Monday, 28 May 2018

Quel oselin dal bòsch

«Ti amerò fino alla fine», diceva la scorsa canzone. Eliminando la separazione, si può stare insieme fino alla fine, e magari pure sposarsi. E quindi vi presento un canto che ho fatto col coro alpini CeM Bicocca, la cui conclusione è proprio una proposta di matrimonio. Si chiama Quel oselin dal bòsch, è in Veneto/Trentino, è a 4 voci, e il link che vi ho dato ha tagliato qualche strofa. L'ho incontrata il 16/1/2018, e tradotta in Cinese praticamente subito, entro le 19:13, con una modifica alle 19:47 (你得嫁人啊美女 -> 要出嫁吗啊美女). Eccola qua!


Quel oselin dal bòsch
Quel oselin dal bòsch
Quel oselin dal bòsch
Che a la campagna el vola
Quel oselin dal bòsch
Che a la campagna el vola

Dove saràl volà?
Dove saràl volà?
Dove saràl volà?
Su la finestra ohi bèla.
Dove saràl volà?
Su la finestra ohi bèla.

Coss'averàl portà?
Coss'averàl portà?
Coss'averàl portà?
'Na littra insigilada
Coss'averàl portà?
'Na littra insigilada

Cossa ghe sarà su?
Cossa ghe sarà su?
Cossa ghe sarà su?
Di maritarti ohi bèla.
Cossa ghe sarà su?
Di maritarti ohi bèla.


那只森林的鸟
那只森林的鸟
那只森林的鸟
来飞到农村去的
那只森林的鸟
来飞到农村去的

它有飞到哪里
它有飞到哪里
它有飞到哪里
到窗口上啊美女
它有飞到哪里
到窗口上啊美女

它有带来什么
它有带来什么
它有带来什么
一张密封的信件
它有带来什么
一张密封的信件

信上就有什么
信上就有什么
信上就有什么
要出嫁吗啊美女
信上就有什么
要出嫁吗啊美女
Nà zhǐ sēnlín de niǎo
Nà zhǐ sēnlín de niǎo
Nà zhǐ sēnlín de niǎo
Lái fēi dào nóngcūn qù de
Nà zhǐ sēnlín de niǎo
Lái fēi dào nóngcūn qù de

Tā yǒu fēi dào nǎlǐ
Tā yǒu fēi dào nǎlǐ
Tā yǒu fēi dào nǎlǐ
Dào chuāngkǒu shàng a měinǚ
Tā yǒu fēi dào nǎlǐ
Dào chuāngkǒu shàng a měinǚ

Tā yǒu dài lái shénme
Tā yǒu dài lái shénme
Tā yǒu dài lái shénme
Yī zhāng mìfēng de xìnjiàn
Tā yǒu dài lái shénme
Yī zhāng mìfēng de xìnjiàn

Xìn shàng jiù yǒu shé me
Xìn shàng jiù yǒu shé me
Xìn shàng jiù yǒu shé me
Yào chūjià ma a měinǚ
Xìn shàng jiù yǒu shé me
Yào chūjià ma a měinǚ

Saturday, 26 May 2018

Love you till the end

We started the theme of missing a loved one, and we keep on it with a Korean song called 사랑해 (Sarang hae, I love you). This came to me from my parents. They were taught the chorus by a Korean friend of theirs, and brought it to me, and I managed to find it on Youtube and attempt to decode it. The Youtube video was since deleted, and the link I gave is that of my own video of this song, in 4 languages. The English translation dates to Jan 17 2018 at 17:26, the Romagnolo one was partly done at night between 16/1 and 17/1, partly in the morning of 17/1, and partly just before the English one, the Hakka one was completed by Apr 1 2015. Edits may have occurred since. Let's see these bad boys!


사랑해 당신을
종말로 사랑해

사랑해 당신을
종말로 사랑해
당신이 내 곁을
떠나간 뒤에
얼마나 눈물을
흘렸는지 모른다오

예예예 예예예 예예예
예예예 예예예 예예예 예예예
예예예 예예예 예예예
예예예 예예예 예예예 예예예예

사랑해 당신을
종말로 사랑해

멀리 떠나버린
못 잊을 님이여
당신이 내 곁을
떠나간 뒤에
밤마다 그리는
보고 싶은 내 사랑아

예예예 예예예 예예예
예예예 예예예 예예예 예예예
예예예 예예예 예예예
예예예 예예예 예예예 예예예예


心爱啊!爱上你
到终局心爱啊

心爱啊!爱上你
到终局心爱啊
自从你离开
旁边时间
用多长时间
流出目汁眼泪知啊

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey

心爱啊!爱上你
到终局心爱啊

今下现在在远方
永久会忘记
自从你离开
旁边时间
捕夜夜晚都会
好好怀念

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey


A-t vòi bẽ sôl a te
'Nsẽn a la fẽ a-t voi bẽ

A-t vòi bẽ sôl a te
'Nsẽn a la fẽ a-t voi bẽ
D' 'e pu che t-a-t si 'viêda
E t-a-n si piò cun me
Par quãt ë-l ch'a sò stê
A piãnzar par te? Me a-n-e so.

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey

A-t vòi bẽ sôl a te
'Nsẽn a la fẽ a-t voi bẽ

Nẽch se mò t si luntãna
Me a-n-t scurdarò mai
D' 'e pu che t-a-t si 'viêda
E t-a-n si piò cun me
Tòtti al nòt t-a-m amẽch
E a-t vòi 'vdé oh mi amôr.

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey
Sarang-hae dangsin-eul
Jeongmal-lo sarang-hae

Sarang-hae dangsin-eul
Jeongmal-lo sarang-hae
Dangsin-i nae gyeot-eun
Tteonagan dwi-e
Eolmana nunmul-eul
Heullyeotneunji moreunda-o

E-e-e e-e-e e-e-e
E-e-e e-e-e e-e-e
E-e-e e-e-e e-e-e
E-e-e e-e-e e-e-e e-e-e

Sarang-hae dangsin-eul
Jeongmal-lo sarang-hae

Meolli tteonaborin
Mot ij'eul nim-i-yeo
Dangsin-i nae gyeot-eun
Tteonagan dwi-e
Bam-mada geurineun
Bogo sip'eun nae sarang-a

E-e-e e-e-e e-e-e
E-e-e e-e-e e-e-e e-e-e
E-e-e e-e-e e-e-e
E-e-e e-e-e e-e-e e-e-e


Sim-òi ah! Òi-shòng nyî
Tèu cung-khiu̇k sim-òi ah!

Sim-òi ah! Òi-shòng nyî
Tèu cung-khiu̇k sim-òi ah!
Tshìi-tshiûng nyî lî-khoi ngâi
Kài phông-pien lî shî-kan
Jùng to-chong' kài shî-kan
Liû-chut muk-cip? Ngâi m ti ah!

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey

Sim-òi ah! Òi-shòng nyî
Tèu cung-khiu̇k sim-òi ah!

Kin-hà tshoi yén-fong kài nyî
Ngâi yún-kiú m vòi mông-kì
Tshìi-tshiûng nyî lî-khoi ngâi
Kài phông-pien lî shî-kan
Mui pu-yà ngâi tu vòi
Hó-hó fâi-nyàm ngâi òi kài nyîn

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey


You I love, only you,
Till the end you I love

You I love, only you,
Till the end you I love
Ever since you have left
And are not by my side
For how long have I been
Shedding my tears? I do not know

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey

You I love, only you,
Till the end you I love

Though you are far away
I will never forget you
Ever since you have left
And are not by my side
Every night I miss you
And want to see you oh my love

Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey
Hey hey hey hey hey hey hey hey hey hey hey hey hey

Monday, 21 May 2018

When will you come back?

"Gone back", says last time's song, and today, we ask when this will happen: 何日君再来 | Hérì jūn zài lái (What day will you come back?) is today's song. I met it sometime between Christmas 2012 and March 2013, and translated it into English on Dec 2 2017 in the evening, with a small addition ("a few times") on Jan 8 2018 around 22. While saving posts, l. 1 of this in a Hakka version sounded familiar, so I asked Anton Xie, and yep, he'd made a Hakka version and posted it on Hakka Verse on Jun 18 2016. I added it to this post the following day around 17:44. Though it did have 无 where I'd sung 毋. Actually, sometime before 19, I noticed a missing part in that version, the "speak again" one, and translated it myself. Oh, he just told me he scrapped the version and just made a new one. Well, I already put the rubies on, so I'll keep both and use tabs. Let's go!

好花不常开
好景不常在
愁堆解笑眉
泪洒相思带
今宵离别后
何日君再来

喝完了这杯
请进点小菜
人生难得几回醉
不欢更何待
(来来来
喝完了这杯
再说吧)
今宵离别后
何日君再来

停唱阳关叠
重擎白玉杯
慇勤频致语
牢牢抚君怀
今宵离别后
何日君再来

喝完了这杯
请进点小菜
人生难得几回醉
不欢更何待

再喝一杯
干了吧
今宵离别后
何日君再来
Hǎo huā bu cháng kāi
Hǎo jǐng bù cháng zài
Chóu duī jiě xiào méi
Lèi sǎ xiāngsī dài
Jīnxiāo líbié hòu
Hérì jūn zài lái

Hēwánliǎo zhè bēi
Qǐng jìn diǎn xiǎocài
Rénshēng nándé jǐ huí zuì
Bù huān gèng hé dài
(Lái lái lái
Hēwánliǎo zhè bēi
Zài shuō ba)
Jīnxiāo líbié hòu
Hérì jūn zài lái

Tíng chàng "Yáng Guān Dié"
Chóng qíng báiyù bēi
Yīnqín pín zhì yǔ
Láoláo fǔ jūn huái
Jīnxiāo líbié hòu
Hérì jūn zài lái

Hēwánliǎo zhè bēi
Qǐng jìn diǎn xiǎocài
Rénshēng nándé jǐ huí zuì
Bù huān gèng hé dài
Āi
Zài hē yī bēi
Gànle ba
Jīnxiāo líbié hòu
Hérì jūn zài lái


Pretty flowers are rare,
Beautiful sceneries are rare,
Sorrows melt my smile
As I cry and pine.
After you leave tonight,
When will you come back?

When you're done drinking,
Please eat some starters.
In life it's rare to get drunk
Why are you still not happy?
(Come come come,
After drinking that glass,
Speak again.)
After you leave tonight,
When will you come back?

Stop a-singing that song,
Lift your cup again,
Keep on speaking, please,
As I hug you tight.
After you leave tonight,
When will you come back?

When you're done drinking,
Please eat some starters.
In life it's rare to get drunk
Why are you still not happy?
(Ah!
Drink another glass!
Cheers to you!)
After you leave tonight,
When will you come back?



好花常开
好景常在
愁堆解笑眉
泪滴心焦想死
今宵离别后
么日何日

一杯
请来点小菜
人生能得多
样板怎么
(来来来,
一杯
!)
今宵离别后
么日何日

停唱阳关叠
重擎白玉杯
殷勤频致语
牢牢抚怀
今宵离别后
么日何日

一杯
请来小菜
人生能得多
样板怎么
(啊,
一杯
干了吧
今宵离别后
么日何日
Hó fa mô shông khoi
Hó kín mô shông tshoi
Sêu toi kài siàu mî
Lùi tit sim-tsiau tài
Kin-siau lî-phiėt hèu
Mai-nyit nyî fan-lôi

Shıt-ciu lî yit pui
Tshiáng lôi tıt siáu-tshòi
Nyîn-sen nên-tet to lîn tsùi
M fon nyòng-pan tet
(Lôi lôi lôi,
Shıt-ciu lî yit pui
Càng lôi kóng
Kin-siau lî-phiėt hèu
Mai-nyit nyî fan-lôi

Thîn chòng Yông Kwan Thiȧp
Chung khiâ phȧk nyu̇k pui
Yin-khiûn phîn cì nyi
Lô-lô fú nyî fâi
Kin-siau lî-phiėt hèu
Mai-nyit nyî fan-lôi

Shıt-ciu lî yit pui
Tshiáng lôi tıt siáu-tshòi
Nyîn-sen nên-tet to lîn tsùi
M fon nyòng-pan tet
(A,
Fan shıt yit pui
Kon liáu pa!
Kin-siau lî-phiėt hèu
Mai-nyit nyî fan-lôi


担心换笑眉
目汁眼泪心焦相思
分开过
几时

一杯
定购一些盘小菜
人生做得能够醉多
做得能够
(来来来!
一杯

分开过
几时

停唱相送曲
擎白玉杯

深深惜你的
分开过
几时

一杯
喊成盘小菜
人生做得能够醉多
做得能够
(啊,
一杯
干了吧)
今宵离别后
么日何日
Tsiang fa mô tiam khoi
Tshiėt kín mô tiam tshoi
Sêu kiu̇k vòn siàu mî
Muk-cip sim-tsiau lôi
Kin-àm fun-khoi-kwò
Kí-shî nyî càng lôi

Shıt-kwò lî yit pui
Hàm shâng phân siáu-tshòi
Nyîn-sen tsò-tet tsùi to lîn
M hìn m tsò-tet
(Lôi lôi lôi,
Shıt-liáu lî yit pui
Càng lôi kóng)
Kin-àm fun-khoi-kwò
Kí-shî nyî càng lôi

