Friday, 27 April 2018

Back to reality: some things are impossible, and some best avoided

We had myths in the last post, now we get back to reality. Let us see what we have today:
  1. We start off with the "impossible things" sections, which begins with Sappho Edmonds 53, Lobel-Page 52, Campbell 52; this is a quote from Herodian, περὶ μονήρους λέξεως (On Peculiar Words), which goes «Σημειῶδες ἄρα τὸ οὐρανός, ὅτι ἤρξατο ἀπὸ φύσει μακρᾶς· Ἀλκαῖος δὲ εἰς ὧ ἀποφαίνεται τὸ ὄνομα – καὶ Σαπφώ· Ψαύειν δὲ οὐ δοκεῖ μοι ὠρανῶ δυσπαχέα» (οὐρανός, sky, is remarkable, because it begins with a [syllable that is] long by nature; Alcaeus sends the noun forth to an ω (i.e. starts it with omega, ὠρανός); and Sappho: I don't think I will touch the sky, ill-armed [as I am]; note: δυσπάχεα does not appear in Perseus, so I analyzed it as a negative prefix δυσ-, "ill-", "not well-", and πᾶχυς, "arm"); now that is inmetrical, so corrections must come in; Bergk 15 reads «ψαύην δ' ἐπε' οὐ δοκεῖ μοι / ὠράνω δυσπάχεα», thus making it part of a Sapphic stanza and keeping the omega start for "sky"; however, this version doesn't convince me, because it not only adds a word, but elides it in a weird way, cutting off half a diphthong which, in Sappho's time, was AFAIK read as a long monophthong; back in the days, I didn't even know the idea existed; then we have Edmonds 53, who emends the "sky" to starting with an omicron and δοκεῖ μοι to δοκίμωμι, as is now universally accepted AFAICT, but then ends the line with ὀράνω ἔσσα διπάχεα, showing some creativity; his version translates as «I don't think I will touch the sky, being two cubits [tall]»; then Lobel-Page (numbering it 52) emends in those ways and leaves δυσπάχεα as a locus desperatus, and in the critical note expresses doubts on the form ὀράνω and suggests that δοκίμοι μ' and other similar forms are possible; Campbell 52, finally, essentially has the same things, plus stating Bergk suggested δύσι πάχεσιν at the end, which probably happened in a different Bergk edition of Sappho, since the one I have definitely doesn't have such a suggestion; anyways, what I found was Campbell + δύσι πάχεσιν, which gives me a glyconian expanded with two dactyls, the same meter as Hector and Andromacha, rendered in exactly the same ways in the translations;
  2. We then have another impossible thing with Edmonds 72, Lobel-Page 56, Campbell 56; this is yet another quote, this time from Chrysippus' περὶ ἀποφατικῶν (On Negatives), which reads «εἰ Σαπφὼ οὕτως ἀπεφήνατο· Οὐδ' ἴαν δοκίμοιμι ecc» (If Sappho negated this way: [quotation]); so it appears the only correction to the manuscript tradition, already done in Bergk 74 and taken up by the other editions, was δοκίμοιμι -> δοκίμωμι; nothing to see here then; oh wait: Edmonds has σοφίᾳ and ποι in l. 2, while Lobel-Page and Campbell have τεαύταν in l. 3; whatever I chose was probably Greek Wikisource; the meter is the greater Asclepiad, rendered as 9+7 syllables with rhymes both internal and external in English and Italian (which is unlike the usual rhythm imitation practice which would lead to –u–uu– –uu– –uu–u–), and simply kept in Latin;
  3. Then we start the far more numerous advice section with Sappho advising her daughter not to lament (a death?); this is Edmonds 108, Lobel-Page 150, Campbell 150; this is a quote from Maxymus of Tyre's Orations, reading «Ἀναίθεται [ὁ Σωκράτης] τῇ Ξανθίππῃ ὀδυρομένῃ, ὅτι ἀπέθνησκεν, ἡ δὲ [Σαπφὼ] τῇ θυγατρί· οὐ γὰρ θέμις ἐν μουσοπόλων οἰκίᾳ θρῆνον εἶναι, οὐκ ἄμμι πρέπει τάδε» ([Socrates] was angry with Xanthippe for lamenting when he was dying; [Sappho] says to her daughter: it is not right that there be lamentation in a house that serves the Muses, this doesn't befit us»; apart from emending to Aeolic dialect (ἔμμεν) and introducing a potential (οὔ κ' ἄμμι πρέποι) at the end, Campbell doesn't change anything, leaving οἰκίᾳ as locus desperatus; he notes that Hartung suggested δόμῳ to fix the meter in l. 1, and that Lobel suggested swapping τάδε and πρέποι; this is indeed the only text difference between Campbell and Lobel-Page; Bergk 61 fiddles with the text, producing the lesser Asclepiads «Ἀλλ' οὐ γὰρ θέμις ἐν μοισοπόλῳ οἰκίᾳ / θρῆνον ἔμμεναι· οὐκ ἄμμι πρέπει τάδε»; Edmonds fiddles a little less: «Οὐ γὰρ θέμις ἐν μοισοπόλῳ οἰκίᾳ / θρῆνον θέμεν· οὐκ ἄμμι πρέπει τάδε», obtaining ionians a maiore by putting θέμεν for ἔμμεν and making a little fix in l. 1; this is essentially what I have, probably straight off Greek Wikisource; the meter is kept in Latin, and imitated as – –uu– –uu–u– in English and Italian;
  4. We go on with another «it is not right» (this time οὐδὲ θέμις) with Lobel-Page and Campbell 71; this is from P.Oxy. 1787 fr. 6 and an addendum from P.Oxy. XXI; I won't go into the details of the possible restorations given by Campbell and Lobel-Page, I'll just say I probably chose whatever Bibliotheca Augustana gave and translated it; note also that The Rest of Sappho, in fr. 6.A.v, has a fusion of this with some other fragments taken from an Italian anthology, might want to check that out too; the meter was supposed to be ionians a maiore again, same rendering as before;
  5. Next is a sorta-kinda piece of advice, if the restoration I adopted (probably from Bibliotheca Augustana) is correct; this is from P.Oxy. 1356 folium 4a, and is Lobel-Page and Campbell 139; the papyrus apparently reads «θέοιδ[...].νεσω.[...].τι̣καδακ[... / θ̣ε̣[.].[.]η̣λ̣[.]...[      ]ηλα[.......», so my restoration involves supposing a missing sigma in l. 1; the meter I saw was x–u–x–u–uu–ux, and that is what I kept or imitated depending on target languages;
  6. «May the gods immediately praise the tearless», said the previous fragment; so praise to someone who can control the outbursts of their sadness; and talking about outbursts, we move to Edmonds 137 Lobel-Page 158 Campbell 158, a piece of advice about controlling one's words during fits of anger; this is a quote from Plutarch, reading «Ἐν ὀργῇ σεμνότερον οὐδὲν ἡσυχίας οὔσης, ὡς ἡ Σαπφὼ παραινεῖ, σκιδναμένης ἐν στήθεσιν ὀργῆς πεφυλάχθαι γλῶσσαν μαψυλάκταν» (In times of anger nothing is more revered than silence, as Sappho advises: as anger spread through my heart I guarded my fast-barking tongue); the text in the quote is inmetrical and implying something to support that perfect infinitive; Bergk emends to μαψυλάκαν γλῶσσαν πεφύλαχθαι, fixing the meter but keeping the implied something; Edmonds emends to γλῶσσαν μαψυλάκαν πεφύλαχθε, fixing the implied something problem with a perfect imperative, but giving l. 2 a different meter than l. 1; Lobel-Page prints the quote text, adding that «recte monet Bergk infin[itivum] esse Plutarchi» (Bergk correctly warns that the infinitive is Plutarch's); Campbell, following Seidler (mentioned also by Lobel-Page) emends to μαψυλάκαν γλῶσσαν πεφύλαχθαι, which is probably the Bibliotheca Augustana text I translated, and has the implied something problem, but solves the meter problem; the Paracritical Note only notes the implied something problem; the meter I saw was –uu–x–uu–x, two adonians, and that is what I kept in Latin; the other translations use mere hendecasyllabics with rhymes; also, it seems I have a two anaclases, one double and one single, in l. 2 of the Latin version, which scans –uu–uu– – –u;
  7. We keep on the theme of rage with Sappho claiming she has a simple soul not prone to rage; this is Bergk 77, Edmonds 74, Lobel-Page and Campbell 120, and is a quote from the Etymologicum Magnum, reading «Ἀβακής· κέχρηται αὐτῷ Σαπφώ, οἶον· Ἀλλά τις οὐκ ἔμμεν παλιγκότων ὀργάνων ἀλλ' ἀβακὴν τὰν φρένα ἔχω, ἀντὶ τοῦ ἡσύχιον καὶ πρᾷον» (ἀβακής, "gentle"; Sappho used it thus: "But I am not one of those spiteful with rage, but I have a calm heart", instead of "silent and mild"); Bergk, Lobel-Page and Campbell correct the text the same way as me; Edmonds additionally emends παλιγκότων to παλίγκοτος, which is very sensible, but I keep the text I started from (probably Bibliotheca Augustana); the meter is xx–uu––uu–ux (lesser Asclepiad), and was kept or imitated;
  8. The next poem, in Edmonds' restoration which I took up, has a similar claim to the above; this is Edmonds 35 and Lobel-Page and Campbell 3, and is from P.Berol. 5006 (first 10 lines) and P.Oxy. 424 (the rest); given that I just took the notation from Bibliotheca Augustana and the restorations from Edmonds, I won't say what Lobel-Page and Campbell do; I just note that both sources have been transcribed, and that Diehl has a wholly different restoration, which I will, if I remember, report at the end of the post, with an English translation (not poetic); the meter is Sapphic stanzas, and is rendered as usual;
  9. The previous fragment, if Edmonds' restoration is correct, has καλοκἀγαθία (kalokagathia) expressed in the beginning, when Sappho says «κωὐ κάλων κἄσλων» (and not the handsome and good); this concept is very well expressed in Bergk 102 Edmonds 58 Lobel-Page 50 Campbell 50, a quote by Galen's Exhortation to learning reading thus: «Ἄμεινον οὖν ἐστιν, ἐγνωκότας τὴν μὲν τῶν μειρακίων ὥραν τοῖς ἠρινοῖς ἄνθεσιν ἐοικυῖαν, ὀλιγοχρόνιόν τε τὴν τέρψιν ἔχουσαν, ἐπαινεῖν καὶ τὴν Λεσβίαν λέγουσαν· Ὁ μὲν γὰρ καλὸς ὅσσον ἰδεῖν πέλεται, ὁ δὲ κἀγαθὸς αὐτίκα καὶ καλὸς ἔσται» (it is not better, since we know the time around 20 years of age is like spring flowers, and has short-lived enjoyment, to commend the Lesbian poet when she says: for he who is handsome stays [handsome] only when he is seen, but he who is also good will immediately also be handsome); the only controversy is how to fix the "[handsome]", that is, the fact that πέλεται seems to be missing a predicate noun; Bibliotheca Augustana follows Campbell and Lobel-Page in adding κάλος at the end of l. 1; Bergk adds ἀγαθός; Edmonds changes the line to «Ὀ μὲν γὰρ κάλος <εἴς κάλος> ὄσσον ἴδην πέλει»; in any case these are glyconians expanded with two dactyls, like Hector and Andromacha aka Sappho 44, and are rendered the same way; oh, according to the Paracritical Note we have the version κὔστερον ἔσσεται somewhere, perhaps TCPOS or Greek Wikisource;
  10. Speaking of καλοκἀγαθία (kalokagathia), we proceed with Bergk 83 Edmonds 100 Lobel-Page and Campbell 148, which expresses a similar concept, substituting handsomeness and goodness with money and virtue; I do not report the quote because it merely paraphrases the text; I do not discuss controversies because I only mention I took The Complete Poems of Sappho's l. 1, which carries out the easy fix to the meter there by adding τᾶς in front of ἀρέτας, and fiddled with l. 2 autonomously to reach the same meter while keeping the concept of the locus desperatus found in that line – I also got the alternate version ἀ δ' ἀμφοτέρων κρᾶσις ἔχ' εὐδαιμονίας τὸ ἄκρον; said meter is is ionians a maiore, kept or imitated in the translations;
  11. Talking about money, we move to an advice not to boast about a ring; this link is probably my fantasy, as the advice wasn't to boast about the richness of the woman's partner, but rather that he was going to marry her; in any case, this is Bergk 39 Edmonds 51 Lobel-Page inc. 5 v. 2 Campbell inc. 5(a), and it's a quote from Herodian (cfr. another fragment here) reading «Ἐφυλαξάμην δὲ διαλέκτους διὰ τόδ'· ἄλλ' ἄν μοι μεγαλύνεο δακτυλίῳ πέρι» (I went cautious on dialects because of this: but boast about a ring with me); Bergk removes the ἄν, Edmonds corrects it to ὂν like the others, Edmonds also doubles the nu in μεγαλύνεο and makes δακτυλίῳ into a genitive as the others; I honestly don't see why one should split τόδ' and get a locus desperatus with a weird δ' at the start of the line, instead of reading τόδ' and eliminating that problem; in other words, why should one create Campbell and Lobel-Page's problem instead of adopting Edmonds' solution? Because they didn't like an elision before a high dot, I assume; well I like a locus desperatus even less :); in any case, the meter is glyconians expanded with two dactyls, for which ditto to above; oh I also noticed the emendation of μοι to μὴ, which is decidedly appropriate, is there in Bergk, stops after Edmonds, and restarts in TCPOS or Bibliotheca Augustana; that is what I followed back in the days of translation;
  12. Speaking of rings and marriage, here comes a piece of advice: find a younger bride than me, for I am old; this is Bergk 49, Edmonds 99, Lobel-Page 121, Campbell 121, and is a quote from Strobaeus reading «Σαπφοῦς· Ἀλλ' ἔων φίλος ἄμμιν λέχος ἄρνησον νεώτερον οὐ γὰρ τλάσομ' ἔγω ξυνοικεῖν νέ' οὖσα γεραίτερα» (by Sappho: [quote]); now Bergk's emendation features a few correct corrections which were followed by others, but also νέῳ εὖσα, which features the non-Aeolic εὖσα (Doric only AFAIK), and was corrected by Edmonds to νέῳ ἔσσα, with synekphonesis, and also a smart fix in the ἄμμεσιν, which was doffed for some reason; Lobel-Page and Campbell read ἔοισα γεραίτερα, and that is what got to me, though Edmonds' version is closer to the tradition; if I were to work on this now, I'd go for «Ἀλλ' ἔων φίλος ἄμμεσιν / λέχος ἄρνυσο νεώτερον / οὐ γὰρ τλάσομ' ἔγω συνοί- / κην νέῳ ἔσσα γεραίτερα», but that is not what I did back then; I kept the Campbell text, except trying to get my glyconians back by splitting λέχος between lines and having ἄρνῡσο, which would be metri causa since the natural length is ἄρνῠσο; as glyconians, these are kept in Latin and imitated by –u–uu–u– in English and Italian;
  13. We end with a generic piece of advice: live quietly and don't mess around; this is Bergk 114 Edmonds 78 Lobel-Page 145 Campbell 145; it is a quote from a scholarly commentary on the Argonautics by Apollonius of Rhode, reading «χέραδες λέγονται οἱ σωροὶ τῶν μικρῶν λίθων - μέμνηται καὶ Σαπφώ· Μὴ κενὴ χεράδος (heaps of small stones are called χέραδες, "jetsam" – Sappho also remembers this: stir not the jetsam); I admit I took "jetsam" off Edmonds; another source for the same quote gives μὴ κίνει χέραδας, generating a controversy: χέραδος or χέραδας? The latter was chosen by Bergk and Edmonds, and I would choose it now as it looks like an accusative, while the genitive-looking former was Lobel-Page and Campbell's choice, for reasons I cannot comprehend; the meter is xx–uu–, a partial glyconian, and that was kept or imitated; I may have chosen the apparent genitive out of laziness, I don't remember;
  14. The above fragment is a nice summary to the next poem, which is far closer to us than all the above Sappho, both in time and in language; the post ends with Chaucer's Balade de bon conseyl, or Ballad of good advice, which definitely fits into this advice post, and is delightfully welcomed because it requires no critical note whatsoever :).
With all that done, let's get to the poems!

