēn
Yúshì mèngxǐngle
Gēqiǎnle
Chénmòle
Huīshǒule
Què huí bùliǎo shén
Rúguǒ dāngchū zài jiāohuì shí néng rěnzhùle
Jīdòng de línghún
Yěxǔ jīnyè wǒ bù huì ràng zìjǐ zài sīniàn lǐ
Chénlún

Xīnsuì líkāi
Zhuǎnshēn huí dào zuìchū huāngliáng lǐ děngdài
Wèile jìmò
Shìfǒu zhǎo ge rén tián xīn zhōng kòngbái
Wǒmen biànchéngle shì shàng
Zuì shóuxī de mòshēngrén
Jīn hòu gèzì qūzhé
Gèzì bēi'āi

Zhǐ guài wǒmen ài de nàme xiōngyǒng
Ài de nàme shēn
Yúshì mèngxǐngle
Gēqiǎnle
Chénmòle
Huīshǒule
Què huí bùliǎo shén
Rúguǒ dāngchū zài jiāohuì shí néng rěnzhùle
Jīdòng de línghún
Yěxǔ jīnyè wǒ bù huì ràng zìjǐ zài sīniàn lǐ
Chénlún

Wǒmen biànchéngle shì shàng
Zuì shóuxī de mòshēngrén
Jīn hòu gèzì qūzhé
Gèzì bēi'āi

Zhǐ guài wǒmen ài de nàme xiōngyǒng
Ài de nàme shēn
Yúshì mèngxǐngle
Gēqiǎnle
Chénmòle
Huīshǒule
Què huí bùliǎo shén
Rúguǒ dāngchū zài jiāohuì shí néng rěnzhùle
Jīdòng de línghún
Yěxǔ jīnyè wǒ bù huì ràng zìjǐ zài sīniàn lǐ
Chénlún

Yěxǔ jīnyè wǒ bù huì ràng zìjǐ zài sīniàn lǐ
Chénlún
Hatırlıyor musun?
Okyanusu ki mehtap tarafindan aydınlatılıyordu...
Hâlâ hatırlıyor musun?
Ki aşk aydınlatıyordu gecelerimiz?
Niçin sonunda bağlı olmak ile
Mi yalnızlığı değiştirmedik?
Parlak olmuş gökyüzüyü
Adım adım oldu sisli

Gönüllerimiz kırdılar
Ve ayrıldık, ve gene yalnızlıkta bekleriz
Yalnızlığin yüzünden
Dolduracak birini aradın mı?
En samimi yabancılar
Dünyada olduk
Bundan böyle ikisi
Üzgün olacağiz

Hepsi çünkü aşkımız çok çalkantılıydı
Ve çok derindi
Sosunda uyandık, ayrıldık, sessiz olduk, el sallandık,
Ama anlamadık
Eğer başlangiçta taıştığımızda durabildik
Heyecanlı ruhlarımız
Belki bunda gecede büyük özleme
Batmadım

Gönüllerimiz kırdılar
Ve ayrıldık, ve gene yalnızlıkta bekleriz
Yalnızlığin yüzünden
Dolduracak birini aradın mı?
En samimi yabancılar
Dünyada olduk
Bundan böyle ikisi
Üzgün olacağiz

Hepsi çünkü aşkımız çok çalkantılıydı
Ve çok derindi
Sosunda uyandık, ayrıldık, sessiz olduk, el sallandık,
Ama anlamadık
Eğer başlangiçta taıştığımızda durabildik
Heyecanlı ruhlarımız
Belki bunda gecede büyük özleme
Batmadım

En samimi yabancılar
Dünyada olduk
Bundan böyle ikisi
Üzgün olacağiz

Hepsi çünkü aşkımız çok çalkantılıydı
Ve çok derindi
Sosunda uyandık, ayrıldık, sessiz olduk, el sallandık,
Ama anlamadık
Eğer başlangiçta taıştığımızda durabildik
Heyecanlı ruhlarımız
Belki bunda gecede büyük özleme
Batmadım

Belki bunda gecede büyük özleme
Batmadım
Hatırlıyor musun
Pencerenin dışında ayın aydınlattığı denizi?
Hâlâ hatırlıyor musun
Birbirimizin gecesini aşk sayesinde nasıl aydınlattığımızı?
Sonra, neden birbirimize
Güvenmek yerine sessizleştik?
Öylesine parlak bir gökyüzü
Yavasca sislendi