Thîn chòng siong-sùng khiuk
Fan khiâ phȧk nyu̇k pui
Tiam phûi nyî kóng voi
Chim-chim siak nya sim
Kin-àm fun-khoi-kwò
Kí-shî nyî càng lôi

Shıt-kwò lî yit pui
Hàm shâng phân siáu-tshòi
Nyîn-sen tsò-tet tsùi to lîn
M hìn m tsò-tet
(A,
Fan shıt yit pui
Kon liáu pa!
Kin-àm fun-khoi-kwò
Kí-shî nyî càng lôi

Saturday, 19 May 2018

As if I had gone back to when I was a girl

Keeping on the children theme, we go from Italian only to a plethora of translations with 少女の頃に戻った見たいに (Shoujo no koro ni modotta mitai ni, As if I had gone back to when I was a child). I met this with Detective Conan movies (it's the ending credits theme of one) before I even started Japanese, it stayed in my mind and I dug it up probably at the end of 2011, but perhaps at the beginning of the following year, and translated it as soon as I dug it up into Italian. If the file is to be trusted, the next translation was Neapolitan, which was complete by the summer because I had it corrected that summer by a Neapolitan friend of mine. Then we have English. Then Chinese, probably during the summer. Dunno if it was corrected. Then Romanian, which I think was done after the summer, certainly corrected by the end of the year, the corrector being my Romanian quasi-classmate (mathematicians and physicists were together for the first year, I was one of the former, she was one of the latter). Then German and Danish, because that autumn some German friends of ours who lived in Denmark came to visit us. There is also a single line translated in the latest conlang created by me, the first line, which in the language reads «Dzã ṁaẏal de ĺarèkxe óṅń», IPA /dzã: ʘaǃal de ǁarɛkxe o:ǀn̩ /, where I hopefully got that syllabic n right, guessing the diacritic. That translation definitely dates to the summer when I was working on the conlang, which suggests all translations were done by then. However, I remember doing the Danish in Fall, when the friends were at our place, so the file is not to be trusted on the translations' order. Oh, by Nov 12 2012 I had the Romanian version corrected, but only found the corrections on Aug 15 2018 and implemented them here then, though this was already posted. That said, let's see!


くりかえゆめ
めてみると
むね動悸どうきはや
ことにづく

何時いつ白線はくせん みはずして
はしわたし
何故なぜ? わけいのに
こえげてきたく

おさない 少女しょうじょころ
もどったたいに
やさしく
かみでてくれる
そんなあたたかいをいつも
っていた

あなただけはわたし
やさしい
ひとにしてくれる
とても大だいすききよ
とても大だいすききよ

どんなに情熱じょうねつ かたむけても
わかりあえないひと
そんなこころ
くもってしまうわ

こい規則正きそくただしい
リズムをきざまない
心地良ここちいいソファーで
またねむってしまった

なつかしい少女しょうじょごろ
もどったみたいに
やさしく
かみでてくれる
そんなあたたかいをいつも
っていた

あなただけはわたし
そっと
つつみこんでくれる
とてもあいしてる
とてもあいしてる

あなただけはわたし
そっと
つつみこんでくれる
とてもあいしてる
あかいハートで

Lovin’ラビン youユー あなたと…


Nel sogno che faccio spessissimo,
Tento di aprire gli occhi miei
E sento che il mio cuore accelera
Il battito di molto

Sempre andadomene via dalla riga
Bianca, io sono proprio qua
Perché? Pur se non c’è ragione
Io voglio urlare le mie lacrime

Come se fossi tornata una piccola
Bambina, come anni fa,
Con tanto amor
Accarezza i capelli miei:
Sempre ho atteso una mano calda così
Come la tua!

Tu solo amore puoi far di me
Una donna
Tenera; su fallo, ti prego
Mi piaci così tanto
Così tanto piaci a me

Che importa quanto s’inclina il nostro amor
C’è anche la gente che non si capisce
In tali giorni il mio cuore
Finisce nuvoloso

L’amore non potrà seguire mai
Un ritmo regolare, no.
Così su un comodo divano
M’addormentai un’altra volta ancor.

Come se fossi tornata ragazzina – oh,
Quel tempo mi manca, sì! –
Con tanto amor
Accarezza i capelli miei:
Sempre ho atteso una mano calda così
Come la tua!

Tu solo, amore mio, verrai da me,
E poi
Dolcemente mi abbracceraï:
Oh quanto ti amo!
Amor mio, ti amo davver!

Tu solo, amore mio, verrai da me,
E poi
Dolcemente mi abbracceraï:
Oh quanto ti amo!
Nel mio cuore rosso qui!

Lovin’ you insieme a te…


Inside this dream I have so often,
I try to open up my eyes,
And notice that my heart is speeding up
Its beating a lot.

Although I’m always running away far
From this white line, I am right here
But why? There is no reason at all
But I still want to cry my tears out loud

Af if I had gone back to that so childish time
When I was a little girl
I’ve always been
Waiting for a hand as warm as yours
That’s so lovingly gently stroking my hair
Time and again!

You only, my darling, can make me
Into
A gentle woman; so do it,
I like you oh so much
I like you oh so much

No matter how our love may be tilted
There’s people that don’t understand each other
On days just like this one my heart
Becomes all cloudy

Love cannot ever get to follow
A rhythm regular and smooth.
And on a confortable sofa
I ended up asleep another time.

Af if I had gone back to that nostalgic time
When I was a little girl
I’ve always been
Waiting for a hand as warm as yours
That’s so lovingly gently stroking my hair
Time and again!

O darling, you only will come to me,
And then
You will hold me in your so warm arms.
O how much I love you
O how much I love you

O darling, you only will come to me,
And then
You will hold me in your so warm arms.
O how much I love you
Within my red heart right here!

Lovin’ you… here and with you…


在我常常看见的梦境里,
尝试打开眼睛时日,
察觉到我的心的动悸是
在变成很快捷的。

虽然我总在从白色的线路
办走,只是我在这里
为何?虽然没有个理由
只是我想要尖叫着哭泣

就像我曾回到幼小的少女
的那个时候一样,
把温柔地
在把我的头发抚摸的
就像你的一样温暖的个手
用曾等待。

哦亲爱,只有你能够把我
变为
温柔的一女子
我很多么的喜欢你
我很多么的喜欢你

无论我们的爱多么能够倾斜
有连无法明白彼此的人也都
我心在就像今天的日
会变成全都阴天

爱情再也都无法遵循
有规律的一个节奏。
我又在舒适的沙发上
到头来再一次曾经睡着。

就像我曾回到少女的怀旧
的那个时候一样,
把温柔地
在把我的头发抚摸的
就像你的一样温暖的个手
用曾等待。

哦只有亲爱的你会把我
平缓地
入你的暖的手臂抱拥。
我很真的在爱着你
我很真的在爱着你

哦只有亲爱的你会把我
平缓地
入你的暖的手臂抱拥。
我很真的在爱着你
在我的红色的心。

Lovin’you 与你一起…


In diesėm Traum den ich oft träumė,
Als ich die Aug’n zu öffnėn vẹrsuchė,
Stellė ich fẹst, dass mein Hẹrz rast,
Es schlägt sẹhr schnell.

Immėr von diesėr weißėr Liniė
Weglaufėnd, bin ich doch da
Warum? Obwohl es keinė Ursachė gibt,
Jetzt möcht’ ich mit lautẹr Stimmė weinėn doch!

Als ob ich in die Zeit zurückgėkehrt wärė,
Als ich noch klein war,
Immėr hab’ ich
Auf einė Hand gėwartėt die so
Warm und zärtlich wie deinė Hand
Meinė Haarė streicht.

O Liebėr, nur du wirst mich zu einẹr
Zärtlichėn
Frau machėn könnėn.
O wie ich dich doch mag
O wie ich dich sẹhr mag.

Es kommt nicht an wieviel Lieben kippen wird,
’S gibt auch Leute die sie nicht verstehen.
An Tagėn so wie diesėm wird mein Hẹrz
Am Endė bėwölkt.

Liebė kann nie einėm Rhythmus sanft
Und regėlmäßigėn folgėn.
Und auf einėm bėhaglichėn Sofa
Bin ich wiedėr einmal eingėschlafėn.

Als ob ich in jenė nostalgischė Zeit
Dẹr Jungėnd zurückgėkehrt wärė,
Immėr hab’ ich
Auf einė Hand gėwartėt die so
Warm und zärtlich wie deinė Hand
Meinė Haarė streicht.

O Liebėr, nur du wirst zu mir kommėn
Um mich
Zärtlich in deinėn Armėn zu haltėn.
O wie ich dich liebė
O wie ich liebė dich

O Liebėr, nur du wirst zu mir kommėn
Um mich
Zärtlich in deinėn Armėn zu haltėn.
O wie ich dich liebė
Hier in meinėm rotėm Hẹrz.

Lovin’ you zusammėn mit dir…
Kurikaeshi miru yume ni
Me ga samete miru to
Mune no douki ga hayai
Koto ni kidzuku

Itsumo hakusen fumihazushite
Hashiru watashi ga iru
Naze? Wake mo nai no ni
Koe wo agete nakitaku naru

Osanai shoujo no koro ni
Modotta mitai ni
Yasashiku
Kami wo nadete kureru
Sonna atatakai te wo itsumo
Matte ita

Anata dake wa watashi wo
Yasashii
Hito ni shite kureru
Totemo daisuki yo
Totemo daisuki yo

Donna ni jounetsu katamukete mo
Wakariaenai hito mo iru
Sona hi wa kokoro ga
Kumotte shimau wa

Koi wa kisokutadashii
Rizumu wo kizamanai
Kokochiii sofā de
Mata nemutte shimatta

Natsukashii shoujo no koro ni
Modotta mitai ni
Yasashiku
Kami wo nadete kureru
Sonna atatakai te wo itsumo
Matte ita

Anata dake wa watashi wo
Sotto
Tsutsumikonde kureru
Totemo aishiteru
Totemo aishiteru

Anata dake wa watashi wo
Sotto
Tsutsumikonde kureru
Totemo aishiteru
Akai hāto de

Lovin' you anata to…


Dint’ a ’stu suonn’ ’e ttante vvotė,
Cercȯ d’aprì chist’uocchė ccà,
E ssèntȯ ca ’stu cor’è rrapidȯ
A bbattėrė assajė.

Ïȯ sto ccà e vvadȯ sèmpė
Via dȧ ’sta rigȧ biancȧ ccà
Pėcché? Raggiònė nun ce sta, ma
I’ vòjj’ urlà mèntrė ch’a chiagnė sto

Commė s’i’ ffussė turnata a essė nénna
Accussì piccirilla,
Tu, tènnėrȯ,
Accarezzȧ ’sti capillė ccà:
Aggiȯ sèmp’aspėttà ’na manȯ pė’ mme,
Caura accussì!

O càrȯmȯ, tu ssolȯ puo’ ffà dde me
’Na donna
Tènnėra; e fallȯ, ttė prègȯ
Mi piaci così tanto
Così tanto piaci a me

Che ccòsa ’mpuorta si s’inclina ’o nostro ammòrė
Ce sta ’nca gèntė ca nun zė capiscė
Li iuornė commė chistu ’o còrėmȯ
Se ffacė nuvolosȯ

L’ammòrė nun pò sseguì mmajė
’Nu rritmȯ bbèll’e rregulà.
’Ncopp’a ’nu còmmȯdȯ divanȯ
Mė so’ addormutȧ ’n’atȧ vota ccà.

Commė s’i’ ffussė turnata a essė nénna – oh,
Ca ggrannė la nustalgia! –
Tu, tènnėrȯ,
Accarezzȧ ’sti capillė ccà:
Aggiȯ sèmp’aspėttà ’na manȯ pė’ mme,
Caura accussì!

O càrȯmȯ, tu ssolȯ vvėrraj’e ppoi,
Tènnėrȯ,
Mė tėrrajė dint’a li bbraccė.
Te vvo’ bbèn’ assajė
I' tė vòjjȯ bbèn' assajė!

O càrȯmȯ, tu ssolȯ vvėrraj’e ppoi,
Tènnėrȯ,
Mė tėrrajė dint’a li bbraccė.
Te vvo’ bbèn’ assajė
Dint’a ’o corė rossȯ ccà!

Lovin’ you inzèm’a ttė…


În visul care îl fac des, când
Încerc să deschid ochii mei,
Observ că inima mea repede
Foarte batând procede.

Mereü de la linea albă̄ aici
Alērgând, eu sūnt āici.
De ce? Chiar dacă n-am un motiv,
Vreau să plâng acum cu o voce tare!

Că și cum eu m-am î̄ntors la tīmpul
De când eram o fetiță,
Mereü am
Așteptat o mâna ca a ta
Care caldă și dulce mângaïe
Părūl mei.

Iubire, tu nūmaï poți să faci
Din mine
Ō mūiēre dulce.
De tine foarte place îmi
Oh de tine foarte-mi place

Ești indifferent cât iubirea s-înclīnă,
Este și lume care nu s-înțelēge.
În zilele ca această inima mea
Devine noroasă la sfârșitul.

Iubirea nu pot s-urmărească
Un ritm care este regulat.
Asupra unei canapele
Confortabilă din nou m-am adormit.