Ψαύην δ' οὐ δοκίμωμ' ὀράνω δύσ‹ι› πάχε‹σιν›.

Io non oso toccar colle mi͜e düe braccia͜ il ciel.

Οὐδ' ἴαν δοκίμωμι προσίδοισαν φάος ἀλίω
ἔσσεσθαι σοφίαν πάρθενον εἰς οὐδένα πω χρόνον

Credo͜ impossibil ch’una che      a ’l sol vedere vale
Possa͜ ancor ma͜i vantar per sé      abilità cotale
In qualche tempo.

οὐ γὰρ θέμις ἐν μοισοπόλων ‹δόμωι›
θρῆνον θέμεν· οὔ κ’ ἄμμι πρέποι τάδε.

Presso͜ un che le Muse serve non si pu͜ò
Far lamento; né a no͜i s’addice ci͜ò.

[. . . . . . οὐδὲ θέ]μις σε Μίκα
[. . ]ελα[ . . ] ἀ̣λ̣λά σ’ ἔγωὐκ ἐάσω
[… τὰ]ν̣ φιλότ[ατ’] ἤλεο Πενθιλήᾱν̣[
[. . . . . ]δᾰ κᾰ̣[κό]τροπ’, ἄμμα[
[. . . . . . . ] μέλ̣[ος] τι γλύκερον . [u–x 5
. . . . . . . ]α μελλιχόφων[ος –x
x–uu, – –u ἀεί]δει, λίγυραι δ᾽ ἄη[ται
. . . . . . . . . . . ] δροσ[ό]εσσα[–x]

[x–uu – –uu – né li]ce che tu, Mica,
[x–uu – –uu –] ma non ti lascerò [x
[x–uu – l]’amo[re]͜ ha͜i scelto delle Pentilée
[x–uu – –uu – –u] ma[li]gne, veste
[x–uu – –uu – –] qualche dolce can[to 5
x–uu – –uu – –] dalla dolce vo[ce
x–uu – –uu can]ta, e stridenti bre[zze
x–uu – –uu – –] rugi[͜a]dosa [–x]

θέοι δ’ [ἐπαι]νέσ‹σ›ω[σιν αὔ]τικ’ ἀδακ[ρυτον]
θε[. . .]ηλ[. . . . . . . . . . . . . . . . . . . . . . . ]ηλα[

E chi non pi[ange] i divi [su]bito [lo]di[no]
x–u– x–u –uu –ux

σκιδναμένας ἐν στήθεσιν ὄργας
μαψυλάκαν γλῶσσαν πεφύλαχθαι.