Kırık kalplerle
Ayrıldık ve tekrar yalnızlaştık
Yalnızlığında
Kalbinin boşluğunu doldurması için birini aradın mı?
Olduk şimdi
Dünyadaki en samimi yabancılar
Yürüyecek her birimiz şimdi
Kendi üzgün labirentinde

Çünkü aşkımız çalkalandı
Ve öylesine derin
Bu arada uyandık
Karaya oturduk
Ve el salladık
Ve sessizleştık
Fakat iylleşemedik
Ama eğer en başında dizginleyebilseydik
Bizim fırtınalı ruhlarımızı
Belki bu gece burada olmamalıyım
Yalnızlığa gömülürken

Kırık kalplerle
Ayrıldık ve tekrar yalnızlaştık
Yalnızlığında
Kalbinin boşluğunu doldurması için birini aradın mı?
Olduk şimdi
Dünyadaki en samimi yabancılar
Yürüyecek her birimiz şimdi
Kendi üzgün labirentinde

Çünkü aşkımız çalkalandı
Ve öylesine derin
Bu arada uyandık
Karaya oturduk
Ve el salladık
Ve sessizleştık
Fakat iylleşemedik
Ama eğer en başında dizginleyebilseydik
Bizim fırtınalı ruhlarımızı
Belki bu gece burada olmamalıyım
Yalnızlığa gömülürken

Olduk şimdi
Dünyadaki en samimi yabancılar
Yürüyecek her birimiz şimdi
Kendi üzgün labirentinde

Çünkü aşkımız çalkalandı
Ve öylesine derin
Bu arada uyandık
Karaya oturduk
Ve el salladık
Ve sessizleştık
Fakat iylleşemedik
Ama eğer en başında dizginleyebilseydik
Bizim fırtınalı ruhlarımızı
Belki bu gece burada olmamalıyım
Yalnızlığa gömülürken

Belki bu gece burada olmamalıyım
Yalnızlığa gömülürken
Hatırlıyor musun
Pencerinin dışında ayın aydınlattığı denizi?
Hâlâ hatırlıyor musun
Gecelerimizi aşk nasıl bizi aydınlattırtığı?
Birbirimize güvenmek
Yerine neden sessizleştik?
Öyle parlak bir gökyüzü
Yavaşça sislendi

Kırık kalplerle
Ayrıldık ve tekrar yalnızlaştık
Yalnızlık için
Kalbini dolduracak birini aradın mı?
Şimdi olduk dünyadaki
En samimi yabancılar
Şimdi her birimiz
Üzgünleşecek

Çünkü aşkımız öyle çalkantılılaştık
Ve öyle derinleştik
Bu yüzden uyandık,
Karada oturduk,
Sessizleştık
Vedalaştık,
(Fakat) farkındalaşmadık
Eğer en başında dizginleyebilseydik
(Bizim) fırtınalı ruhlarımızı
Belki bu gece olmamalıyım özleme
Gömülürken

Kırık kalplerle
Ayrıldık ve tekrar yalnızlaştık
Yalnızlık için
Kalbini dolduracak birini aradın mı?
Şimdi olduk dünyadaki
En samimi yabancılar
Şimdi her birimiz
Üzgünleşecek

Çünkü aşkımız öyle çalkantılılaştık
Ve öyle derinleştik
Bu yüzden uyandık,
Karada oturduk,
Sessizleştık
Vedalaştık,
(Fakat) farkındalaşmadık
Eğer en başında dizginleyebilseydik
(Bizim) fırtınalı ruhlarımızı
Belki bu gece olmamalıyım özleme
Gömülürken

Şimdi olduk dünyadaki
En samimi yabancılar
Şimdi her birimiz
Üzgünleşecek

Çünkü aşkımız öyle çalkantılılaştık
Ve öyle derinleştik
Bu yüzden uyandık,
Karada oturduk,
Sessizleştık
Vedalaştık,
(Fakat) farkındalaşmadık
Eğer en başında dizginleyebilseydik
(Bizim) fırtınalı ruhlarımızı
Belki bu gece olmamalıyım özleme
Gömülürken

Belki bu gece olmamalıyım özleme
Gömülürken