Că șī cum eu m-am întors la tīmpul
Nostalgic al tineretului,
Mereü am
Așteptat o mâna ca a ta
Care caldă și dulce mângâïe
Părūl mei.

Iubire, tu numai ai să vii și
Dulce
Ai să mă ții în brațele tele.
Eu foarte mult te iubesc
Oh eu foarte mult te iubesc

Iubire, tu numai ai să vii și
Dulce
Ai să mă ții în brațele tele.
Eu foarte mult te iubesc
Întru cordul roșu meu.

Lovin’ you cu tine împreuna…


Zài wǒ chángcháng kànjiàn de mèngjìng lǐ,
Chángshì dǎkāi yǎnjīng shírì,
Chájué dào wǒ de xīn de dòngjì shì
Zài biàn chéng hěn kuàijié de.

Suīrán wǒ zǒng zài cóng báisè de xiànlù
Bàn zǒu, zhǐshì wǒ zài zhèlǐ
Wèihé? Suīrán méiyǒu gè lǐyóu
Zhǐshì wǒ xiǎng yào jiān jiàozhe kūqì

Jiùxiàng wǒ céng huí dào yòuxiǎo de shàonǚ
De nà gè shíhou yīyàng,
Bǎ wēnróu de
Zài bǎ wǒ de tóufǎ fǔmō de
Jiùxiàng nǐ de yīyàng wēnnuǎn de gè shǒu
Yòng céng děngdài

Ó qīn’ài, zhǐyǒu nǐ nénggòu bǎ wǒ
Biàn wèi
Wēnróu de yī nǚzǐ
Wǒ hěn duōme de xǐhuan nǐ
Wǒ hěn duōme de xǐhuan nǐ

Wúlùn wǒmen de ài duōme nénggòu qīngxié
Yǒu lián wúfǎ míngbái bǐcǐ de rén yě dū
Wǒ xīn zài jiù xiàng jīntiān de rì
Huì biàn chéng quándōu yīn tiān

Àiqíng zàiyě dōu wúfǎ zūnxún
Yǒu guīlǜ de yī gè jiézòu.
Wǒ yòu zài shūshì de shāfā shàng
Dàotóulái zài yī cì céngjīng shuìzháo.

Jiùxiàng wǒ céng huí dào shàonǚ de huáijiù
De nà gè shíhou yīyàng,
Bǎ wēnróu de
Zài bǎ wǒ de tóufǎ fǔmō de
Jiùxiàng nǐ de yīyàng wēnnuǎn de gè shǒu
Yòng céng děngdài.

Ó zhǐyǒu qīn’ài de nǐ huì bǎ wǒ
Pínghuǎn de
Rù nǐ de nuǎn de shǒubì bàoyōng.
Wǒ hěn zhēn de zài àizhe nǐ
Wǒ hěn zhēn de zài àizhe nǐ

Ó zhǐyǒu qīn’ài de nǐ huì bǎ wǒ
Pínghuǎn de
Rù nǐ de nuǎn de shǒubì bàoyōng.
Wǒ hěn zhēn de zài àizhe nǐ
Zài wǒ de hóngsè de xīn.

Lovin’ you yǔ nǐ yīqǐ...


I drømmėn som jeg drømmėr oftė,
Når jẹg forsøgėr at åbnė øjnėnė,
Da jẹg bemærkėr, at mit hjẹrtė
Mẹgęt hurtigẹrė slår.

Mẹns jẹg altid løbėr fra den hvidė linjė,
Ẹr jẹg alligėvėl hẹr.
Hvorfor? Selvom der ẹr ingėn grund,
Nu vil jẹg med en høj stemmė grædė!

Som om jẹg var vendt tilbagė til når jẹg var
En lillė barnlig pigė,
Altid har jẹg
Ventėt på en hånd så varm som din
Som så blidt og så kærligt kærtẹgnėr
Mit hår!

Kun dig du, min elskėdė, vil kunnė
Gørė
Mig til en blid pẹrson.
Jẹg kan virkėlig lidė dig
Jẹg kan virkėlig lidė dig

Det ankommėr ikkė hvordan kærlighėdėn vippėr,
Det findės også folk som ikkė forstås.
I døgn som dettė, mit hjẹrtė
Vil blivė ovẹrskyėt

Den kærlighėd vil aldrig følgė
En regėlmæssig rytmė.
Og på en komfortabėl sofa
Faldt jẹg igėn i søvn en andėn gang.

Som var jẹg var vendt tilbagė til den savnėdė
Tid af mit barndom,
Altid har jẹg
Ventėt på en hånd så varm som din
Som så blidt og så kærligt kærtẹgnėr
Mit hår!

Kun dig du, min elskede, vil kommė
Til mig
Og holdė mig in armėnė.
Jẹg elskėr dig virkėlig
Virkėlig elskėr jẹg dig

Kun dig du, min elskede, vil kommė
Til mig
Og holdė mig in armėnė.
Jẹg elskėr dig virkėlig
I hjertet rødt mit

Lovin’ you… hẹr og med dig…

Tuesday, 15 May 2018

Romeo e Cenerentola

Bambini ancora? Beh, qualcosa del genere. Dalla canzone sembra che canti una bambina che vuole scappare con uno. «Questo è il tempo in cui tutti gli adulti dormono», dice la canzone, quindi presumo si tratti di una bambina o di un bambino, e poi dice di non chiamarla «Giulietta che vuole scappare», quindi dev'essere una bambina. Comunque, la canzone è giapponese, e si chiama Romio to Shinderera, Romeo e Cenerentola (che mescolotto eh…). L'ho incontrata verso l'estate del 2012 e tradotta in Italiano quell'estate. Solo in Italiano, quindi il post è in Italiano. Andiamo a vedere!


わたしこい
悲劇ひげきのジュリエットにしないで
此処ここからして…
そんな気分きぶん

パパとママにやすみなさい
精々せいぜい ゆめをみなさい
大人おとな
もう時間じかん

かえる 魅惑みわくのキャラメル
じらいの素足すあしからめる
今夜こんや何処どこまでけるの?

かないで 
やさしくして
にがもの
まだきらいなの
ママのつく
菓子かしばかり
べた所為せい

らないこと
るのならば
りたいとおもう 
普通ふつうでしょ?
全部ぜんぶせてよ
あなたにならば
せてげる わたしの…

ずっとこいしくてシンデレラ
制服せいふくだけでけてくわ
魔法まほう時間じかんめてよ
わるひとに 邪魔じゃまされちゃうわ

したいのジュリエット
でもその名前なまえばないで
そうよね むすばれなくちゃね
そうじゃないとたのしくないわ

ねえ わたしきてれる?

背伸せのびをしたながいマスカラ
るよきっと明日あすから
いまだけわたしゆるして

くろいレースの境界線きょうかいせん
まもひと今日きょうはいません
えたら何処どこまでけるの?

くほどに 
いたいほどに
きにってた
のはわたしでしょ
パパはでもね
あなたのこと
きらいみたい

わたしため

にぎってる
れは首輪くびわでしょ
してよ 
わたしのロミオ
しかられるほどとおくへ

かねひびくシンデレラ
ガラスのくついてくわ
だからね はやつけてね
わるゆめに らされちゃうわ

Ah きっともそうだった
としたなんうそをついた
そうよね わたしおなじよ
だってもっとあいされたいわ

ほらわたし此処ここるよ

わたしこころ
そっとのぞいてませんか
しいものだけ
あふかえってませんか
まだ別腹べつばら
もっともっとぎゅっとんで
いっそあなたの
居場所いばしょまでもめてしまおうか
でもれじゃ意味いみないの

おおきなはこより ちいさな
はこしあわせはるらしい
どうよう ままじゃわたし
あなたにきらわれちゃうわ

でもわたしより欲張よくばりな
パパとママは今日きょうわらず
そうよね 素直すなおいのね
としたのはきんおのでした

うそぎたシンデレラ
おおかみべられたらしい
どうよう ままじゃわたし
何時いつかはべられちゃうわ

まえたすけにてね
Watashi no koi wo
Higeki no Jūrietto ni shinaide
Koko kara tsuredashite…
Sonna kibun yo

Papa to mama ni oyasumi nasai
Seizei ii yume wo minasai
Otona wa
Mou neru jikan yo

Musekaeru miwaku no kyarameru
Hajirai no suashi wo karameru
Kon'ya wa doko made ikeru no?

Kamitsukanaide
Yasashiku shite
Nigai mono wa
Mada kiraina no
Mama no tsukuru
Okashi bakari
Tabeta sei ne

Shiranai koto ga
Aru no naraba
Shiritai to omou
Futsuu deshou?
Zebu misete yo
Anata ni naraba
Misete ageru watashi no…

Zutto koishikute Shinderera
Seifuku dake de kakete yuku wa
Mahou yo jikan wo tomete yo
Warui hito ni jamasarechau wa

Nigedashitai no Jurietto
Demo sono namae de yobanaide
Sou yo ne musubarenakucha ne
Sou ja nai to tanoshiku nai wa

Nee watashi to ikite kureru?

Senobi wo shita nagai masukara
Ii ko ni naru yo kitto asu kara
Ima dake watashi wo yurushite

Kuroi rēsu no kyoukaisen
Mamoru hito wa kyou wa imasen
Koetara doko made ikeru no?

Kamitsuku hodo ni
Itai hodo ni
Suki ni natteta
No wa watashi desho
Papa wa demo ne
Anata no koto
Kirai mitai

Watashi no tame to
Sashidasu te ni
Nigitteru
Sore wa kubiwa desho
Tsuredashite yo
Watashi no Romio
Shikareru hodo tooku e

Kane ga narihibiku Shinderera
Garasu no kutsu wa oite yuku wa
Da kara ne hayaku mitsukete ne
Warui yume ni jirasarechau wa

Ah kitto ano ko mo sou datta
Otoshita nante uso wo tsuita
Sou yo e watashi mo onaji yo
Datte motto aisaretai wa

Hora watashi wa koko i iru yo

Watashi no kokoro
Sotto nozoite mimasen ka
Hoshii mono dake
Afurekaette imasen ka
Mada betsubara yo
Motto motto gyutto tsumekonde
Isso anata no
Ibasho made mo umete shimaou ka
Demo sore ja imi nai yo

Ookina hako yori chiisana
Hako ni shiawase wa aru rashii
Dou shiyou kono mama ja watashi wa
Anata ni kirawarechau wa

Demo watashi yori yokubarina
Papa to mama wa kyou mo kawarazu
Sou yo ne sunao de ii no ne
Otoshita no wa kin no ono deshita

Uso tsukisugita Shinderera
Ookami ni taberareta rashii
Dou shiyou kono mama ja watashi mo
Itsuka ni taberarechau wa

Sono mae ni tasuke ni kite ne


Non finiamo il nostro amor
Come quello di Giulietta della tragedia
Scappa via di qui insieme a me…
In ’sto stato d’animo

Al babbo ed alla mamma dico buonanotte
Fate dei sogni che più belli non si possa
È il tempo in cui
Tutti gli adulti dormono

Col caramello che mi attira m’ingozzerò
E incrocerò i miei piedi scalzi ed esitanti
’Sta notte qua dove potrò andare poi?

Non venire a mordermi
Trattami dolcemente
Che le cose amare
Non mi piacciono ancor
Perché mangio soltanto
I dolci che la mamma
Mi prepara

Forse che non è normal
Pensare che se c’è
Qualcosa che non so
Allor lo voglio saper?
Tutto mostrami, su!
Quando io sarò con te
Ti farò vedere il mio…

E la Cenerentola sempre amorosa
Sol col suo vestito scappa via correndo
Magia, su, ferma il tempo ora per lei
Perché da un cattivon sarà ostacolata

E sono la Giulietta che sen vuole fuggir
Ma con un tale nome non chiamarmi mai
Così proprio è noi non siam legati allor
Se è così non è divertente, no

Ma di’ vuoi tu venire a vivere con me?

Ho messo su un poco troppo di mascara
Sarò di certo da doman ’na bimba brava
Adesso almen lasciatemi andare un po’

La linea di confine è questo laccio nero
E quel che fa la guardia oggi è andato vïa
Passatala dove potrò andare mai?

Finché tu mi morderai
Finché mi farai mal
Quella che ami tu
Son proprio io sì o no
Nonostante papà
Cui questa storia qui
Con te non par piacer

Quello che tu tieni là
Nella tua mano che
Allunghi verso me
È una catena o no?
Scappa via con me, su
O mio caro Romeo
Tanto lungi che ci riprenderan

Cenerentola or che la campana suona
Lascia dietro la sua scarpa di cristallo
Per questo or su cercate in fretta costei
Se no gli incubi la verranno a tormentar

Ah certo anche quella bimba ha fatto così
Mentiva nel dir che l’aveva sol perduta
Sì è così io faro lo stesso perché
Voglio solo che tu mi ami ancor di più

Ma guarda un po’ che sono proprio qui con te

Tu forse non vuoi venir
A spiare zitto dentro il mio cuore?
Non è forse pieno sol
Di quelle cose che vuole anche il tuo cuore?
Non sono ancora sazia
Su riempimi sempre sempre più
Fin quando seppellirai
Dentro di me finanche tutto quel che vivi
Ma ha significato questo o no?