Mentre la rabbia mi prendeva ’l cuore
Frenat’ho alla lingua ’l van clamore

xx ἀλλά τις οὐκ ἔμμι παλιγκότων
ὄργαν, ἀλλ᾽ ἀβάκην τὰν φρέν’ ἔχω. ux

xx non m’inasprisco nella rabbia i͜o,
No, ché l’animo mio semplice s’è. ux

. . . . . . . . . .
. . . . . . . . . .
. . . . . . . . . .
. . . . . ] δώσην. 4

Αἰ κλ]ύτων μέν τ’ ἐπ[πότεαι πεδ’ ἄνδρων
κωὐ κ]άλων κἄσλων, [νέπεις δὲ χαίρην
τοὶς φί]λοις, λύπης τέ μ[ε, σοὶ γένεσθαι
φαὶς ἔ]μ’ ὄνειδος, 8

ἦτορ] οἰδήσαις, ἐπὶ τα̣[ῦτ’ ἀρέσκε͜ο
καρδ]αν· ἄσαιο· τὸ γὰρ ν̤[όημμα
τὦ]μον οὐκ οὔτω μ[αλάκως χόλᾳ παί-
δων] διάκηται· 12

ἀλλὰ] μὴ̣ δ̣ό̣αζε· [γέροντας ὄρνῑς
οὐκ ἄγρη βρό]χ̣ις· συνίημ[’ ἔγω σε
οἶ πρὶν ἐσπό]λ̣ης κακότατο[ς, οἴῳ
δ’ ἀντετέθη]μεν 16

δαΐῳ. Σὺ δ’ ὦ]ν ἀτέραις, με[μήλων
λῳόνων, τίθ]η φρένας· εὔ[κολον γὰρ
νῶν τράφοισ]α̣ τοὶς μάκα[ρας σάφ’ οἶδ’ ἔ-
μοι παρέοντας.] 20

Ch’eg̣ḷị darà. 4

[Se] re[sta͜i co͜i no]bili, [non] co͜i buoni
Né co͜i [b]elli tu, ed a[uguri buoni
Agli͜ a]mici [dà͜i], e dolor [mi] doni
Poi ch’, [orgogli͜oso] 8

Fatto, [m]e tuo bi͜asimo [dici], [’l cuo]re
[Godati],͜ e si sazi, po͜iché [l’umore
Nero de͜i fanci͜ul] non ha nel [m]i͜o c[uore]
F[acile] sposo; 12

Dubbi non avere: [gl’uccelli vecchi
Trap]pola [non prende]; so cogl’orecchi
[A qual gra]nde male [se͜i giun]to,͜ [e͜ a me chi
È contrappo]sto, 16

[E qual si͜a; tu dun]que ’l tuo cuore mu[t]a
[Con migli͜ori] c[ure; po͜i ch’]i͜o, [cresciut]a
Po͜i [c’ho mente] se[mplice, so, m’aiuta
Ogni di͜o tosto]. 20

ὀ μὲν γὰρ κάλος ὄσσον ἴδην πέλεται ‹κάλος›,
ὀ δὲ κἄγαθος αὔτικα καὶ κάλος ἔσ‹σε›ται.

Chi bell’è, sol per farsi veder, ‹bello› resterà,
Chi͜ invec’anche buon’è, bello subito pur sa‹r›à.

Ὀ πλοῦτος ἄνευ ‹τᾶς› ἀρέτας οὐκ ἀσίνης πάροικος,
Τᾷ δ' ἀμφοτέρων κράσ‹εϊ› εὐδαιμονίας τό ‹γ’› ἄκρον

Il denaro senza ‹la› virtù non è sicur compagno,
L’uso di entrambi di letizi͜a ha sicur guadagno.

{δ’} ἀλλὰ μὴ μεγαλύν‹ν›εο δακτυλίω πέρι.

Ma tu non ti vantar dell’anello ch’al dito ha͜i.

ἀλλ᾽ ἔων φίλος ἄμμι λέ-
χος ἄρνῡσο νεώτερον·
οὐ γὰρ τλάσομ’ ἔγω συνοί-
κην ἔοισα γεραιτέρα.

Ma, essendomi ͜amato, tu
Prendi giovane sposa, orsù:
’Nfatti io non ti sposerò,
Caro, po͜i ch’i miei͜ anni ho.

μὴ κίνη χέραδος

Ghi͜ai͜a lasci͜a dov’è

Flee fro the prees and dwelle with sothfastnesse;
Suffyce unto thy good, though it be small,
For hoord hath hate, and climbing tickelnesse,
Prees hath envye, and wele blent overal.
Savour no more than thee bihove shal,
Reule wel thyself that other folk canst rede,
And trouthe thee shal delivere, it is no drede.

Tempest thee noght al croked to redresse
In trust of hir that turneth as a bal;
Gret reste stant in litel besinesse.
Be war therefore to sporne ayeyns an al,
Stryve not, as doth the crokke with the wal.
Daunte thyself, that dauntest otheres dede,
And trouthe thee shal delivere, it is no drede.

That thee is sente, receyve in buxumnesse;
The wrastling for this world axeth a fal.
Her is non hoom, her nis but wildernesse;
Forth, pilgrim, forth! Forth, beste out of thy stal!
Know thy countree, look up, thank God of al;
Hold the heye wey and lat thy ghost thee lede,
And trouthe thee shal delivere, it is no drede.


Therfore, thou Vache, leve thyn old wrecchedness;
Unto the world leve now to be thral.
Crye him mercy, that of his hy goodnesse
Made thee of noght, and in especial
Draw unto him, and pray in general
For thee, and eek for other, hevenlich mede;
And trouthe thee shal delivere, it is no drede.
Cǣlō tēndĕrĕ brāchĭă tāct’ ĕgŏ nōn cōnōr.

I dare not try to touch the big sky with my two small arms.

Nōn crēdō pŏtĭs ūmquām fĭĕrī lūcĕm hăbēnt’ ōclīs
Sŏlīs pu͞ellăm hăbēr’ ūllăm ĕām tēmpŭ’ pĕrītĭăm
Tālēm su͞am.

I think that ne’er a girl that look      upon the sun’s light does
Upon such skill will get to look:      this thing in no time was,
And in none will be.

Fās nōn ĕnĭm ēst po͞etăë̆ īn ‹dŏmū›
Quĕrī; nĕquĕ vōs hǣc dĕcĕānt quĭdĕm.

No lament’s allowed where a Muse-servant lives.
Nor to you as rightful any god this gives.

[x–uu – –uu –] tē [nĕquĕ] Mīcă [fā]s ēst
[x–uu – –uu sē]d nōn ĕquĭdēm sĭnām tē
Ămīcĭt[ĭām –uu] lēxtī tĭbĭ Pēnthĭlēăm
[x–uu – –uu – –u] mă[lī]gnă, vēstĭs
[x–uu – –uu] quīdām [uu] cān[tŭ’] dūlcĭs.
[x–uu – –uu –] vō[cĕ]quĕ dūlcĭ’ [–x
x–uu – –uu cān]tāt, strĭdŭlīquĕ vē[ntī
x–uu – –uu – –uu] rōr[ĕ] plēnă[

[x–uu, – –uu, – – and nor c]an you, Mica,
[x–uu, – –uu, – –u] but I won’t let you
[x–uu, –] you chose the friends[hip] of the Penthile͜an girls
[x–uu, – –uu, – –] ev’[li]sh [–u] dress [x
x–uu, – –uu] some sweet so[ng] [u, –u–x 5
x–uu, – –uu, – –u] the sweet-voic[ed –x
x–uu, – –u is sin]ging, and the screeching breezes
[x–uu, – –uu, – –uu] d[e]wy [–x]

[La͞u]dē[nt] dĕī nūllās qu’ hăbēt lăc[rĭmās stă]tĭm
x–u– x–u –uu –ux

And m[ay] th' Gods him who [sheds] no tea[rs very] quickly [pra]ise
x–u– x–u –uu –ux

Cōrdă rĕplēnt’ īrā rĕtĭnu͞issĕ
Īnmĕdĭtātă lătrāntēm līnguăm.

As rage was taking over all my heart,
I stopped fast-barking tongue’s noise’s a part

Ēxăcērbŏr ĕg’ īr’ ha͞ud, mĭhĭ sīmplĭcĕm
Mēntēm c’ īps’ hăbĕām. –uu–ux

xx I do not get stubborn in anger, no,
For the mind that I have simple is. –ux

Ēssĕ dătūrụ̆m. 4

[Sī vĭrīs nō]tīs [nĕquĕ sī b]ŏnīs tū
Ātquĕ pūlchrīs stā[squĕ, iŭbēs vălērĕ
Tu͞os ă]mīcōsqu’, āc mĭ[hĭ] dās dŏlōrĕm,
[M]ē [tĭbĭ dīcēns] 8

Rēprĕhēnsĭōnĭ’, [sŭp]ērbĭā, hī[s
Ga͞udĕāt cō]r; sē plĕăt; āc [mĭ]hī năm
Cō[gĭtāti͞o] sīc f[ăcĭl’] ha͞ud căpīt [bī-
lēm pŭĕrōrŭm;] 12

Dūbĭ’ ha͞ud hăbē: [lăqu]ĕūs năm [āvēs
Nōn căpīt sĕnēs; ĕgŏ tē] scĭō [quăm
Māgnă] māl[ă fēcĕ]rĭs [ātquĕ quāntŭm
Cōntr’ ĕgŏ pōn]ăr 16

[Hōstĕm. Ērgō] pēctŏră mūt[ă], cū[rās
Mēlĭōrēs dāns tĭbĭ;] sīm[plĭc’ īpsă
Mēntĕ āltā pērbĕnĕ sci͞o] bĕā[tōs
Mēcŭm ădēssĕ]. 20

[–u] will give. 4

[If with no]ble men, [not] with good or [n]ice
You do s[tay], and w[ish all your fr]iends [a nice
Time], and grief do give m[e, for, pr]oud, not wise,
You to me [say 8

I’ve become your] tell-off,[ your he]art [enjoy
All] th[is may;] and be satisfied; [a boy
Is m]y h[eart] not e[asily] made, [a boy
Raging away;] 12

Don’t you doubt [though: never did old a bird
By a tr]ap [get caught]; fully well [I’]ve heard
[How gre]at ill [you’ve come to, and ’tis not blurred
To me what foe 16

I’]ve [against; you there]fore, with be[tter care
In it,] chan[ge] your heart; [for, since I do bea]r
Easily [contempted a mind, th’ go]ds [bear
Help t’ me, I know]. 20

Vīsū, pūlchĕr ĭ’ qu’ ūnŭm ădēst, ĭtă sōl’ ĕrĭt,
Quī bōnū’st quŏquĕ, pūlchĕr ĕrīt stătĭm ētiăm ĭs.

He who’s beautiful, ‹beautiful› just to be seen will stay,
Who’s good too, he w‹il›l also be beautiful right away.

Āt dīvĭtĭǣ, vīrtŭs ĕīs nī, tĭbĭ dānt pĕrīclă;
Āt lǣtĭtĭǣ māgnŭm ădēst ūsŭ’ ĕārŭm āmbû̆m.

Money without virtue is indeed a very dang’rous neighbour,
But if you do use the two of them you’ll surely be much gayer.

Sēd nĕ tū glŏrĭārĕ vĕlīs t’ ănŭlō tŭō.