Si dice che in una scatola piccola
Si trova più felicità che in una grande
Che devo far? Se andiamo avanti così
Io comincerò anche a non piacerti più

Però mamma e babbo, più avari di me
Perfino oggi non si sono ancor cambiati
Così è un bene è l’onestà
Quello che ho perso era un’ascia d’oro

Ci dicono che dopo troppe bugie
La Cenerentola se l’è mangiata un lupo
Che devo far? Se andiamo avanti così
Pure io sarò divorata un giorno, sì

Prima di questo vieni tu a salvare me!

Friday, 11 May 2018

A daughter to “get rid of”

We kinda keep on the theme of children (more like daughters, I think the children's song post was added later), and we have a Hakka song called Láu-mòi A-fa, Sister A-fa. Oh well, "daughters". Still, "dad also advises that A-fa should marry next year", so there's the "daughters" thing :). Anyways, this is in the Zhang Shaolin variety of Hakka, which is probably Fuiyong (Mandarin 惠阳 | Huìyáng) Hakka. I met with this sometime during my first year of Chinese study, probably between March and Summer 2012, and translated it in the sum… nope, only waaay later on Jan 1 2018 at 8:17 was it complete, it doesn't even appear in the file besides a prose translation. And I need to fix the misinterpretation of "Ki-nyin" as "others" aka "the boys" when it's "ki", "she", plus "nyin", "a person". Let's go!


我的老妹 做阿花
人好天真白璧也无瑕
又老实 品性
年纪恬恬悄悄十八出嫁
我(的)老妹 也像朵花
甜甜酒窝相似林青霞
人好乖 一致清理屋家房子
后生仔想去追完几打

人好又帮得手又听话
从来学坏 钱乱花
养鹅鸭 又鸡妈母鸡
满山去如果蛇 也讲怕
跳舞唱歌学吉他
弹琴吹SAXPHONE 会差
隔邻舍 半夜拿刀嫲柴刀
我的爸都劝讲阿花 明年好嫁
Nga láu-mòi    hàm-tsò A-fa
Nyîn háu thien-cin phȧk-piak ya vû-hâ
Yù láu-shıt    phín-sìn m tsha
Nyên-kí thiâm-thiâm shıp-pat mâng chut-kà
Nga kè láu-mòi    ya tshiòng tó fa
Thiâm-thiâm tsíu-vo siong-sìi Lîm Tshiang-hâ
Nyîn háu kwai    kín piàng vuk-ka
Hèu-sang-tsái sióng-òi hì cui vôn ki tá

Kî nyîn háu yìu pong-tet-shíu yìu thang-và
Tshiûng-lôi m hȯk-fài    tshiên lò-fa
Kî hiáu yong ngô-ap    yìu hiáu yong kai-mâ
Man-san hì hè nyì táu shâ    ya mâu kóng phà
Kî hân hiáu thiâu-mú chòng-ko hȯk kit-tha
Thân khîm chui SAXPHONE    m vòi tsha
Tsháu táu kak lîn-shà    pàn-yà na tau-mâ
Nga pa tu khièn kóng A-fa    mîn-nyên háu kà.


My young sis    her name's A-fa
So naïve and her beauty has no flaws
Honest and    well-tempered too
Though she's almost 18 she has not wed
My younger sis    is like a flower
Her sweet dimples are just like Lim Chiang-ha's
She's obedient    and does house chores
And there's so many young boys wooing her

And she is helpful and obedient too
Her money she will    never waste
She can also raise    ducks and geese and hens
She panics not if she comes    across a snake
And she can dance and sing and play guitar
And flute and saxphone:    not too bad
But the neighbours come    with knives at midnight
My pa suggested A-fa    next year shall wed

Tuesday, 8 May 2018

Children’s songs!

Last time we had Sappho's nostalgia for her daughter, so keeping on the theme of children, we have four children's song today. The first three, Tingelingelinge tåget går (Ding ding ding the train goes), Mors lilla olle (Mother's little Olle) and Trasiga Trasse (name of a doll, note that "trasig" means "tattered, ragged"), are Swedish, while the last one, 世上只有妈妈好 | Shì shàng zhǐ yǒu māma hǎo (Only mama is the best in the world), is Chinese. The Chinese one I met sometime in my first year of studying Chinese, that is between Oct 2011 and Sep 2012, and translated shortly afterwards into English. The Swedish ones are a longer story. I met with them in my childhood, on a tape my dad brought back from Sweden. The tape was called Älskade Barnvisor (Beloved Children-Songs), and was a nursery rhyme tape. I never understood a word of them until, when a Danish friend of my brother's came to stay at our place for a week before my brother's concert in the Milan conservatorio, the tape came back to my mind, and I searched for and translated all the texts of the songs. That was in Feb 2017 (1 year and 2 months ago approximately), and I chose these three to translate them to Chinese only. By the way, I translated Mors lilla Olle first, then Tingelingelinge, then Trasiga Trasse. All the songs were translated to English in a literal non-singable fashion, and it is those translations that I will place in this post. We then end our post with Sappho E 142 LP inc. 25 C inc. 25, which reminds us of the line "Diving into mom's hug" (投进妈妈的怀抱) in the Chinese song. This is a quote from a scholiast on Theocritus, and it is about «Aeolians adding a consonant» to ἐπτερύγωμαι. It is then certain that the Etymologycum Magnum and the Etymologycum Gen. have it right as πεπτερύγωμαι, while the sources reading πεπτέρυγμαι got it wrong. Then on 30/5/19 around 3:45am I finally got around to making a new translation: Italian. I did most of it, leaving out only like one line. I made a version the following morning around 9:30, then one more past midnight, but I was unsure exactly what was up with the grass (we're talking about l. 6), so I asked on Quora, a couple answers came in, I read the first one, and… FACEPALM. What a blunder, oh my gosh! So the 的s in ll. 2 and 6 are not genitive markers (think English 's), but relative clause markers. Which means my translations «Havin’ ma’s kid’s like havin’ gold» and «Not havin’ ma’s kid’s like havin’ grass», and the Italian «Bimbo, di mamma sei il tesor» and «È triste lei se con lei non stai» are totally bogus. So between 2:02 and 2:04 I fixed the English and the Italian, and I also had to adjust the «Gioia dove avrai?» to the new rhyme. So let's see these songs, shall we?

Tingelingelinge, tåget går
Uti vida världen
Den som femti öre har
Får följa med på färden.
Se (…), se (…)
Nu köper han biljetten
Och nu stiger han på
Och tåget kan gå


叮啊叮啊叮啊火车来,
会去过五洲啊,
有一元就可上来
跟我们来旅游啊。
看…,看…:
他现在买张车票,
就上入火车里,
火车就能去。




Mors lilla Olle i skogen gick,
rosor på kinden och solsken i blick.
Läpparna små utav bär äro blå.
– Bara jag slapp att så ensam här gå.

Brummelibrum, vem lufsar där?
Buskarna knaka’, en hund visst det är.
Lurvig är pälsen, men Olle blir glad.
– Å, en kamrat, det var bra, se god dag!

Klappar så björnen med händer små,
räcker fram korgen, – Se där, smaka på!
Nalle han slukar mest allt vad där är.
– Hör du, jag tror att du tycker om bär.

Mor fick nu se dem, gav till ett skri.
Björnen sprang bort, nu är leken förbi.
– Å, varför skrämde du undan min vän?
Mor lilla, be honom komma igen.
– Å, varför skrämde du undan min vän?
Mor lilla, be honom komma igen.


妈妈的欧乐进森林去,
玫瑰在脸颊,阳光在眼里,
伸出小唇,带蓝色的野果,
«我却不该这么孤单地过»。

吱吱吱:谁乱堆在那?
衬套在咿着:一定是狗啊。
外衣毛茸茸,但欧乐愉快
啊是朋友:很好的天已来

用双小手将熊拍一拍,
篮子伸出:«请看看,趣味,来»。
熊就几乎什么都来吞下,
«你就很喜欢这些野果啊!»

妈妈一看到就来尖叫,
熊来跑走:现在结束玩儿了。
«为何吓唬我朋友让牠去?
请妈妈请他再回到这里»。




Trasiga Trasse hette en docka
Han hade en klocka som alltid gick fel.
Fem över tio så gick han på bio
tio över fem ja då gick han hem.

Wabada, wabada, wa pa pa.
Wabada, wabada, wa pa pa.

Trasiga Trasse hette en docka
Han hade en cykel där styret är bak.
Styrte han framåt så rullar han bakåt
in på en gård och upp på ett tak.

Wabada, wabada, wa pa pa.
Wabada, wabada, wa pa pa.

Trasiga Trasse hette en docka
han hade ett rött prickigt stort paraply.
En dag kom vinden och tog lilla Trasse
han for med näsan mot himmelens sky.

Wabada, wabada, wa pa pa.
Wabada, wabada, wa pa pa.


曾有个玩偶,他名叫谢破坏,
他又一个总都错的时钟啊。
五分到十点他就来去影院,
十分到五点他就来回家。

哇吧打,哇吧打,哇帕帕。
哇吧打,哇吧打,哇帕帕。

曾有个玩偶,他名叫谢破坏,
有一辆把在后面的自行车。
他向前骑啊,就像后面滚动,
滚入农场,也滚上屋顶。

哇吧打,哇吧打,哇帕帕。
哇吧打,哇吧打,哇帕帕。

曾有个玩偶,他名叫谢破坏
他有支红色圆点的大雨伞。
有一日大风来带走小破坏,
他就来飞翔,鼻子往天上。

哇吧打,哇吧打,哇帕帕。
哇吧打,哇吧打,哇帕帕。




世上只有妈妈好
有妈的孩子像个宝
投进妈妈的怀抱
幸福享不了
没有妈妈最苦恼
没妈的孩子像根草
离开妈妈的怀抱
幸福哪里找
幸福哪里找

[所有多两次]



Only mama’s best in the world
A child with a mom like a treasure is
Dive into mama’s warm hold
Happiness you’ll hold
Without mama grief you’ll hold
A child without mom is like trampled grass
If you leave mama’s warm hold
Where will happiness hold?

[all again twice]





Ὠς δὲ πάϊς πεδὰ μάτερα πεπτερύγωμαι.

Sì come bimbo͜ io verso la mamma men volo.
Ding ding ding the train goes
Out in the wide world
He who has 50 cents
Is allowed to follow [us] on the joruney.
See (name), see (name)
Now he solves (=buys?) the ticket
And now he comes up (onto the train)
And the train can go


Dīng a dīng a dīng a huǒchē lái,
Huì qùguò wǔzhōu a,
Yǒu yī yuán jiù kě shànglái
Gēn wǒmen lái lǚyóu a.
Kàn…, kàn…:
Tā xiànzài mǎi zhāng chēpiào,
Jiù shàng rú huǒchē lǐ,
Huǒchē jiù néng qù.




Mother’s little Olle went into the forest,
Roses on the cheeks and sunshine in the eyes.
The small lips out, the berries are blue,
– Only I should not have to go here so alone.

Brummelibrum, who lumbers there?
The bushes creak, it’s surely a dog.
Shabby is the coat, but Olle becomes happy.
– Oh, a comrade, that’s good, see a god day!

[He] pats the bear with small hands,
Stretches out the basket, – See there, taste!
The teddy bear, he devours almost all there is.
– Listen, I think you enjoy berries.

Mother now got to see them, gave out a scream,
The bear ran away, now the game is over.
Oh, why did you scare my friend away?
Little mother, ask him to come again.
– Oh, why did you scare my friend away?
Mor lilla, be honom komma igen.


Māmā de Ōulè jìn sēnlín qù,
Méiguī zài liǎnjiá, yángguāng zài yǎn lǐ,
Shēnchū xiǎo chún, dài lánsè de yěguǒ,
«Wǒ què bù gāi zhème gūdān de guò».

Zhī zhī zhī: shéi luàn duī zài nà?
Chèntào zài yīzhe: yīdìng shì gǒu a.
Wàiyī máoróngrōng, dàn Ōulè yúkuài:
«A, shì péngyǒu: hěn hǎo de tiān yǐ lái!»

Yòng shuāng xiǎoshǒu jiāng xióng pāi yī pāi,
Lánzi shēnchū: «Qǐng kàn kàn, qùwèi, lái».
Xióng jiù jīhū shénme dōu lái tūnxià,
«Nǐ jiù hěn xǐhuān zhè xiē yěguǒ a!»

Māmā yī kàn dào jiù lái jiānjiào,
Xióng lái pǎo zǒu: xiànzài jiéshù wánr liǎo.
«Wèihé xiàhǔ wǒ péngyǒu ràng tā qù?
Qǐng māmā qǐng tā zài huí dào zhèlǐ».




Trasiga Trasse, a doll was called,
He had a clock that always went wrong.
5 to 10 so he went to the movies,
10 to 5 yeah then he went home.

Wabada, wabada, wa pa pa.
Wabada, wabada, wa pa pa.

Trasiga Trasse, a doll was called,
He had a bike where the handlebar is back.
He rode forward so he rolled back
Into a farm and up to a roof.

Wabada, wabada, wa pa pa.
Wabada, wabada, wa pa pa.

Trasiga Trasse, a doll was called,
He had a red spotted big umbrella.
One day there came the wind and took little Trasse
He went with the nose to the sky.