Don’t go round full of pride for the ring on your finger there.

Nōbīs sēd cŭm ămātŭ’ sīs
Spōns’ hăbē iŭvĕnēm tĭbī:
Nūbĕr’ ha͞ud pătĭār tĭbī
Ĕnīm, sīm sĕnĭōr c’ ĕgŏ.

But, beïng my beloved, to find
Younger wife than I am do mind:
I won’t suffer to marry you
For I’ve lived for years quite a few.

Glārĕām nĕ mŏvē

Leave the jetsam alone

Flee from the crowd and dwell with certainty;
Suffice unto thy good, though it be small,
For hoard hath hate, and wealth uncertainty,
Crowd has envy, and wealth deceives in all.
Enjoy no more than what befit thee shall,
Rule well thyself that other folk canst read,
And truth then shalt thee save, it is no dread.

Trouble thee naught all crooked to redress
In trust of it which turneth as a ball1;
Great slumber stays in little business.
Be careful not to kick against an awl,
Strive not, as doth the crock against the wall
Control thyself, that control others’ deed,
And truth then shalt thee save, it is no dread.

What thee is sent, get in submissiveness;
The fighting for this world asks for a fall.
Here is no home, here’s naught but wilderness;
Forth, pilgrim, forth! Forth, best out of thy stable!
Know thy country, look up, thank God of all;
Keep the high way, and let thy ghost thee lead,
And truth then shalt thee save, it is no dread.


Therefore, thou Vache2, leave thy old wretchedness;
Unto the world now stop your being slave.
Cry him mercy, that of his high goodness
Made thee from nothing, and in specïal
Draw unto him, and pray in general
For thee, and also all heavenly made;
And truth then shalt thee save, it is no dread.

1 bal, in middle English, indicated any round body; in this case, hir that turneth as a bal refers to the wheel of Fortune.
2 Possibly a courtier known to Chaucer who was out of favour for several years in the late fourteenth-century (Sir Philip de la Vache, 1348–c.1408).

Extras: alternate restoration of Edmonds 35 Lobel-Page 3 Campbell 3

[–u–x– δοκίμοις χάριν μοι
οὐκ ἀπυ]δώσην

[συμφ]ύτων μέντ' ἐπτ[ατόνοις λύραισι
καὶ κ]άλων κἄσλων ἐ[πέων ἀπέλλης
τοὶς φί]λοις, λύπης τέ μ[ε –u–x
εἰς ἔ]μ' ὄνειδος.

[–u] οἰδήσαις ἐπί τ' [u–x
–u]αν ἄσαιο· τὸ γὰρ [νόημμα
τὦ]μον οὐκ οὔτω μ[αλάκως πρὸς ὄργαν
σὰν] διάκηται.

...]. μη̣δ̣ [...
[–u–x– you would refuse] to give
[me your favour.

You summoned those d]ear to w[ords
b]orn [for] seven-noted lyres, beautiful and good,
and of sorrow m[e …
to m]y reproach.

[–u] change to [u–x
–u] satiate yourself: for my [thought
does not so s[oftly] indulge
[to its rage.]

...]. nor(?) [...

Monday, 23 April 2018

Mythic’lly good? Let’s hear some myths!

Today we change time period and subject completely. In the last post, the song said «It was as good as a mythical story». So I thought I'd go on and draw a couple myths from Sappho. More precisely, we have:
  1. An in pompa magna start with the grand oath (μέγαν ὄρκον) sworn by Artemis in Sappho Edmonds 152, Lobel-Page Alcaeus 304, Campbell 44A; a single half-line, ἀϊπάρθενος ἔσσομαι, was quoted by Cramer's Anecdota Græca to show how the Aeolians (Αἰολεῖς) say ἀεὶ «τριχῶς», "in a threefold manner"; I honestly have no clue what that is supposed to mean, considering the quote is either corrupted or not this poem; indeed, the meter requires ἀϊ, which has nothing threefold whatsoever; in any case, the quote, found as ἀεὶ πάρθενος ἔσομαι, was corrected to the present form already in Bergk 97, minus splitting ἀϊ from πάρθενος, a split that was corrected by Edmonds; sometime after Edmonds, P.Fouad. 239 was published by Lobel and Page and assigned hesitantly to Alcaeus (hence it being an Alcaeus fragment in the Lobel-Page edition Poetarum lesbiorum fragmenta), and Treu argued for Sappho's authorship, with Campbell agreeing with him and possibly restoring the missing beginnings of the papyrus lines (except for l. 1); the glyconian expanded with two dactyls is kept in Latin and imitated as –u–uu–uu–uu–u– in Italian and English, with rhymes between consecutive lines; I don't know why this fragment was reconstructed to have this meter, but that is what I had;
  2. We then have a one-liner, a quotation found in book 13 of our dear old Deipnosophistæ by Athenaeus; it seems that there are no controversies whatsoever about this, not even in the manuscript tradition, which is rather a unique than a rare event; so from our in pompa magna grand oath we move towards love, with friendship being the first form of love we meet; this is Bergk 35, Edmonds 140, Lobel-Page 142 and Campbell 142; the rhythm of the hexameter was kept in the Italian and English, and the Latin version is a hexameter;
  3. We then pass through Leda finding an egg; now l. 1 of that fragment is uncontroversial, there are just a couple minor fixes done to the tradition; l. 2 is "whoever prints it does whatever they want", basically; I mean, the single words are uncontroversial, but we have Bergk's πεπυκάδμενον εὔρην ... ὤϊον, apparently the closest to the tradition, then Campbell's reordering ... ὤϊον εὔρην πεπυκάδμενον, then Edmonds' creative πεπυκάδμενον ὤϊον / εὔρην, and probably other versions around the internet; I propose my own take, probably reworking Greek Wikisource and Bibliotheca Augustana; this is Bergk 62, Edmonds 97, Lobel-Page 166 and Campbell 166; note that, under the influence of Greek Wikisource and Bibliotheca Augustana, and because eggs are white and not hyacinth-colored (which means a kind of violet, or more precisely the color of hyacinth), I chose to turn ὐακίνθινον, accusative singular going with the egg, to ὐακινθίνων, genitive plural going with the flowers, which are also straight out of Greek Wikisource and Bibliotheca Augustana; the Latin version is in lesser asclepiads, and the rhythm of those lines is preserved in the Italian and English, with the first two lines rhyming, and the last line on its own;
  4. We then proceed to love-related fragments, with a one-line quote found in Strabo's Geography, a line from a poem addressed to Aphrodite which mentions possible homelands for Aphrodite; I have kept the text from the tradition, but emending ἢ Πάφος to καὶ Πάφος is justified both because Paphos is a city in Cyprus, and because of Alcman's fragment about Aphrodite (Bergk 10); Edmonds' Αἴ σε is not really justified, and is Edmonds-only; this is Bergk 7, Edmonds 5, Lobel-Page 35 and Campbell 35; Latin uses a Sapphic hendecasyllabic, Italian and English simply a hendecasyllabic;
  5. The following fragment is not properly a myth, but rather an invocation to Hecate; I place it in the love-related series because Hecate is called "servant of Aphrodite"; now the reference seems to say this is from a book called Piety written by Philodemus, but the way the fragment is presented suggests the source had holes; perhaps this work came to us in a fragmentary form on papyri, and we know it existed because someone mentioned it, and this particular source is assigned to that mention? In any case, the source appears to read «]φωιδετη[ / χρυσοφαηθερ[ / ]αναφροδειτ[», which was amended by Edmonds (and Lobel-Page and Campbell followed suit) to read «Σαπφὼ δὲ τὴν θεὸν· χρυσοφάην θεράπαιναν Ἀφροδίτας», that is «Sappho (calls) the goddess: golden servant of Aprhodite»; now Edmonds then proceeded to argue that this was an indirect reference to a part of an invocation, which he reconstructed as «Χρυσοφάνης ὦ Ϝεκάτα θεράπνα / Ἀφροδίτας», «O Hecate, golden servant / Of Aphrodite», as the beginning of a Sapphic stanza; Lobel-Page and Campbell are more cautious, and keep the papyrus text as «χρυσοφάη‹ν› θερ[άπαιν]αν Ἀφροδίτ[ας», and I follow suit because, well, that is what I found and translated from Bibliotheca Augustana, and I don't even know if I saw Edmonds' version; this is Edmonds 24, Lobel-Page incerti auctoris 23, and Campbell incerti auctoris 23; the Greek text scans as –uu–uu–u–u––, so dactyl+dactyl+trochee+trochaic meter was the meter I took for the Latin, and the rhythm I imitated in English and Italian;
  6. Finally, an account of Eros coming down from heaven; this is Bergk 68, Edmonds 69, Lobel-Page 54 and Campbell 54; the manuscript tradition (this is a quote from Pollux's Vocabulary, book 10) has «ἔλθοντ' ἐξ ὀράνω πορφυρίαν ἔχοντα προϊέμενον χλάμυν»; Bergk already had it emended by deleting ἔχοντα, which Edmonds Lobel-Page and Campbell follow suit in doing, but Greek Wikisource doesn't, ending up with messy meter which is why I deleted it, and changing προϊέμενον to περθέμενον, the most popular choice and the one I adopted out of following Bibliotheca Augustana and Greek Wikisource, with only Edmonds trying to adhere to the tradition as much as possible and having προιέμενον, which makes «wearing a purple mantle» actually say «sending forth his purple mantle»; I don't know why περθέμενον is so popular, given that προιέμενον exists and is closer to the codices; I asked about this on Stack Exchange, but nothing so far; but whatever; the translation imitate the rhythm of the original meter, or keep the meter in the case of Latin.
So here we go!