Wabada, wabada, wa pa pa.
Wabada, wabada, wa pa pa.


Céng yǒu gè wán'ǒu, tā míng jiào Xiè Pòhuài,
Tā yòu yī gè zǒng dōu cuò de shízhōng a.
Wǔ fēn dào shí diǎn tā jiù lái qù yǐngyuàn,
Shí fēn dào wǔ diǎn tā jiù lái huí jiā.

Wabadǎ, wabadǎ, wapàpà.
Wabadǎ, wabadǎ, wapàpà.

Céng yǒu gè wán'ǒu, tā míng jiào Xiè Pòhuài,
Yǒu yī liàng bǎ zài hòumiàn de zìxíngchē.
Tā xiàng qián qí a, jiù xiàng hòumiàn gǔndòng,
Gǔn rù nóngchǎng, yě gǔn shàng wūdǐng.

Wabadǎ, wabadǎ, wapàpà.
Wabadǎ, wabadǎ, wapàpà.

Céng yǒu gè wán'ǒu, tā míng jiào Xiè Pòhuài
Tā yǒu zhī hóngsè yuándiǎn de dà yǔsǎn.
Yǒu yī rì dàfēng lái dài zǒu xiǎo Pòhuài,
Tā jiù lái fēixiáng, bízi wǎng tiānshàng.

Wabadǎ, wabadǎ, wapàpà.
Wabadǎ, wabadǎ, wapàpà.




Shì shàng zhǐyǒu māmā hǎo
Yǒu mā de háizi xiàng gè bǎo
Tóujìn māmā de huáibào
Xìngfú xiǎng bù liǎo
Méi yǒu māmā zuì kǔnǎo
Méi mā de háizi xiàng gēn cǎo
Líkāi māmā de huáibào
Xìngfú nǎlǐ zhǎo
Xìngfú nǎlǐ zhǎo

[Suǒyǒu duō liǎng cì]



Sol la mamma è la miglior
Un bimbo colla mamma è come un tesor
Se ti tuffi nel suo calor
Gioia avrai ognor
Senza mamma c'è grande dolor
Un bimbo senza mamma ccom'erba è
Se tu lasci il suo calor
Dov'è la gioia per te?

[tutto di nuovo due volte]





Pārvŭlŭs ūtquĕ pŭērcŭlŭ' mātr' ădĕ' ālīs.

Just like a small little child do I fly to my mommy.

Saturday, 5 May 2018

Different nostalgia: daughter is far away

We change type of nostalgia today: form nostalgia for youth, pining for a far-away daughter. This closes our series of Sappho posts with the fourth and last post. We have two poems today:
  1. We start with a quote by Hephaestio, who quoted this 3-line passage to exemplify trochaic meters; it is Bergk 87, Edmonds 130, Lobel-Page 132, Campbell 132; from the Paracritical Note I gather that I first saw these lines as trochaic lines, and to reach this I wanted a synaeresis in χρυσίοισιν turning ίοι into a single syllable; then I read about Hephaestio's analysis (probably on Campbell, and I give you the image of this fragment in Campbell to avoid having to copy the quote text), which gives l. 1 as –u–x–u– || –u–x–u–x, l. 2 as –u–x–u–x || x–u–x–x, and l. 3 as –u–x–u–xx || –u–x–x; at that point, ll. 1&3 fit the analysis perfectly; l. 2, however, did not; I had for some reason already integrated Κλεῦις (from Edmonds), so to reach the analysis in question I proposed to add μοι after the name; adding a syllable after the name is also Campbell's proposal, perhaps another thing may be better; in any case, I then read Edmonds' idea that Hephaestio read Κλέευις or Κλέειϊς, and just followed Edmonds' Κλεῦις; by the way, Bergk has yet another take on that name: Κλᾶις; I don't know what I did about the meters in the translations; it seems I only imitated the original well in Italian, and the rest of the translations are merely trochaic meters;
  2. We end with a poem from two papyri, which probably has holes between the two parts and in the middle of part 2; I discuss the papyri at the transcriptions post, and that is where the notation comes from; the meter is gl||gl||cr+gl, that is two glyconics and a line made from a cretic and a glyconic, aka xx–uu–ux || xx–uu–ux || –u–|xx–uu–ux, and I imitated that with rhymes interspersed in English and Italian, and kept it in Latin.
Let's see these poems!


Ἔστι μοι κάλα πάϊς, || χρυσίοισιν ἀνθέμοισιν
ἐμφέρη‹ν› ἔχοισα μόρφαν, || Κλεῦις ἀγαπάτα,
ἀντί τᾶς ἔγω οὐδὲ Λυδίαν || παῖσαν οὐδ' ἔρανναν.
[Λέσβον ἐσλάβοιμί κεν… ]


Ho͜ una figlia splendida, || simile͜ a dorato fiore
Ella ha una gran beltà, || Cle͜ide del mi͜o cuore,
Per le͜i ’n cambio tutta Lidïa || i͜o non [prenderèi]
Né la cara [Lesbo… ]




................
................
] . θος ἀ γάρ με γέννα̣[τ' ἔφα ποτά·

σ]φ̣ᾶς ἐπ' ἀλικίας μέγα
κ]όσμ̣ο̣ν αἴ τις ἔχη φόβαι[ς
π̣ορφ̣ύρῳ κατελιξαμέ[να πλόκῳ

ἔ̣μμεναι μάλα τοῦτο δ̣ή 5
λλ' ἀ ξα̣νθοτέρα‹ι›ς ἔχη
τ̣α‹ὶ›ς κόμα‹ι›ς δάϊδος, προ[φανεστέραις

σ]τεφάν̣οισιν ἐπαρτία[ις
ἀν]θέων ἐριθαλέων
μ]ι̣τράναν δ' ἀρτίως κλ[ 10

π]οικίλαν ἀπὺ Σαρδίω[ν
] Μ̣αονίας πόλεις
................

[Στρῶφαί τινες δύνανται τῇδε ἀπολωλεκέσθαι.]

Σοὶ δ' ἔγω, Κλέϊ, ποικίλαν
οὐκ ἔχω πόθεν ἔσσεται
μιτράν‹αν› ἀλλὰ τῷ Μ‹υ›τ‹ι›ληνάῳ

[Στρῶφαί τινες δύνανται τῇδε ἀπολωλεκέσθαι.]

] . [
†παι . απειον† ἔχην πό[λις
αἴ κε̣[ν] ἦ ποικίλας κ . . [

Ταύτας τᾶς Κλεανακτίδα
φύγας ‹λα›ῖ{σ}α πόλῑς ἔχει 5
μνάματ' οἴδε γὰρ αἶνα διέρρυε


[xx–uu–ux
xx–uu–ux
–] e chi gener[ò]mmi [mi disse͜ un dì:] 3

“Nel [m]i͜o tempo ͜[or]namento fu
Grande se͜ una [ghirlanda] tu
Su͜i cape͜[i] che͜ involv[e͜a]li purpure’͜ avei, 6

Grande͜ invero assa͜i; però
Chi͜ i capelli di torci͜a pi͜ù
Bi͜ondi͜ ave͜a, addicen[za] maggi͜or vede͜a 9

In [c]orone di floridi
[F]i͜ori,͜ [assa͜i ben] vis[ibili;
Poco fa po͜i [g]hirlanda [u–x] da 12

Sard[i, v]ari͜a ne’ suo͜i color,
[xx–uu–ux
–u–] di Mëonïa le città; 15

[Alcune strofe possono essere andate perdute qui.]

Cle͜ide, dove trovar per te
Tal ghirlanda sgargi͜ante͜ a me
Noto no è; però͜ al Mitilenïo 18

[Alcune strofe possono essere andate perdute qui.]

[xx–uu–ux
xx–u] aver ci[ttà]
Se si può ricche [–uu–ux] 21

D’esta delle Cleanattid[i]
Fuga l’urbe͜ ha memorïe
Brutte: ché fece[r] lor spreco͜ orribile 24
Pūlchră fīlĭāst mĭhī, || flōrĭbūs quĭd’ a͞urĕīs
Fōrmăm ēst quǣ pār, || mĭhī Clĕīs cārīssĭmă,
Īpsǎ pr’ e͞a nēc Lȳdĭām || tōtăm ha͞udquĕ cārăm
[Lēsbŭm āccĭpi͞am mĭhī… ]


I do have a pretty daughter, || t’ golden flow’rs she has
Comparable indeed a beauty, || Clei͜s, who my love has,
I would not [exchange] for her || all Lydia, nor darling
[Lesbos, not at all… ]




[xx–uu–ux
xx–uu–ux
–u] ōlīm mātē[r] mĕă [dīxĭt hǣc:

M]ĕō tēmpŏrĕ māgn’ ĕrăt
[D]ĕcūs sī quĭ’ cŏmā[s] hăbē-
bāt [cŏrōn’] īntū[s] pūrpŭrĕā quĭdĕm;

Blōndi͞orēs [tă]mĕn īllă quǣ
Tǣdǣ lūcĕ cŏmās hăbē-
bāt, tŭm āpt’ ĕrăt [vīs]ĭbĭ[li͞orĭbŭs

C]ŏrōnīs bĕnĕ [f]lōrŭm ēx-
flōrēnti͞um; [uu–ux]
Āntĕhāc pa͞ulūm Sārdĭbŭ[s] ābs [ux

C]ŏrōnām [uu d]īvĭtĕm
Ūrbēs Mǣŏnĭǣ [ux
–u– xx–uu–ux

[Strophæ aliquot possunt hic perditæ esse.]

Āc tĭbī, Clĕĭ, dīvĭtĕm
Nēscĭ’ ūndĕ fŏrīt cŏrō-
nām quĭdēm nūnc; tămēn Mĭty̆lēnĭō 18

[Strophæ aliquot possunt hic perditæ esse.]

[xx–uu–ux]
Ūr[bēs –u] hăbērĕ [x]
Sī lĭce͞a[t] dīvĭtēs [uu–ux]

Īstīūs Clĕănāctdĭd[ŭm]
Fūgǣ ūrbs mĕmŏri͞as habĕt
Māl’; ĭ’ hōrrĭbĭl’ ābs mălĕ iēct’ hăbēnt


[xx–uu–ux
xx–uu–ux
–u] she who bega[t] me [once said to me:

“[’]Twas great [or]nament, in [m]y days,
If a [garland] of purple blaze
Someone’s hai[r] did surroun[d] and did not leave bare, 6

It indeed very much was so;
But if somebody’s hair’s blond glow
Than a torch brighter was, she was ap[t] to scorch 9

Eyes with eye-[striking] blossoming
F]lowers’ [g]arlands, yea, that’s the thing;
Recently [g]arland [–uu–ux

x] from Sardis, in colour rich,
x] Mæonïa’s cities [x
–u– xx–uu–ux 15

[Some stanzas may have been lost here.]

Rich in colour, o Cleis, for thee
Such a garland where’er may be
I don’t know; but to that Mithylenian [x 18

[Some stanzas may have been lost here.]

[xx–uu–ux
xx–u] to cit[ies] have,
If we ma[y], rich ones [–uu–ux 21

Of the daughte[rs] of Cleanax’s flight
Our city have only might
Memories bad: of their dreadful wast[e ux 24

Tuesday, 1 May 2018

Nostalgia for youth

In the last two posts, we had a lot of Sappho. Now, in one fragment in the last post, the ending «I won't marry you 'cos I'm too old» suggests some nostalgia for youth, and another fragment from the post before that, the one we only have line endings of, mentions sweet singing and a violet-bosomed girl, which also seem to hint at youth. So today I'm bringing you 5 poems, 2 of which certainly express nostalgia for youth, whereas of the other three, one also does in some versions, and the other two do in this particular completion (which is AFAIK the only completion that was made, since besides Edmonds people tend not to complete so much). The critical notes are, with one exceptions, short enough to be made right before the poems. The exception has a huge critical note, and is why I prepared this post on July 5-6 2017 as a draft. That draft has since been edited on March 1 2018 because I created the papyri transcriptions post in the meantime so the exception may not have the incredibly long critical note I mention. Let's get to those poems though.



Weaving garlands

This is fragment Bergk 34 [66], Edmonds 67, Campbell 125. It is a quotation by a scholar on Aristophanes (full abbreviated referece Schol. Aritsoph. Thesmoph. v. 400). According to Bergk, tradition has the passage as «Πρὸς τὸ ἔθος ὅτι ἐστεφαναπλόκουν αἱ παλαιαί· Σαπφώ· αὐτάορα αἰστεφαναπλόκουν». The part before the quotation says «Concerning the custom whereby the ancients wove garlands; Sappho». The passage is blatantly immetrical and corrupted. Various restorations exist. Bergk reads «αὔτα γὰρ ὠράα στεφαναπλόκουν», «for I myself, in my youth, wove garlands», similar to the solution I adopted back then, but making it an Alcaic hendecasyllabic, hence probably part of an Alcaic stanza. Edmonds reads «αἴ τ' ὀράαι στεφαναπλόκην», translating to «and the maids ripe for wedlock wove garlands»; this makes it look like a dactylic tripody, or maybe some Aeolic dactylic line (compare Hector and Anromacha) we only have the end of, and makes the meaning completely different from Bergk and me. Campbell leaves it as locus disperatus, reading «†αυταόρα† ἐστεφαναπλόκην», and translating to «(I myself in my youth?) used to weave garlands». Bibliotheca Augustana reads «...αὔτα / ὠράα στεφαναπλόκην»; the meter is incomprehensible, since the last line is evidently a glyconian, but the first one ends in a double long syllable, which is not how a glyconian ends. safopoemas only has «όραΤαι», presumably meaning «ὀραῖαι», «young (plural feminine)», but translates «y ellas, hermosas, tejen guirnaldas», «and they, beautiful, weave garlands», rendering evident how horrible that document is. Greek Wikisource has «Αὐτὰρ ὀραῖαι στεφανηπλόκευν», which would be what I'd probably choose now, since it's closest to the tradition. It does, however, suppose a single missing syllable at the start, or maybe a whole 5 syllables, depending on which meter you choose. Back in the days, I didn't have Bergk, I didn't look at Edmonds because «non ho un indice per ricerca veloce e la navigazione del pdf è molto lenta» («I don't have an index for quick search and navigation of the pdf is very slow», and it more or less still is, though I now made myself that index), so I completed B.A. in two ways, either «Ὡς πλεῖσταί γε, καὶ] αὔτα ‹ἦ / Ὠ›ράα στεφαναπλόκην», i.e. «Like most women indeed, even] I ‹actually, / In› my youth, wove garlands», or the below fashion. In fact, I suspect the below is from somewhere, but I can't trace where. My Paracritical Note from those days makes no mention of The Complete Poems of Sappho, but says that the only one amending save for safopoemas, Edmonds, and Greek Wikisource is BA, so I assume TCPOS doesn't amend either.
The completion and translations all date to between May 2009 and Dec 30 2009, I guess closer to the former than the latter.


Greek

Αὔτα ‹καὶ γὰρ ἔγω ποτὰ
Ὠ›ράα̣ στεφαναπλόκην.


Latin

Cōrōnās făcĭēbăm īps’
‹Ōlīm› cūm, iŭvĕnīs t’ ĕrăm.


Italian

‹Io› stessa ͜‹un tempo›, giovane,
Ghirlande intrecciavo, sì.


English

‹I› myself ‹once› did garlands make,
In my young age, for beauty’s sake.


Beautiful gifts of the Muses

This is Bergk 80 [43], Edmonds 118, Campbell 58, and the one with the huge-ass critical note. Same dating info for the translations. I report the P.Oxy. 1787 lines with blank lines between what should be different poems, then I add the poem that P.Köln has before the Tithonus part, as completed by Obbink's article. That poem will only have an English prose translation for the moment, because I never knew it existed up till I looked further into the sources, but I report it because IIRC it is still thought to be Sappho, and who knows if I will one day make a translation into poetry. Group 6 of The Rest of Sappho has different restorations and/or more completions for many of the below.


P.Oxy. lines, Greek

. . . . . . κά]λ̣εσσα [. . . . . . . . . . . . . . . . . . . . . . .ο]ἶ̣δα [–x
. . . .] ̣πέρι̣[
. . .] ̣εικε ̣[. . . . . . . . . . . . . . . . . . . . . . ]ν̣α [
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . φ]ύγοισα̣[
] ̣[.] ̣[. . . . . ~12 letters . . . . .] ̣δ' ἄχθην̣      5
. . . . . . . . . . . . ]χ̣υ̣θ[.] ̣[.]ω̣[. . . . . ~8 letters . . . . . α]ὔτα̣ν
. . . . . . . . . . . . . ] χ̣θο[ς .]ατι . [......]ọισα
. . . . . . . . . . . . . . ]μένα τὰν [πολυ]‹ώ›νυμόν σ̤ε̤
. . . . . . . . . . . . . . . ]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣

ὔμμες πεδὰ Μοίσαν ἰο]κόλ̤πων κάλα δῶρα παῖδες      10
σπουδάσδετε καὶ τὰ]ν φιλἄοιδον λιγύραν χελύνναν·[
ἔμοι δ' ἄπαλον πρίν] ποτ' [ἔ]οντα χρόα γῆρας ἤδη
ἐπέλλαβε, λεῦκαι δ' ἐ]γένοντο τρίχες ἐκ μελαίναν,
βάρυς δέ μ' ὀ θμ[ο]ς πεπόηται, γόνα δ' οὐ φέροισι,
τὰ δή ποτα λαίψηρ' ἔον ὄρ̣χησθ' ἴσα νεβρίοισιν.      15
τα]‹ῦ›τα στεναχί‹σδ›ω θαμέως ἀλλὰ τί κεν ποείην;
ἀγή̣ραον ἄνθρωπον ἔοντ' οὐ δύνατον γένεσθαι·
καὶ γάρ π[ο]τα Τίθωνον ἔφαντο βροδόπαχυν Αὔων
ἔρῳ δ̣α̤[..]αθεισαν βάμεν εἰς ἔσχατα γᾶς φέροισα
ἔοντα [κ]ά̤λ̤ο̤ν καὶ νέον, ἀλλ' αὖτ̣ον ὔμως ἔμαρψε[      20
χρόνω̣‹ι› π̣[ό]λιον̤ γ̤ῆ̤ρας ἔ[χοντ'] ἀθ[α]νάταν ἄκοιτιν.[

xx^^ ––^^ – ἐκφθ]ίμέναν νομίσδει
xx^^ – –^^ – –^^]αις ὀπάσδοι.
ἔγω δὲ φίλημμ' ἀβροσύναν, [ἴστε δὲ] τοῦτο· καί μοι
τὸ λάμπρον ἔρ‹ω›ς ἀέλιω καὶ τὸ κάλον λέλογχε      25
] ̣πιν[    ] . [...] . σ .́ .[
]φίλει ̣[
]κ̣αιν̤[

P.Oxy. lines, Latin

[x–uu, – –uu, – –uu, –u–x
x–u vŏ]cāvī [uu, – –uu, –s]cĭō [x
x–uu,] cīrcā [uu, – –uu, –u–x
x–uu, – –uu, – –uu, –u–x]
[x–uu, –]cūmqu’ ĕă [f]ūgīssĕt [u, –u–x
x–uu, – –uu, – –uu,] ēss’ ŏnūst[x
x–uu, – –uu, – –] ălĭ[–u ī]llăm
[x–uu, – –]ŏnŭ[s – –u] quĭd [–u–]ă
[x–uu, – –uu plūrūm uu] nōmĭnūm tē
[x–uu, – –uu,] sūccēssŭm ăd ōră dōnăt.

[Mūs’] ād bŏnă dōn’ ēt quŏquĕ pūlchr’ [āpprŏpĕrātĕ], pu͞ellǣ,
[Sī]nū [vĭŏlû̄m], cāntăqu’ ămāntēm ly̆răm ēt sŭāvĕm;
[Pri͞us mōllĕ mĭhī] cōrpŭs [ĕr]āt, nūnc tămĕn īpsŭm ǣtās
[Cārpsītquĕ,] mĭh’ [ālb]’ ābquĕ nĭgrīs [fā]ct’ ĕquĭdēm căpīllī,
Grāvīsquĕ mĭhī fāctŭ’ [c]ŏr ēst, āc gĕnŭ’ [ha͞]͞ud fĕrūnt mē,
Qu’ ōlīm sălĭēbānt răpĭ[dē] pārĭ’ ĕīspsĕ fa͞unīs.
Sǣpē quĕrŏr īst’, āt pŏtĕ quīdnām mĭhĭ īps’ hăbe͞am d’ hīs?
[Ǣt]ērnŭs hŏmō nām fĭĕrī nōn pŏtĕ ūmquăm ūllŭs.
Tīthōnŭm ĕnīm dīcĭtŭr A͞urōră brăchīs rŏsātīs
Īvīssĕ fĕrēns fīnĕm ăd ōrbīs, quĭd’ ămōrĕ c̣ạ̄p̣tă,
[P]ūlchrūm iŭvĕnēmqu’ ōlĭm, ăt īllūmps’ ĕquĭdēmquĕ cārpsĭ[t],
Spōns’ ēts’ ĭs hă[bēt] lōng’ ăb ĕ’, ōb tēmpŭ’ cănūt’, ŏb[ī]tū.

[x–uu, – –uu cōnsū]mptăm ĭs āppŭtātquĕ
[x–uu, – –uu, – –uu]āsquĕ āddēt.
Ātqu’ īps’ ĕg’ ămō mōllĭtĭām, [scītĕquĕ] hōccĕ, ātquĕ
Sōlīs mĭh’ ămōr lūmĭnĭcōs’ āddĭdĭt ātquĕ pūlchră.
……………………
Ămāt [
Ĕt [


P.Oxy. lines, Italian

[x–uu, – –uu, – –uu, –u–x
x–u chia]ma͜i [–uu, – –uu, –u] so [x
x–u] intorno [uu, – –uu, –u–x
x–uu, – –uu, – –uu, –u–]a
[x–uu, – –u] avendo le͜i [f]uggito [–x 5
x–uu, – –uu, – –uu,] esser carco
x–uu, – –uu, –] altr[uu, –u e]lla
x–uu, – –] pes[o –] che cosa, [–u–]a
[x–uu, – –uu, – –] te dai molti nomi
[x–uu, – –uu] alla b[o]cc[a] dà successo. 10

[Verso]͜ i doni belli [delle Muse s]en [di viola], donne,
[V’affrettate, e la] so͜ave amante del cantar, la lira;
[A me] la vecchiaia già [il corpo, giovin pria, rubònne,
Diven]tata ͜[è bianca] la mia chioma da com’era nera,
E ’l [c]uor m’è pesante,͜ e le ginocchia su più [n]on mi tengon, 15
Che͜ ugualmente͜ a’ fauni͜ erano un tempo rapi[de]͜ a danzare.
Questo io lamento di frequente; ma che debbo fare?
Gl’uomini di essere ͜[im]mortali͜ occasïon non tengon.
E͜ infatti si dice che Titon l’Aurora braccia d’ rosa,
P̣ṛẹsa dall’Amore, andò portando ai confin di terra,20
[B]ello͜ e giovin, ma lui pres[e] per il tempo che rinserra
L’avanzata͜ età, canuto,͜ av[ente] un’imm[o]rtale sposa.

[x–uu, – –uu] crede le͜i [con]sunta stare
[x–uu, – –uu, – –u] potrebbe dare.
La delicatezza amo i͜o, [sappiate po’]͜ anche questo: 25
Del sole l’amor bello splendor mi ha donato presto.
………………
Ama [
E [


P.Oxy. lines, English

[x–uu, – –uu, – –uu, –u–x
x–u I ca]lled [–uu, – –uu, –] I [k]now [x
x–u] around [–uu, – –uu, –u–x
x–uu, – –uu, – –uu, –u–x
x–uu, – –uu, –] having she [f]led [u–x
x–uu, – –uu, – –] to be loaded [–x
… … … … x–uu, – –uu, – –] other [–u s]he [x
x–uu, – –uu] weigh[t –u] what [–u–x
x–uu, – –uu, – –] you of names [so many]
[x–uu, – –uu] success to the m[o]ut[h] a-giving.

[Ye all to the violet-bos]omed [Muses’] pretty gifts, o maidens,
[Hasten, and the] sweet song-loving lyre, clear-singing and melodious;
[Once my] body [tender w]as indeed, but now old age already
[Hath it stolen, and,] from black it was, my hair all [white has tur]nèd,
And heavy my [h]ea[r]t has now become, my knees [n]o longer hold me,
Which once very qui[ck] did dance, as light as fawns indeed in dancing.
These things very often I lament; what should I do about them?
Someone who’s a man can ne’er become one who can [stop] his [a]geing.
Indeed it is said that Tithon o[n]ce the rosy-armèd Dawn did,
C̣ọṇq̣ụẹṛed by his love, go bringing out unto this earth’s extreme ends,
As he still was young and [ha]ndsome, but he anyway was take[n],
Gray-hairèd in time, by older age, e’en wi[th] a wife imm[o]rtal.