.. ]σανορεσ . . [
Φοίβῳ χρυσοκό]μᾳ, τὸν ἔτικτε Κόω κ[όρα
μίγεισ’ εὐρυβίᾳ Κρ]ονίδᾳ μεγαλωνύμῳ
[ Ἄρτεμις δὲ θέων] μέγαν ὄρκον ἐπώμοσε·
5 «[νὴ τὰν σὰν κεφά]λαν, ἀϊπάρθενος ἔσσομαι
[ἄδμης οἰοπό]λων ὀρέων κορύφαισ᾽ ἔπι
[θηρεύοισ’· ἄγι καὶ τά]δε νεῦσον ἔμαν χάριν».
[ὢς εἶπ’· αὐτὰρ ἔνευ]σε θέων μακάρων πάτηρ,
[πάρθενον δ’ ἐλαφάβ]ολον ἀγροτέραν θέοι
10 [ἄνθρωποί τε κάλε]ισιν ἐπωνύμιον μέγα.
[κήνᾳ λυσιμέλης] Ἔρος οὐδάμα πίλναται·
] . [ . ] . . . . α̣φόβε[ . . ] .́ .ω·

[Ad Apollo͜ a͜ure͜a chio]ma, che fece la Ce[ide
Con Z]e͜us [forza immane]͜ e dal nome assa͜i celebre
Gran [divin] giuramento giurò͜ un giorno ͜[Artemide]:
5 «[Per la te]sta [tu͜a], vergine sempre i͜o resterò,
Per le cime de’ monti [solin]ghi [i͜o caccerò],
[Vergin]: per mïo͜ amore tu [que]sto concedi,͜ [orsù]».
[Disse;] de͜i be͜ati dè͜i ’l grande padre [conces]se ciò.
Cacciatrice di [cervi] e [vergin] la [chiam]ano
10 Dè͜i [e uomini], con questo͜ assa͜i grande titolo.
[A le͜i] mai s’avvicina [per scioglier sue membra] Amor.

Λάτω καὶ Νιόβα μάλα μὲν φίλαι ἦσαν ἔταιραι.

Niobe͜ invero͜ e Latona carissime s’erano͜ amiche.

Φαῖσι δή ποτα Λήδαν ὐακινθίνων
εὔρην ὤϊον [ἀνθέ͜ων] πεπυκαδμένον

Inver dicon che Leda͜ un uovo un dì trovò:
Ricoperto [da fiori] di giacinto fu
Che ’l trovò.

Ἤ σε Κύπρος ἢ Πάφος ἢ Πάνορμος.

O Cipro͜ o Pafo te, oppur Panormo.

χρυσοφάη‹ν› θερ[άπαιν]αν Ἀφροδίτ[ας

L’a͜urisplendente an[cel]la d’Afrodit[e

Ἔλθοντ' ἐξ ὀράνω πορφυρίαν περθέμενον χλάμυν.

Lui dal ciel venne giù, clamide di porpora͜ aveva su.

[Phœ̄bō a͞urĭcŏ]mǣ, gĕnŭīt qu’ ĕă p[u͞ellă] Cœ͞i,
[Pērfōrtī I]ŏvĕ [mīxtă], ĭ’ nōmĭnĕ māgnŭ’ quĭd’,
[Ārtĕmīsquĕ dĕû̄m] săcrămēntă săcra͞it săcră:
[Căp]ĭt’ īps’ ĕgŏ vīrgĭnĭ’ sēmpĕr ĕrō [tŭō],
[Sōlĭtā]rĭû̆m īnquĕ căcūmĭbĕ mōntĭŭm
[Vēnābōr: t’, ăgĕ, hǣ]c mĭhĭ dēs, mĕj ămōrĕm ŏb».
[Dīxīt; ātquĕ] bĕāt’ ĕă de͞ûm gĕnĭtōr [dĕd]ĭt,
[V]ēnāntēm quŏquĕ [cērvû̆m, ămīcăm] ĕām dĕī
[Nōn ūllī hŏmĭnēsquĕ fĕr]ūnt, tĭtŭl’ āltŭm, ā.
[Sōlvĭcōrpŏr] Ămōr prŏpĕ ūmquăm ĭt ha͞ud [ĕăm].

[Phœbus golden in h]air, whom the dau[ghter] of Cœus did bear
[Mixed with Zeus] son of [Cr]onus, [the strongest,] of famous name,
[Artemis] did the great [godly] oath once a-hear to swear:
«[For thy head], I indeed always bear will a virgin’s name,
[Hunting] up on the [soli]t’ry mountaintops I will go,
[Virgin]; but you, [come on], grant me [th]is for the sake of me».
[Thus she spoke]; ’twas the happy Gods’ father who [gran]ted so,
[Virgin], killer [of deer], and the huntress now [cal]led is she
By [both people] and Gods, with that title so great; and, hear,
[To her body-dissolver] not ever does love go near.

Lātōn’ ēt Nĭŏbē quĭd’ ĕrānt cārīssĭm’ ămīcǣ.

Niobe and Latona did share a very dear friendship.

Dīcūnt ōlĭm ĕām Lēd’ hy̆ăcīnthĭnīs
Cōntēct’ ōv’ ĕquĭdēm [flōrĭbŭ’] rēppĕrīss’

Under hyacinth flow’rs they say that Leda did
Once an egg indeed find which flowèrs fully did

Tēvĕ Cȳprŭs a͞ut Păphŭs a͞ut Pănōrmŭs.

Cyprus thee or Paphus or Panormus.

A͞urĭnĭtēnt’ Ăphrŏdīt[ĭs] īll’ ān[cīll]ăm

Golden-a-shining of Aphrodit[e] young ha[ndma]id

Īndūtūs clămy̆dēm pūrpŭrĕ’ ēx cǣrŭlĕ’ hūc vēnĭt.

He came down from the sky in a chlamys purple as he was clad.

True love

From the "Ballad of true love", which is the song in the last post, the step to a Shakespeare sonnet about what true love is is indeed very short, and that is why today I bring you Let me not to the marriage of true minds, a sonnet by Shakespeare which I translated to Italian… oh wait, I thought it dated back to like 2009, but it doesn't exist yet! Time to think about it then, on 23/4/18, right? I translated the couplet and the first quatrain around 20:45, then the rest shortly after 22. Let's see!

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.

O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark,
Whose worth's unknown, although his height be taken.

Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.

If this be error and upon me prov'd,
I never writ, nor no man ever lov'd.
Ch'io mai al matrimonio delle menti
Ammetta ostacol. Ciò non è amore
Che cambia quando trova cambiamenti,
O lungi va s'è lungi l'amatore.

Oh no! È un segno che sta sempre fisso
Che guarda le tempeste e mai si scuote;
Ad ogni nave in mare guida è desso,
Ignoto nel valor, di altezze note.

Non è giullar del Tempo, pur se gote
E labbra alla sua falce strada fanno;
In ore o mesi non cambia sue note:
Nell'aldilà ugual lo troveranno.

Quando si mostri a me che ciò è sbagliato,
Mai non ho scritto né mai nullo ha amato.

Sunday, 22 April 2018

Amore mio lontano

Ritorniamo sul tema della mancanza con questa canzone indonesiana che si intitola Ling Ling Ling. Ci sono piombato sopra non so come nei pressi dell'estate 2012, la traduzione italiana probabilmente risale più o meno a quel periodo, quella Hakka invece la prima versione è della mattina del 14/1/18, ed è opera di Anton Xie, mentre la seconda versione è una mia rivisitazione della prima, fatta per star meglio nella musica poco prima di mezzanotte il 21/4/18. UPDATE Ho appena riscoperto la traduzione Cinese fatta da me il 10/6/2017, e niente, la aggiungo ora che è il 15/6/18. 25/8/20 20:58 faccio un checkup e vedo "dalam" che lì mi pare non abbia senso, ci metto "dara", che fra l'altro ricordo da tempi che furono. Vediamo!

Ling Ling Ling
Ling oh ke kasihku
Dara lincah
Diam diam
Aku jatuh cinta
Oh Ling Ling Ling

Pada suatu
Hari yang indah
Di pesta
Ulang tahunku
Diam diam
Dia menciumku
Hadiah ulang

* Ling ling sekarang
Sudah tiada lagi
Dia kembali
Ke negerinya
Tinggallah daku
Hanya seorang diri
Cinta bersemi
Di hatiku

# Ling ling ling
Ling oh ke kasihku
Bila kau
Kembali lagi
Seperti yang lalu
Ke kasihku
Oh ling ling ling






Ling Ling Ling
Ling per il mio amore,
Vicina mia
Vivace assai.
Pian piano in me
Sbocciato è l’amor
Verso di lei,
Oh Ling Ling Ling.

Un giorno bello
Che facevo
La festa
Del compleanno mio,
Tenera, lei
Mi ha baciato:
Che bel regalo
Fatto mi ha.

* Ling Ling ma però
Adesso non è più qua:
Al paese suo
Lei ritornò.
Sol vivendo, a me
Un solitario amor
Solo nato è
Dentro il mio cuor.

@ Ling Ling Ling
Ling per il mio amore.
Se ancora
Tu tornassi qua,
Insieme a me,
Così com’era allor,
Al mio amor,
Oh Ling Ling Ling.



Líng Líng Líng Líng a wǒ de àirén,
Shàonǚ, wǒ mǐnjié de línjū.
Wǒ jìngjìng de tóutóu de lái àishàng,
Lái àishàng tā, ó Líng Líng Líng.

Céngjīng zài měilì de yī tiān shàng,
Zài wǒ de shēngrì jùhuì,
Tā tōutōu de lái qīn yī qīn wǒ:
Jiù shì wǒ de shēngrì lǐwù.

Líng Líng què xiànzài tā yǐ bù zài zhèlǐ:
Tā yǐjīng huí dào tā de gùxiāng;
Érqiě zài liú xià zài zhèlǐ de wǒ xīnlǐ
Zhǐ yǒu gūdān de ài lái kāihuā.

Líng Líng Líng Líng a wǒ de àirén,
Rúguǒ nǐ zài huí dào zhèlǐ
Gēn wǒ yīqǐ, jiùxiàng yǐ guò de shí,
Zuò wǒ àirén, ó Líng Líng Líng.

玲玲玲玲 喔我的爱人



玲玲玲玲 喔我的爱人
我的爱人 玲玲玲玲
Lîng Lîng Lîng Lîng ò nga òi-nyîn
Àn pak-chám kak-piak kài mòi-tsîi
Tiam-tiam ngâi theu-theu òi tó nyî
Àn tsiang kak-piak kài Lîng Lîng Lîng

Fung thiâu yì shún kài hó nyit-tsîi lí
Hè nyia shıp-pat sòi kài sang-nyit-lí
Tiam-tiam nyî kò-lôi cim yit-ha nga mièn-phi
Nyî kóng hè nyia sang-nyit kài kiang-hi

Lîng Lîng Lîng Lîng kin-há nyî mô lî
Nyî khíu-nyiên tséu cón thoôg-san hì
Lîu ngâi tan-sâ tshíi-ka lî kò nyit-tsîi
Sim-kon tú yìu voi sióng-òi kóng nyî ti

Lîng Lîng Lîng Lîng ò nga òi nyîn
Nyî kí-sî fan tò-cón-lôi lî
Tshiu-tshiong vong-sî nyit-nyit tu àn fon-hí
Ò nga òi-nyîn Lîng Lîng Lîng Lîng
玲玲玲玲 喔我(的)爱人



玲玲玲玲 喔我的爱人
我的爱人 喔玲玲玲玲
Lîng Lîng Lîng Lîng ò nga kài òi-nyîn
Àn pak-chám kak-piak kài mòi-tsîi
Tiam-tiam ngâi yìu theu-theu òi tó nyî
Àn tsiang kak-piak kài Lîng Lîng Lîng

Fung thiâu yì shún kài hó nyit-tsîi lí
Hè nyia shıp-pat sòi kài sang-nyit-lí
Tiam-tiam nyî lôi cim yit-ha nga mièn-phi
Kóng hè nyia sang-nyit kài kiang-hi

Lîng Lîng Lîng kin-há tsài mô nyî tshoi a-lî
Nyî khíu-nyiên yìu tséu cón thông-san hì
Tshìu lîu ngâi tan-sâ tshíi-ka lî kò nyit-tsîi
Sim-kon tú yìu voi òi kóng nyî ti

Lîng Lîng Lîng Lîng ò nga kài òi nyîn
Nyî kí-sî fan tò-cón-lôi lî
Tshiu-tshiong vong-sî nyit-nyit tu àn fon-hí
Ò nga òi-nyîn ò Lîng Lîng Lîng Lîng

Friday, 20 April 2018

Can I stop loving you?

And if we are parting, another question may spontaneously arise: how do I avoid loving you still, and tormenting myself with the memories of our wonderful affair which is now over? Or in other words, 能否不想你 | Nang4-fau2 bat1 soeng2 nei5? | Can I not love you?, as the song we look at today is titled. This is a Cantonese song encountered shortly after the last post's song, and translated within the same old Summer 2011 into English. So let's see it!

曾爱上妳      神话故事般美
无奈要放弃      倦了便乏味
而当天的主角      不睬不理

# 行李载满      离别伤心空气
门若闭上了      便再会无期
离开一生所爱      仿佛演戏

* 让我知      能否不想妳
相恋纵是美      分开多痛悲
愿我可      真的不想妳
从前热恋      不想再记

仍始终      想妳
Cang4 ngoi3-soeng5 nei5      san4-waa6-gu3-si6 bun1 mei5
Mou4-noi6 jiu1 fong3-hei3      gyun6-liu5 bin6 fat6-mei6
Ji4 dong1-tin1 dik1 zyu2-gok3      bat1 coi2 bat1 lei5
Fong2-fat1 sat1-sing1 dik1 coeng3-gei1

# Hang6-lei5 zoi3-mun5      lei4-bit6 soeng1-sam1 hung1-hei3
Mun4 joek6 bai3-soeng6-liu5      bin6 zoi3-wui4 mou4-gei1
Lei4-hoi1 jat1-sang1 so2-ngoi3      fong2-fat1 jin2-hei3
Ze2 mok6 gu3-si6 jyun6 mong4-gei3

* Joeng6 ngo5 zi1      nang4 fau2 bat1 soeng2 nei5
Soeng1-lyun2 zung1-si6 mei5      fan1-hoi1 do1 tung3-bei1
Jyun6 ngo5 ho2      zan1 dik1 bat1 soeng2 nei5
Cung4-cin4 jit6-lyun2      bat1 soeng2 zoi3 gei3




Zung1-sai2 zaak6-haa5/6 maan6-joeng6 nim6-tau4 zoi6 ze2 dei6
Leoi6 ji5 tau1-tau1 jung2-ceot1 sam1-seoi3 jyu6-bei5
Zyun3-san1 jat1 saat3-naa5
Jing4 ci2-zung1      soeng2 nei5

Once I loved you      it was mythic’lly good
You just want to leave      you got tired and bored
The role you have this day      you don’t care for
I’m like a disc-player mute

You’re baggage’s full      you leave me sad, in pain
You now close the door,      “See ya when I do”,
Leaving a whole life’s love      you seem to feign
I want to forget this fact

Let me know:      Can I not love you?
Although love is nice      parting’s such a pain
Wish I could      truly not love you
Not remember      of my old love



Though on this earth I’ve abandoned lots of thoughts,
Tears gushed secretly, heartbreak was prepared
Just a blink and I
Still always      love you

Monday, 16 April 2018

Have I been deceived?

But there's nothing to do about it: it's parting time. So we wonder: was it all deception? Did she ever love me? And at one point in today's Cantonese song, titled 我笑我哭 | Ngo5 siu3 ngo5 huk1, or "I laugh and I cry", the singer asks precisely this question: «是否被愚弄 | Si6-fau2 bei6 jyu4-nung6? | Have I been deceived?». This was met a whole lot of songs later than the last song, but still within Summer 2011. The English translation was done within that timespan. Let's see the song!

又是热情话      熟悉但凌乱
以往角色      为何厌倦
语气面容      无论多温暖

# 会面又离别      是否被愚弄
我笑我哭      全无作用
又在何日      你我方可会懂

* 原来无论天天相见
分手      为何在这日

@ 原来无论多么紧靠
分手      为何在这地


Jau6 si6 jit6-cing4 waa6      suk6-sik1 daan6 ling4-lyun6
Ji5-wong5 gok3-sik1      wai6-ho4 jim3-gyun6
Jyu5-hei3 min6-jung4      mou4-leon6 do1 wan1-nyun5
Ze2-leui5 ze2-si4 jat1-cai3 zoi6 zyun3

# Wui4-min6 jau6 lei4-bit6      si6-fau2 bei6 jyu4-nung6
Ngo5 siu3 ngo5 huk1      cyun4 mou4 zok3-jung6
Jau6 zoi6 ho4-jat6      nei5 ngo5 fong1 ho2 wui4 dung2
Jat1-sang1 soeng1-ngoi3 sou3 sap6 ci3
Coi4 bei6-min5 ci3-tung3

* Jyun4-loi4 mou4-leon6 tin1-tin1 soeng1-gin3
Jik6 min5-bat1-liu5 dou3 zung1-git1
Jin4-ji4 gei-haan6 zik1-si2 bik1-gan6
Fan1-sau2      wai6-ho4 zoi6 ze2 jat6

@ Jyun4-loi4 mou4-leon6 do1-mo1 gan2-kaau3
Jik6 jau5 jat1-cyu3 wui4 sat1-saan3
Jin4-ji4 cin4-lou6 zik1-si2 jan2-bei3
Fan6-sau2      wai6-ho4 zoi6 ze2 dei6





These are ardent words, intimate but confused.
Why did you tire      of your old place?
No matter how      warm your words and face:
Here and now all things turn around.

# We met and did part      have I been deceived?
I laugh and cry      naught is of use.
And on what day      will you me understand?
I’ve been loved so many times,
I can avoid pain!

* Who cares we once met ev’ry day,
Couldn’t miss that in the end?
Though the time limit’s coming near,
Parting:      why upon this day?

Who cares we once held very tight?
At one place you have to stray.
Though the road before us does hide,
Parting:      why upon this earth?





Saturday, 14 April 2018

Who am I without you?

Yet another assertion of love today, though this time it is done by describing the solitude and inconsistency that parting causes in the singer. Today's song is a Cantonese song titled 明日我是谁 | Ming4-jat6 ngo5 si6 seoi4, or "Who will I be tomorrow?". This was met, again, sometime between Easter and summer 2011, and translated:
  1. To English that summer shortly after 6/8; writing this draft on March 20 2018, around 15:21, I changed "As though I left and / With me carried" into "As though I put down / And a-picked up", following this Stack Exchange post; always following that, around 15:24 I changed "And ev'ry dream with it goes" to "Which follows me in all dreams"; finally, around 15:27, I created the English "Alternative", and the draft was ready; on 1/11/20 at 16:00 I go «WTH is this English version»? Like, «But in the end tonight it’s / Your words, o my darling.»? How did I even get that? And I fix it; I noticed it as I did my Hindi version; 22:05 8/11/20 «And we left all / The fears that we had.» gets its fix, and «A blessing phrase» becomes «This is my wish» before settling on its current form; in the evening of 20/11/20 I make some more revisions; at 19:06, the «a-picked» becomes «I picked up», because that archaism sounds awful; by the same minute, the «big hole» becomes a «huge void», and those presents with "tomorrow" become futures; 19:07, and «I wish you this: / You need not again cry», becomes «This is my wish: / May you need not again cry», and by the same minute we have «Where that I tomorrow may go» for the penultimate line; but it doesn't end there, I don't think; or maybe it does; time to make a double version to leave the exact original garbage and the good new version in here;
  2. Then to Czech much more recently to fill the empty column, precisely between 14 and 15 on February 4 2018; as with a number of other Czech versions, on Sep 10 I received and metabolized and commented corrections, and on Sep 22 I received replies to the comments and applied the corrections; a residual question remains, so there will probably be another edit here; welp, on 8/11/20 I open this to add a bunch of translations, and… WTH? A residual question? Well, that probably ain't gettin' an answer since I haven't heard from my corrector in like forever… «Říkám ahoj nemusíš plakat opět» needs a fix, besides a linebreak. Přeji ti teď, přeji ti já, já ti přeji… first one's good; and «Ať nepláčeš opět» is from 22:26; all from 22:46 8/11/20; on 11/11/20, I make some tweaks; first of all, "Minulost nakonec je minulost" is waaaay to long for the tune, so at 11:00 I drop the nakonec, at 11:03 I unconvincedly mimic the English with "Minulost musi byt' minulost" (or is it byt?), and at 11:07 I settle for "Minulost jen je minulost", "The past is just the past"; at 10:59 I had already substituted "Tajně jsme opustili" with "Ignorovali jsme"; «Představovali / Jsme si osud nás spojil» seems to mean "we presented each other», with "si" not even being correct (isn't it "se", like "rozejit se" and "sejit se"?), so I make it «Jsme věřili / Si osud nás spojil», but of course the "si" is not "that", but I figure out it must be že only at 16:05 on 21/11/20 while editing my video;
  3. Anyway, the new translations; I made a Hindi version in three pieces between 11:24 and 17:03 on 1/11/20, and sent it to my corrector 10m later; she gave a couple corrections the next day and the one after that, i.e. 2/11 and 3/11;
  4. The night after 3/11/20, between 2:23 and 2:38, I make the Italian version; the alternative form is from 22:10 8/11/20; somewhere between 14:01 and 14:22 on 21/11/20, as I record my video, I truncate the "lontano" in "Guardando lontano da sol men vo";
  5. Finally, between 19:48 and 19:58 on 8/11/20, I get the French version done; «Qui me suivit» changes to «Qui me va suivre» at 22:17 on 8/11/20; the alternative is from 22:28; recording the video, I opt for «va me suivre» instead of «me va suivre», and I also pronounce the e's I marked with overdots.
Let's see this song!