[x–uu, – –uu, – –] her [con]sumed beliveth
[x–uu, – –uu, – –uu, –] he might give.
For delicacy indeed I love, and know ye this thing also:
Beauty, yes, and splendour very soon th’ love for the sun did earn me.
…………
Loves [
And [


Köln extras, Greek

] . οὐ[
] ε̣ὐχο̣μ̣[
] . νῦν θαλ[ί]α̣ [παρέστω
] νέρθε δὲ γᾶς περ[ίσχ]οι
κλέος μέγα μοίσει]ον ἔχοι̣σα‹ν› γέρας ὠς̣ [ἔ]ο̣ικε̣ν
πάντᾳ δέ με θαυμά]ζοιε̣ν̣ ἆς νῦν ἐπὶ γᾶς ἔοισαν
κάλεισι χελίδω] λιγύρ̤α̤ν [αἴ] κεν ἔλοισα πᾶκτιν[
ἤ βάρβιτον ἤ τάνδε χέ]λ̣υ̣ν̣ναν̣ θαλάμοισ' ἀε̣ίδω


Köln extras, English

] . not(?)[
] pray [
] . now [let] Thal[i]a [be present
] under earth may (who?) h[av]e
the great glory of the muses], having spoils as is [a]ppropriate
and everywhere] they would [marve]l [at me] while I am on earth
they call (me)] a shrill [swallow if], having taken the harp,
or the barbiton or that l]yre, I sing to wedding beds


I would marry, but I'm old

This is Edmonds 42 and Campbell 21. The source for this is P.Oxy. 1231 fr. 10, a scrap of papyrus of considerable size found in Oxyrhynchus – yep, we've already heard this place in Hector and Andromacha, and we will hear it again many many times. That papyrus is discussed at the transcriptions post. I follow Edmonds' reconstruction. I must admit I have no idea why my original file assumed a whole missing stanza before this. Campbell's line numbering suggests an extra lost line was visible in the papyrus. I'll just ignore that. After all, no point having 4 empty lines when we don't even know if that extra line actually belonged to the same poem (which is not an easy thing to determine, as we will see in the huge-ass note to the previous poem). So I'm just dropping that assumption. Two completions are justified by two quotations. One is at l. 8, where the Dissertations of Maxymus of Tyre (full reference in Bergk Maximus Tyr. XXIV) tell us that «Διοτίμα λέγει, ὅτι θάλλει μὲν Ἔρως εὐπορῶν, ἀποθνήσκει δὲ ἀπορῶν· τοῦτο Σαπφὼ ξυλλαβοῦσα εἶπε γλυκύπικρον καὶ ἀλγεσίδωρον· τὸν Ἔρωτα Σωκράτης σοφιστὴν λέγει, Σαπφὼ μυθόπλοκον» (Diotima says that love blooms when it has much and dies when it has little; gathering this, Sappho called [love] "sweet-sour" and "giver of pains" [the adjective in l. 8]; Socrates calls love a sophist, Sappho a "weaver of tales"). One might object that the quote has an accusative and the completion a nominative, however the quote is just "hey Sappho described love as X", so it's just telling us Sappho used that adjective, and nothing about what case it was in, IMO. The other one is l. 12. In this case, it is Apollonius Dyscolus in his treatise on pronouns (full Campbell reference Ap. Dysc. Pron. 124b (l. 67 Schneider)) who tells us that «τὰ γὰρ παρ' Αἰολεῦσιν ἕνεκα τῆς συντάξεως πολλάκις ἀποβάλλει τὸ ν δι' εὐφονίαν· ἄεισον ἄμμι τὰν ἰόκολπον· αἰ δέ κ' ἄμμι Ζεῦς τελέσση νόημμα, Ἀλκαῖος.» («[pronouns] which in Aeolian writers' works often lose the nu for euphony due to the context: sing to us of the violet-bosomed; but if Zeus should fulfill our plan, Alcaeus», where τελέσση must be amended to τελέση for reasons of meter). That quotation doesn't make it clear if the fragment was by Sappho or Alcaeus, and indeed Bergk ascribed it to Alcaeus and gave it number 12, but in the light of P.Oxy. 1231 we are brought to reconsider this. By the way, the excerpt quotes another line, which is Bergk Alcaeus 73, and which is Alcaeus 361 in Campbell.
The translation of this I remember as one I made around Easter 2010. In particular, I remember myself doing the Italian one while on the bus that took me to the Angelus with the pope that year.


Greek

[Αἰ δέ μοι γάλακτο]ς ἐπάβολ' ἦσ[κε
τωὔθατ' ἢ παίδ]ων δολόφυν [ποήσ]ε
ἀρμένα, τότ' οὐ] τρομέροις πρ[ὸς ἄ]λλα
[λέκτρα κε πόσσι 4

ἐρχόμαν· νῦν δὲ] χρόα γῆρας ἤδη
[μυρίαν ἄμμων ῤύτι]ν ἀμφιβάσκει
[κωὐ πρὸς ἄμμ' Ἔρως] πέταται διώκων
[ἀλγε]σ̣ί[δωρος·

] τᾶς ἀγαύας
] . α· λάβοισα
[δ' ἀδύφωον πᾶκτιν] εισον ἄμμι
[τὰν ἰόκολπον.

ἔ]ρων μά̣λ̣ιστα
] ἆ̣ς π[λά]ναται̣
[................
................]


Latin

Sī mĕō sĭnū lă]c [ădhūc] mănēret
[A͞ut ĕī pŏt’ ēssĕt hăbē]rĕ [fīli͞o]s,
[Tūnc] ă[d āljūm pāssŭbŭ’ lēct’ ĕg’ ha͞ud] trĕ-
māntĭbŭs [īrĕm; 8

Sēd] sĕnēctūs [nūnc mĕŭm] ēxrĕplēt [pĕr
Plūrĭmās rūgā]s quĭdĕm ōmnĕ mēmbrŭm,
[Nēc] vŏlāns [nōs] īnsĕquĭtūrv’ [Ămō]r iăm
[Dātvĕ dŏlōrēs. 12

–u] Īllūstrīs [uu–u–x
–u–x–uu] prēndĕrīs cŭm
[Vōcĕ dūlc’ hārpām] mĭhĭ cāntă nūnc [sĭ-
nū vĭŏl’ īllăm. 16

–u–] prǣsērtĭm [ă]mōrŭm [–x
–u–x–uu] dūm văgātŭr
[–u–x–uu–u–x
–uu–x] 20


Italian

Se il mi͜o sen] pote[sse͜ ancor latt]e dare,
E il mi͜o] ventre ͜[adatto͜ a bambin]i [fare
Fosse͜ ancor, allor mi vedreste͜ andare,]
Certa [di piede,] 8

Ver[so͜ un altro talamo; ma͜ or] vecchi͜ai͜a
M’empi͜e͜ il corpo [con rugh]e [a migliaia,
Né] volando͜ inseguemi ͜[Amo]r, [che rai͜a
Duol che non cede. 12

–u–x–] dell’illustre [–x
–u–x–u; la melodi͜osa
Arpa] prendi,͜ e cantami [della sposa
Seno di vi͜ola. 16

Degl’[a]mor più ch’altro u–u–x
–u–x–uu] finché v[a]ga
[–u–x–uu–u–x
–uu–x] 20


English

If my bosom] sti[ll] had [some mil]k to feed,
[Or] my womb [had power to babie]s [bre]ed,
[Then you’d see my steps going, su]re indeed,
To a new [bed 8

And new wedding; now] doth the old-age ill
[With a thousand wrinkl]es my body fill,
[Nor doth Lov]e pursue [me] in flight, [which ill
Always has bred. 12

–u–x–] of the noble [–
–u–x–uu] out now take
[Th’ harp, o’ th’ violet-bosomed] a song now make
[With her sweet voice. 16

–u–x–] of the [l]oves o’er all
[–u–x] long as she wanders [–
–u–x–uu–u–
–uu–] 20


Remeber: we did those things too

This is Edmonds 43 and Campbell 24(a). The sources are two Oxyrhynchus papyri, P.Oxy. 1231 fr. 13 and P.Oxy. 2166(a)7a. Edmonds only had the first one at his disposal when he published his Lyra Graeca. Unfortunately, back in the days, I didn't know that, apparently, so I ignored Campbell completely and just followed Edmonds' completion, save for preferring the to my eyes equally valid completion of Campbell for l. 4 to the weird Edmonds long-υ συνεπόημμεν. The papyrus is discussed at the transcriptions post, and the more recent fragment destroys Edmonds' completion of stanza 2, while still allowing that of stanza 1. Along with the transcriptions, I present my own completion of the combination, mostly a rehash of Edmonds.
The translations of this probably date around the same period as those of the previous poem.


Greek

Αἶσ’ ἔγων ἔφ]αν· “ Ἄγα[ναι γύναικες,
οἶα μ]εμνάσεσθ’ ἄ̣[ϊ μέχρι γήρᾱς,
κ]αί γ’ ἂρ ἄμμες ἐν νεό̣[τατι λάμπρᾳ
ταῦτ’ ἐ]π̣όημ̣μεν· 4

[ἄγνα μ]ὲν γὰρ καὶ κά[λα πόλλ’ ἐν αὔτᾳ
δράσα]μεν, πόλι̣[ν δ’ ἀπυλιμπανοίσᾱν
σφῶϊν] ὀ[ξ]είαις δ̣[άκεν ἴμμερός μοι
θῦμον ἄσαισι”]. 8


Latin

[F]āt’ [ĕg’ ād quās]: «Ō tĕn[ĕrǣ mŭli͞erēs,
Qu’ ād sĕnēctūtēm m]ĕmĭnīssĕ vōbīs
Ēst pŏt’, īstă] nōs iŭv[ĕnēs] quĭdēm [qu]ŏqu’
[Ē]gĭmŭs ōlĭm; 4

[Pūr’] ĕnīm [pērmūltă] tŭm ātquĕ pūl[chră
Fēcĭ]mūs, nūnc ūrbĕ c’ ăbītĭs a͞utĕm
Fōrtĭbūs dŏlōrĭbŭ’ mōrdĕt ād mē
Cōrdă cŭpīdō]». 8


Italian

[Dis]si ͜[a lor]: “O tenere donne,͜ invero
[Quel che fino͜ a vecchi͜e s]i ha͜ in pensi͜ero
Giovin[ezza splendida f]atto ͜– è vero –
Da no͜i [l’]ha visto: 4

[Molte pure]͜ e bel[le] azioni ͜[in essa
Fatte͜ abbi]amo, ͜[ed or che lasciate] dess[a
Voi, l’amore] m[ordemi ’l cuor con ressa
Di dolor] m[e]sto”. 8


English

Unto them I sa]id: “Ten[der women, you,
Till old age, t]hink of [what you wish to do;
But remember:] in your [bright] yo[uth] did you
[Those things] not do?

Many [pure] and beau[tiful] things [did we
Then get] done, [and now] you [leave] tow[n, to me
Th’ love for you] d[evours the heart, ay me!,
To] s[h]arp [pains due]”.


You were also a tender young child

This is Edmonds 46 and Campbell 27. According to Campbell, the sources for this are a whopping 7 papyrus fragments: P.Oxy. 1231 frr. 50-54, and P.Oxy. 2166(a) frr. 5a-5b, the last two of which weren't available to Edmonds, giving the completely different reconstruction he gives. In fact, Edmonds only used fr. 50 as a source, because the 2166(a)5 linked the other 1231 fragments to fr. 50 (except for fr. 53 which Edmonds ignored for some reason, maybe the combination hadn't been thought up yet), and without that link there weren't compelling arguments for the combination. Moreover, Edmonds used a transcription which the new fragments revealed to have incorrect letters. Anyways, I discarded Edmonds' completion, because either I knew about the papyri or I wanted a complete first line, or maybe both, who knows. I will report the fragment collage from the discussion in the transcriptions post at the end, before the big critical note, using colors to mark origin fragment, as I will specify just before the collage. Joining fr. 52 and fr. 50 was, by the way, a possibility already for Grenfell and Hunt. Edmonds' version fits perfectly with fr. 50, modulo swallowing a iota from l.3 in his ζαλέξα. One last thing: it appears that, for my completion to work, I tampered with part of l. 14. More precisely, the original GH transcription reads ]α̣ικ.[, so I saw that uncertain alpha and arbitrarily reinterpreted it as an omicron. Back in the days, I probably thought they would look similar, because I imagined shapes close to the printed ones, whereas uncials are not so, and indeed this change was totally unjustified and wrong. But I have to come back to the text I translated, so I'll keep that bad change. One last thing: Group 6 in The Rest of Sappho has both the Edmonds version and the different restoration of this Italian anthology.


Greek

. . . . . . . . . .
. . . . . ]λ̣αιγ̣[. . . . .
. . . . . ]ν̣οσ[. . . . .
– ^ ^ – ]σι·[. . . . . 4

ἦσθ]α καὶ γὰρ δὴ σὺ̣ πάϊς ποτ' [ἄβρα
ἐξ]ί̣κ̣ης μέλπεσθ' ἄγι ταῦτα [πάντα
σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος
ἄ]δρα χάρισσαι

σ]τείχομεν γὰρ ἐς γάμον· εὖ δέ [γ' οἶσθα
κα]ὶ σὺ τοῦτ'· ἀλλ' ὄττι τάχιστ̣ά [σ' ἔστι
πα]ρ[θ]ένοις ἄπ[π]εμπε, θέοι [
. . κε]ν ἔ̣̣χοιεν̣

οὐ γάρ ἐστ'] ὄ̣δος μ[έ]γαν εἰς Ὄλ̣[υμπον
κἄμμιν ἀ]νθρω[ποισιν ἄν]‹ο›ικτ' [ἔοισα
[................
................]