# 曾亦幻想

* 明日你是谁?

Parting may well
Be a simple small word
Each time, saying it,
I want to cry
As though I put down
And a-picked up
Just a big hole
Which follows me
In all dreams.

# Once we dreamt that
We were born to be two
And we left all
The fears that we had.
But in the end tonight
It's your words, o my darling,
I, cruel, in the end say “See ya”.

* Who’re you tomorrow?
Who am I tomorrow?
The past must be the past
You need not say we’ll meet
Who’re you tomorrow?
Who will be your love?
A blessing phrase:
You need not again cry.
Alone I look far and walk in
Thunder snow and hail
Where will I tomorrow go?1
Don’t you follow.



Where will I tomorrow go?
Don’t you follow.

1Alternative: Wherever I tomorrow will go,
Parting may well
Be a simple small word
Each time, saying it,
I want to cry
As though I put down
And I picked up
Just a huge void
Which follows me
In all dreams.

# Once we dreamt that
We were born to be two
We ignored all
The doubts that we had.
But in the end tonight
Your darling lips I'm kissing,
I, cruel, in the end say “See ya”.

* Who’ll you be tomorrow?
Who'll I be tomorrow?
The past must be the past
You need not say we’ll meet
Who’ll you be tomorrow?
Who will be your love?
I wish you this:
May you not need to cry again.
Alone I look far and walk in
Thunder snow and hail
Where that I tomorrow may go,1
Don’t you follow.



Where that I tomorrow may go,
Don’t you follow.

1Alternative: Where will I tomorrow go?

संबंध तोड़ना:
जैसे कोई सरल शब्द,
हर बार जब कहता हूँ,
तो रोता हूँ,
शून्यता कोई
मैं रखता
और उठाता हूँ,
जो सपनों में
साथ देता।

# हम सोचते थे
की जनम ही से युगल थे,
सारे चिंतां को
हटाते थे,
मगर अज रात अंत में
चूमता तेरा मुं को,
मैं अंत में क्रूरता से अलविदा कहता।

* कल की तू है कौन?
कल का मैं हूँ कौन?
अतीत ही तो अतीत,
मिलने की ज़रुरत न है।
कल की तू है कौन?
प्यार करेगी किस से?
ना रोए तू:
यह मेरी कामना।
दूर देखता अकेला जाता हूँ
गरज और हिमपात में।
जहाँ मैं जाऊँगा कल
तू ना आना।



जहाँ मैं जाऊँगा कल
तू ना आना।

Sì, lasciarsi è
Solo una parola,
Eppur dirla
Fa sempre piangere,
Come se mettessi giù
E prendessi
In mano un vuoto
Che in sogno ti

Ci credevamo
Nati per stare insieme,
Ogni dubbio
Non lo affrontavam,
Ma infin stasera
Io ti bacio sulle labbra
E crudelmente dico addïo.

Chi sarai domani?
Chi sarò domani?
Il passato non c'è più,
Rivederci non dobbiam.
Domani chi sarai?
Chi amerāi?
Questo è il mio augurio:
Che tu non debba pianger più.
Guardando lontan, da sol men vo,
Tuona e nevica.
Dove io domani andrò,1
Non seguirmi.



Dove io domani andrò,1
Non seguirmi.

1Oppure: Dove andrò domani io?
Lei4-bit6 jaa5-heoi2
Si6 gaan2-daan1 dik1 jat1-geoi3
Mui5 ci3 syut3-ceot1
Pin1-jiu1/3 saa2 ngaan5-leoi6
Zau6-zoeng6 zoi6 fong3-haa5/6
Jaa5 zoi6 daam1-hei2
Jat1-pin3 hung1/3-heoi1
Mui5 jat1 go3 mung6
Jaa5 bun6-ceoi4

# Cang4 jik6 waan6 soeng2
Si6 tin1-sa(a)ng1 dik1 jat1-deoi3
Ngam3-ngam3 fong3-hoi1
Soeng2 gwo3 dik1 gu3-leoi6
Daan6-si6 zoi6 zeoi3-hau6 ze5 je6
Can1 jat1 can1 nei5 dik1 zeoi2
Ngo5 zung1-jyu1/4 han2-sam1 dik1 syut3 zoi3-wui246

* Ming4-jat6 nei5 si6 seoi4?
Ming4-jat6 ngo5 si6 seoi4
Gwo3-heoi2/3 zung1 seoi1 gwo3-heoi2/3
Bat1 bit1 zoi3 syut3 gung1/6-zeoi6
Ming4-jat6 nei5 si6 seoi4?
Nei5 wui246 ngoi3-zoek3/6 seoi4
Zuk1-fuk1 jat1-geoi3:
Nei5 bat1 bit1 zoi3 dik1 leoi6
Duk6-zi6 mong6 ze5 jyun5-fong1 bou6-heoi2/3
Leoi4-din6 bing1 syut3 leoi5
Ming5-jat6 ngo5 zau2 dou3 ho4/6-fong1
Nei5 mok6 zoi3 zeoi1



Ming5-jat6 ngo5 zau2 dou3 ho4/6-fong1
Nei5 mok6 zoi3 zeoi1

"Rozejít se"
Možná snasdé říci
Ale když to říkám
Vždy roním slzy
Jakoby položil bych
A zvedl bych
Která sleduje mě
V každém snu

# Jsme věřili
Že osud spojil nás
Ignorovali jsme
Naše olbavy
Ale na konci dnes večer
Políbím ti ústa
A krutě tobě říkám ahoj.

* Zítra kdo budeš?
Zítra kdo budu?
Minulost jen je minulost
Nemusíme opět sejít se
Zítra kdo budeš?
Koho budeš milovat?
Přeji ti teď:
Ať nepláčeš opět
Sám zírám daleko a chodím
V hromu a kroupách
Kamkoli já zítra budu chodit,1
Ne sleduj mě.



Kamkoli já zítra budu chodit,1
Ne sleduj mě.

1Alternative: Zítra já kam budu chodit?

Sańbańdh' toṛnā:
Jaise koī saral' shabd',
Har' bār' jab käh'tā hūṃ',
To rotā hūm,
Śūnyatā koī
Maiṅ rakh'tā
Aur' uțhātā hūm
Jo sapnoṅ meṅ
Sāth' detā.

# Ham soc'te the
Ki janm hī se yugal' the
Sāre cińtāeṅ ko
Haṭāte the.
Magar' āj' rātǝ ańt meṅ
Cūm'tā terā muńh' ko,
Maiṅ ańt meṅ krūr'tā se al'vidā käh'tā.

* Kal' kī tū hai kaun'?
Kal kā maiṅ hūṁ kaun'?
Atīt' hī to atīt',
Mil'ne kī zarurat' na hai.
Kal' kī tū hai kaun'?
Pyār' karegī kis' se?
Nā roe tū:
Yäh' merī kām'nā.
Dūr' dekh'tā akelā jātā hūṁ
Garaj' aur' him'pāt' meṅ.
Jahāṃ maiṅ jāūṁgā kal,
Tū nā ānā.



Jahāṃ maiṅ jāūṁgā kal,
Tū nā ānā.

Oui, se laisser
C'est un mot très simple,
Mais chaque fois, quand je l'dis,
Toujours je pleure,
Comme si j'posais
Et je prenais
Seulment un grand vide
Qui va me suivre
En chaque rêve.

On pensait que
L'on était un couple né,
Toutes nos doutės,
Nous les ignorions,
Mais à la fin, ce soir,
En t'embrassant les lèvres,
Moi cruellement je te dis "Adieu",

Demain tu s'ras qui?
Demain je s'rais qui?
Le passé c'est passé,
On doit plus se rencontrer.
Demain tu s'ras qui?
Tu aimeras qui?
Voilà mon souhait:
Que pleurer tu ne doivės plus.
Tout seul je regarde loin et j'm'en vais
Par tonnerre et neige.
Où que je m'en aillé demain,
Ne me suis plus!



Où que je m'en aille demain,1
Ne me suis plus!

1Ou: Où vais-je m'en aller demain?

Monday, 9 April 2018

'Tis you

Today we see another assertion of love, again in Chinese, with this wonderful Chinese song titled 是你谁是你 | Shì nǐ shì nǐ shì nǐ, that is "'Tis you 'tis you 'tis you". I thought I'd met this and the last post's song close together because I remember having them translated one after the other in summer, but the file says I encountered this one way earlier, though definitely still after Easter 2011 and before that year's summer, which is when I translated it to English and French. Indeed, the translation to English dates to near but after 6/8/2012. So let's see it!