Latin

Ēt t’ ĕnīm pŭēllŭl’ [ĕr]ās [tĕnēllă,
Ād]vĕnī, quǣsō, cănĕqu’ [ōmnĭ’] hǣccĕ,
Dīc[quĕ], grātĭāsquĕ ăb hōccĕ c[ōrdĕ
M]āxŭmă dōnā: 8

Nūptĭās [a]dīmŭs ĕnīm; bĕn’ [ē]t tū
Hōccĕ [scīs], sēd quām răpĭdīssĭm’ [īn tē’st
Vī]r[g]ĭnēs nūnc mī[t]tĕ, dĕī [u–x
–] hăbĕānt [x 12

Nāmqu’ ăbēst] ād m[ā]gnŭm Ŏl[ȳmpŭm] ītĕr
[Quǣ sĭt ētj’ ād nōs] h[ŏmĭ]nēs [ă]pērtă
[–u–x–uu–u–x
–uu–x] 16


Italian

[–u–x–uu–u–x
–u–x–uu–u–x
–u–x–uu–u–x
–uu–x] 4

Ch’anche tu [se͜i tenera] bimba [st]ata,
[V]i͜eni, [tutto] questo, deh, canta, ͜[e]͜ amata
Fa’ conversazione, e grazi͜a [l]ata
Dacci, ti prego:

A sposarci ͜[a]ndi͜amo; tu [pu]r lo [saï]
Ben, ma manda quanto pi͜ù ’n fretta [saï
Le fa]n[c]i͜ulle vïa, gli dei [u–x]
Abbi͜ano [–x]; 12

Verso ’l g[r]ande͜ Ol[impo non v’è]͜ una vïa
[Ch’anche per no͜i u]͜omi[ni͜ ap]ert[a sia;
–u–x–uu–u–x
–uu–x] 16


English

[–u–x–uu–u–
–u–x–uu–u–
–u–x–uu–u–
–uu– 4

Once] you [wer]e a [tender] young child, you too,
[C]ome to me to sing [all] of this, please do,
[And] to talk, and to us [g]reat favours do
Out of your [h]eart: 8

For we’re [g]etting married; and well you [know]
This yourself, as fast [as you can] now, though,
S[e]nd the [m]a[i]ds away, may the gods [u–]
Have [uu–] 12

To the g[r]eat Ol[ympus there is no] way
[That for us m]e[n also may open stay;
–u–x-uu–u–
–uu–] 16


Fragment collage


So finally we combine the text, marking fr. 50 as black, fr. 51 as blue, fr. 52 as red, fr. 53 as brown, fr. 54 as purple, fr. 5a as cyan, and fr. 5b as pink (what a lot of colors :) ). Hopefully the terribly holey first stanza didn't change excessively since I first collaged this way back in July, so I adapted the colors and kept the rest as was, given it is omitted from the collage in the transcriptions post.

]λ̣αιγ̣[
]ν̣οσ[
]σι·

ἦσθ]α καὶ γὰρ δὴ σὺ̣ πάϊς ποτ' [ἄβρα
ἐξ]ί̣κ̣ης μέλπεσθ' ἄγι ταῦτα [πάντα
σοὶ] ζ̣ἄλεξαι κἄ̣μμ' ἀπὺ τῶδε κ[ῆρος
ἄ]δρα χάρισσαι
σ]τείχομεν γὰρ ἐς γάμον· εὖ δέ [γ' οἶσθα
κα]ὶ σὺ τοῦτ'· ἀλλ' ττι τάχιστ̣α [
πα]ρ[θ]ένοις ἄπ[π]εμπε, θέοι [
κε]ν ἔ̣̣χοιεν̣
οὐ γάρ ἐστ'] ὄ̣δος μ[έ]γαν εἰς Ὄλ̣[υμπον
ἀ]νθρω[π      ]αικ . [


Critical note to "beautiful gifts of the muses"
This poem (or these poems?) is very controversial. Indeed, it is not even universally agreed upon where the poems break. But we'll get to that later as we analyze the sources.
The first source (in a chronological sense), and the only source available for Bergk (fr. 80 [43]) and Edmonds (fr. 118) is Athenaeus's Deipnosophistae (another name we will hear very many times, and that we have heard in Hector and Andromacha), which, in book XV, say «ὑμεῖς δε οἴεσθε τὴν ἁβρότητα χωρὶς ἀρετῆς ἔχειν τι τερπνόν; καίτοι Σαπφώ, γυνὴ μὲν πρὸς ἀλήθειαν αὖσα καὶ ποιήτρια, ὅμως ᾐδέσθη τὸ καλὸν τῆς ἁβρότητος ἀφελεῖν λέγουσα ὧδε· Ἐγὼ δὲ φίλημμι ἁβροσύναν καί μοι τὸ λάμπρον ἔρος ἀέλιω καὶ τὸ κάλον λέλογχε, φανερὸν ποιοῦσα πᾶσιν ὡς ἡ τοῦ ζῆν ἐπιθυμία τὸ λαμπρὸν καὶ τὸ καλὸν εἶχεν αὐτῇ. ταῦτα δέ ἐστὶν οἰκεῖα τῆς ἀρετῆς.» (thus some codices, others start the quote with «ἐγὼ δὲ φιλήμμα βροσύναν»), which Edmonds translates to «Do you think that delicacy or refinement without virtue is a thing to be desired? Why, Sappho, who was a woman out and out and a poetess, too, hesitated nevertheless to separate refinement from honour, for she says: But I love delicacy, and the bright and the beautiful belong for me to the desire of the sunlight; making it clear that the desire to live comprehended for her the bright or famous and the beautiful or honourable; and these belong to virtue.». Bergk proposes his own emendation in the footnotes, «Ἔγω δὲ φίλημμ' ἀβροσύναν, καὶ γὰρ ἔμοι τὸ λάμπρον / ἔρος γλυκίρω ἀελίω καὶ τὸ κάλον λέλογχε». Outside the footnotes, however, he prints pretty much my text, save for having «ἀβροσύναν .... καί μοι». This means he accepts someone else's suggestion to emend ἔρος to ἔρως for metrical reasons. Edmonds has his own line-breaking to solve the same problem.
Then, Oxyrhynchus happened. Yes, that name again. Told you it was gonna pop up often :). Oxyrhynchus offered one big scrap of papyrus that definitely linked to this quotation, and two micro-scraps that possibly linked to the big one, though the link is doubtful. All of that is discussed at the papyri transcriptions post, where the following collage of the three scraps is presented, with fr. 1 uncolored, fr. 2 and 2a red (top is 2a, bottom 2, so no ambiguity), and the Athenaeus quote cyan:

κά]λ̣εσσα [     ο]ἶ̣δα [
] ̣πέρι̣[
] ̣εικε ̣[    ]η̣α [
φ]ύγοισα̣[
] ̣[.] ̣[    ~12 letters    ] ̣δ' ἄχθην̣      5
]χ̣υ̣θ[.] ̣[.]ω̣[    ~8 letters    α]ὔτα̣ν
]χ̣θο[ς .]ατι ̣[......]ọισα
]μένα τὰν [πολυ]ώνυμόν σ̤ε̤
]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣
]πων κάλα δῶρα παῖδες      10
] φίλ' ἄοιδον λιγύραν χελύνναν[
] ̣τα χρόα γῆρας ἤδη
]ντο τρίχες ἐκ μελαίναν
]α̣ι γόνα δ' [ο]ὐ̣ φέροισι
]ησθ' ἴσα̣ νεβρίοισιν      15
ἀ]λλὰ τί κεν ποείην
] οὐ δύνατον γένεσθαι
] β̣ροδόπαχυν Αὔων
] ̣ατα γᾶς φέροισα
] ̣ν ὔμως ἔμαρψε[      20
]άταν ἄκοιτιν[
ἐκφθ]ίμέναν νομίσδει
]αις ὀπάσδοι
ἔγω δὲ φίλημμ' ἀβροσύναν [] τοῦτο καί μοι
τὸ λάμπρον ἔρ‹ω›ς ἀέλιω καὶ τὸ κάλον λέλογχε
     25
] ̣πιν[    ] . [...] . σ .́ .[
]φίλει ̣[
]κ̣αιν̤[

Then, in 2002+ (meaning after Campbell, whose Sappho and Alcaeus book dates to 1952), a number of papyri were acquired by some institution in Cologne from some guy who possessed them. They were analyzed, and a number of them stuck out. All of those are discussed… wait for it… I bet you know… in the transcriptions post, where two combinations are presented. Indeed, the overlap is blatant (the only reason to combine the Köln material, in fact, besides it being from the same cartonage -- right?), but only starts at the κάλα δῶρα παῖδες line, so the rest of the lines in the Oxyrhynchus collage and in the Köln fragments are other poems – surprise motherEFFers! Anyway, here comes the combined text. The left column integrates the previous Oxyrhynchus collage with the Köln material, using blue for fr. 1, pink for fr. 2, and purple for fr. inv. 21376, keeping the non-common lines from Oxyrhynchus. The right column, on top of exactly the same integration, keeps the lines from Köln, thus using cyan for fr. 1b, and leaves the end of the fragments alone because it is not by Sappho so we don't care about it.






κά]λ̣εσσα [     ο]ἶ̣δα [
] ̣πέρι̣[
] ̣εικε ̣[    ]η̣α [
φ]ύγοισα̣[
] ̣[.] ̣[    ~12 letters    ] ̣δ' ἄχθην̣
]χ̣υ̣θ[.] ̣[.]ω̣[    ~8 letters    α]ὔτα̣ν
]χ̣θο[ς .]ατι ̣[......]ọισα
]μένα τὰν [πολυ]ώνυμόν σ̤ε̤
]ν̤ι θῆται στ̣[ύ]μα̤[τι] πρ̣όκοψιν̣

[ὔμμες πεδὰ Μοίσαν ἰο]κόλ̣πων κάλα δῶρα παῖδες
σπουδάσδετε καὶ τὰ]ν φίλάοιδον λιγύραν χελύνναν[
ἔμοι δ' ἄπαλο πρίν] ποτ̣' [ἔ]ο̣ντα χρόα γῆρας ἤδη
ἐπέλλαβε λεῦκάι τ' ἐγ]ένοντο τρίχες ἐκ μελαίναν
βάρυς δέ μ' ὀ θῦμ[ο]ς πεπόητα̣ι γόνα δ' οὐ̣ φέροισι
τὰ δή ποτα λαίψηρ' ἔον ὄρχησθ' ἴσα̣ νεβρίοισιν
[ταῦ]τα στεναχί‹σδ›ω θαμέως, ἀλλὰ τί κεν ποείην
ἀγή̣ραον ἄθρωπον ἔοντ' οὐ δύνατον γένεσθαι
καὶ γάρ π[ο]τα Τίθωνον ἔφαντο βροδόπαχυν Αὔων
Ἔρῳ δ̣α̤[..]αθεισαν βάμεν εἰς ἔσχατα γᾶς φέροισα
ἔοντα [κ]ά̤λ̤ο̤ν καὶ έον ἀλλ' αὖτ̣ον ὔμως ἔμαρψε[
χρόνω̣ι π̣[ό[λιον̤ γ̤ῆ̣ρας ἔ[χοντ'] ἀθανάταν ἄκοιτιν[

ἐκφθ]ίμέναν νομίσδει
]αις ὀπάσδοι
ἔγω δὲ φίλημμ' ἀβροσύναν [] τοῦτο καί μοι
τὸ λάμπρον ἔρ‹ω›ς ἀέλιω καὶ τὸ κάλον λέλογχε
] ̣πιν[    ] . [...] . σ .́ .[
]φίλει ̣[
]κ̣αιν̤[
] . ν̣όε̣[ισαι
] πῆμ[α
]φατ̤[
]λ̣[
]ιυ[

[Several lines lost]
] . οὐ[
] ε̣ὐχο̣μ̣[
] . νῦν θαλ[ί]α̣[
] . ερθε δὲ γᾶς περ[ίσχ]οι
]ο ἔχοι̣σαι γέρας ὠς̣ [ἔ]ο̣ικε̣ν
]ζοιε̣ν̣ ἆς νῦν ἐπὶ γᾶς ἔοισαν
] λιγύρ̤α̤ν [αἴ] κεν ἔλοισα πᾶκτιν[
χέ]λ̣υ̣ν̣ναν̣ θαλάμοισ' ἀε̣ίδω


[ὔμμες πεδὰ Μοίσαν ἰο]κόλ̣πων κάλα δῶρα παῖδες
σπουδάσδετε καὶ τὰ]ν φίλάοιδον λιγύραν χελύνναν[
ἔμοι δ' ἄπαλο πρίν] ποτ̣' [ἔ]ο̣ντα χρόα γῆρας ἤδη
ἐπέλλαβε λεῦκάι τ' ἐγ]ένοντο τρίχες ἐκ μελαίναν
βάρυς δέ μ' ὀ θῦμ[ο]ς πεπόητα̣ι γόνα δ' οὐ̣ φέροισι
τὰ δή ποτα λαίψηρ' ἔον ὄρχησθ' ἴσα̣ νεβρίοισιν
[ταῦ]τα στεναχί‹σδ›ω θαμέως, ἀλλὰ τί κεν ποείην
ἀγή̣ραον ἄθρωπον ἔοντ' οὐ δύνατον γένεσθαι
καὶ γάρ π[ο]τα Τίθωνον ἔφαντο βροδόπαχυν Αὔων
Ἔρῳ δ̣α̤[..]αθεισαν βάμεν εἰς ἔσχατα γᾶς φέροισα
ἔοντα [κ]ά̤λ̤ο̤ν καὶ έον ἀλλ' αὖτ̣ον ὔμως ἔμαρψε[
χρόνω̣ι π̣[ό[λιον̤ γ̤ῆ̣ρας ἔ[χοντ'] ἀθανάταν ἄκοιτιν[

[Poem not by Sappho omitted]









References
Note: these are all the references I ever used for Sappho as of now. I may not have used all of these in the present post.