# 也许人们不会在乎我

* 哦!你      是你是你

Please don’t use that coldness unto me
Can you just once more clearly explain to me
If you already don’t love me
If you truly will leave me
I have words for thee

Though the people may not care for me
May not care that I’m lonely so for thee
Too bad that it is only thee
Who can’t make me light in wind
No, you cannot

Wooh      You ’tis you ’tis you
Can get such silence out of me
By your window I stand still
With wind and rain to torture me
Just wish you will tell me
You will always love me
Never let my tears run free
Let me newly feel your
Tenderness towards me
Do you wish to let me stay in
Your heart’s bottom as deep as can be?



Bié zài yòng nà lěngmò duìdài wǒ
Shìfǒu nénggòu zài míngbái de gàosu wǒ
Shìfǒu yǐjīng bù zài ài wǒ
Shìfǒu zhēn yào líkāi wǒ
Wǒ yǒu huà yào shuō

# Yěxǔ rénmen bù huì zàihū wǒ
Bù huì zàihū wǒ de gūdān jìmò
Kěshì zhǐyǒu nǐ bù nénggòu
Ràng wǒ zài fēng zhōng xiāoshòu
Nǐ bù nénggòu

* Ó!      Nǐ shì nǐ shì nǐ
Cái ràng wǒ rúcǐ dì chénmò
Páihuái zài nǐ de chuāngkǒu
Chéngshòuzhe fēngyǔ de zhémó
Zhǐyào nǐ gàosu wǒ
Nǐ huì yǒngyuǎn ài wǒ
Bié zài ràng wǒ yǎnlèi liú
Ràng wǒ nénggòu chóngxīn
Yǒngyǒu nǐ de wēnróu
Shìfǒu yuànyì ràng wǒ tíngliú
Zài nǐ xīndǐ zuìshēn de jiǎoluò




Ne sois pas ainsi froide avec moi
Peux-tu clairement m’expliquer autrefois
Si déjà tu ne m’aimes pas
Si tu m’veux laisser vraiment
J’ai des mots pour toi

Peut-être qu’aux autres il va pas
Importer de ma solitude et d’ moi
Quel dommage qu’ c’est seulement à toi
Qu’il doit importe de moi
Oui c’est comme ça

Wooh      Toi c’est toi c’est toi
Qui peux me faire me taire comme ça
Près de ta fenêtre j’attends
Et pluie et vent torturent moi
Seul si tu me diras
Que toujours tu m’aim’ras
Je vais plus pleurer, non pas,
Donne-moi ta tendresse
Envers moi une autre fois
Est-ce que tu dans l’angle plus
Profond de ton cœur m’ laisser rester vas ?




Saturday, 7 April 2018

Forgetting you is forgetting myself

From questioning the authenticity of a purported love, we move to asserting the truthfulness of our own love: if I forget you, I forget myself, because we are one thing. So today we have a Chinese song titled 忘了你忘了我 | wàngle nǐ wàngle wǒ, or "I forgot you and forgot myself". This was encountered during my first year studying Chinese, presumably nearing the end of the schoolyear, and definitely before the summer because that is when I translated it to English and Japanese. Let's see those translations!


# 当你留给我

* 谁能够告诉我
还是忘了你      忘了我



古代こだい誇示 こじする
もしきみを      ぼく わす

Dāng nǐ shuō yào zǒu
Wǒ bù xiǎng huīshǒu de shíhou
Àiqíng zhōngjiù shì yī chǎng kōng
Shéi shuō wǒ liǎng de guòqù
Jǐn zài bù yán zhōng
Bié wàngle wǒ céng yǒngyǒu nǐ
Nǐ yě céng àiguò wǒ

# Dāng nǐ liú gěi wǒ
Wǒ bù xiǎng jiēshòu de shāngtòng
Àiqíng dàotóulái hái shì mèng
Bié shuō wǒ liǎng de shìjiè
Yǒu tài duō bù tóng
Jiù shuō nǐ yǐjīng wàngle wǒ
Nǐ jiù yào líkāi wǒ

* Shéi nénggòu gàosu wǒ
Wǒ shìfǒu fùchū tài duō
Jiù dāng wǒ cónglái méiyǒuguò
Hái shì xiāoshī zài wǒ xīntóu
Shéi céngjīng tíxǐng wǒ
Wǒ de ài méi yǒu bǎwò
Jiù dāng wǒ cónglái méiyǒuguò
Hái shì wàngle nǐ      wàngle wǒ




Ikitai toki
Boku wa te ga furitaku nai
Ai ga saigo ni shinkū da
Dare ga futari no
Kako myūto to iu?
Kimi atte boku wo ai
Shita to wasurenai

Moraitaku nai
Hiai wo ataeru toki
Ai ga saigo ni yume da
Sekaitachi ga chigau
To iwanaide
Wasureta kara
Hanashitai itte

* Kodai koji suru
No? Dare ga ieru?
Mou nakatta toki de
Kokoro ni saeteru
Ai ga jijinna to
Dare ga shirusaseta?
Mou nakatta toki de
Moshi kimi wo      boku wasure




When you want to go,
At times when I don’t want to wave,
My love is empty after all.
Who says that our past ended
Without any words?
I don’t forget I once had you
You once felt love for me.

# When you leave to me
The sadness I don’t want to take,
My love is dreamtime after all.
Don’t say that our two worlds are
Just too different,
Just say that you’ve forgotten me,
And so want to leave me.

* Who ever can tell me
If I show too much feeling?
But when I never have had you,
You still vanish within my heart.
Who has reminded me
That my love had no sureness?
But when I never have had you,
If I forget you      I forget me.




Tuesday, 3 April 2018

More than words

The questioning theme stays up, progressing into asking for more than words to prove the authenticity of this purported love, and today we have an English song, for a change, which is More Than Words, by Extreme. I encountered this song way before I even started Chinese, when I was still in primary (and I started Chinese at the end of high school), and I translated it sometime between Christmas and Easter of the first year of Chinese, I think, but maybe it was sometime else during that year. Let's see these translations: Chinese and Japanese.

Saying I love you
Is not the words I want to hear from you
It’s not that I want you
Not to say, but if you only knew
How easy
It would be to show me how you feel
More than words
Is all you have to do to make it real
Then you wouldn’t have to say
That you love me
’Cause I’d already know

What would you do
If my heart was torn in two
More than words to show you feel
That your love for me is real
What would you say
If I took those words away
Then you couldn’t make things new
Just by saying «I love you»

More than words

Now I’ve tried to
Talk to you and make you understand
All you have to do is
Close your eyes and just reach out your hands
And touch me
Hold me close don’t ever let me go
More than words
Is all I ever needed you to show
Then you wouldn’t have to say
That you love me
’Cause I’d already know

What would you do
If my heart was torn in two
More than words to show you feel
That your love for me is real
What would you say
If I took those words away
Then you couldn’t make things new
Just by saying «I love you»

More than words

你不说, 但如果你知道

两瓣, 你就做什么?
些话, 你就做什么?


握紧我, 永远不让我去

两瓣, 你就做什么?
些话, 你就做什么?


本当ほんとうあい ため ただる!





Shuō shēng «wǒ ài nǐ»
Bù shì xiǎng cóng nǐ nàlǐ tīngdào de
Bìng bù shì wǒ xiǎng yào
Nǐ bù shuō, dàn rúguǒ nǐ zhīdào
Ràng wǒ dǒng
Nǐ de gǎnshòu shì duōme róngyì
Yányǔ wài
Shì nǐ zhǐ bì zuò wèi ràng ài zhēn de
Ránhòu nǐ jiù bù bì shuō
Nǐ liàn'ài wǒ
Yīn wǒ zǎoyǐ zhīdào

Wǒ xīn sī chéng
Liǎng bàn, nǐ jiù zuò shénme?
Yányǔ wài zhǎnshìchū nǐ
Juéde nǐ zhēn de ài wǒ
Wǒ dài zǒu nà
Xiē huà, nǐ jiù zuò shénme?
Nǐ méiyǒule xīn huāyàng
Zhǐyǒu shuōzhe «wǒ ài nǐ»

Yányǔ wài

Cǐkè shìtúle
Hé nǐ jiāotán bìng ràng nǐ míngbái
Suǒyǒu nǐ bì zuò de
Shì bì shàng yǎn bìng tān kāi shuāng shǒu
Chùmō wǒ
Wò jǐn wǒ, yǒngyuǎn bù ràng wǒ qù
Yányǔ wài
Shì wǒ yīzhí xūyào nǐ biǎoshì de
Ránhòu nǐ jiù bùbì shuō
Nǐ liàn'ài wǒ
Yīn wǒ zǎoyǐ zhīdào

Wǒ xīn sī chéng
Liǎng bàn, nǐ jiù zuò shénme?
Yányǔ wài zhǎnshìchū nǐ
Juéde nǐ zhēn de ài wǒ
Wǒ dài zǒu nà
Xiē huà, nǐ jiù zuò shénme?
Nǐ méiyǒule xīn huāyàng
Zhǐyǒu shuōzhe «wǒ ài nǐ»

Yányǔ wài

"Ai shi" to iu
Kimi kara kikitai no ja nai.
Kimi ga iwanai no
Hoshiku nai, kimi ga tada,
Sono ki
Boku ni iu no yasui, to shireba!
Kotoba yori
Wo hontouna ai tame tada iru!
Dakara ai suru to
Ii iranai,
Mou shiru kara.

Kokoro ga
Sakarereba, nan wo yaru?
Kotoba yori, hontouna
Ai wo shimesu tame.
Sono kotoba
Wo moteba, nan wo yaru?
Ai wo kakikaerenai
"Ai suru" to itte.

Kotoba yori.

Kimi ni hanashite
Wakarasu tameshita kara,
Kimi ga tada me
Wo tojite, te wo hirogatte,
Boku wo saware,
Chikaku tamotte, mou hanasanaide!
Kotoba yori:
Kimi ga dasu no tada itta.
Dakara ai suru to
Ii iranai,
Mou shiru kara.

Kokoro ga
Sakarereba, nan wo yaru?
Kotoba yori, hontouna
Ai wo shimesu tame.
Sono kotoba
Wo moteba, nan wo yaru?
Ai wo kakikaerenai
"Ai suru" to itte.

Kotoba yori.