When you're sad, listen to love songs!

Not sure exactly why I placed this here. Possibly because the last two songs were very sad, and the title could be a remedy for that sadness. In any case, today we have a Chinese song called "伤心的时候可以听情歌 | Shāngxīn de shíhou kěyǐ tīng qínggē", "When you're sad, you can listen to love songs", which I translated to English on 11/2/19 between 23 and 23:48. As I fix punctuation on 8/10/21 in the night, I change «Sad people, they just grow and grow» at 1:10, «Can raise your spirit» at 1:12. Let's see it!

情歌怎么越唱越多 这到底为什么 因为失恋的人太多 想找个方式述说 伤心的人越来越多 感情太过脆弱 难过的时候没人安慰我 不如找一首最爱的歌 听着度过 伤心的时候 可以听情歌 忧伤的旋律 可以赶走失落 寂寞的时候 可以听情歌 忧郁的歌声 可以带来快乐 伤心的时候 可以听情歌 唯美的节奏 可以赶走难过 寂寞的时候 可以听情歌 因为这种感觉 真的很不错

Qínggē zěnme yuè chàng yuè duō Zhè dàodǐ wèishénme Yīnwèi shīliàn de rén tài duō Xiǎng zhǎo gè fāngshì shùshuō Shāngxīn de rén yuè lái yuè duō Gǎnqíng tàiguò cuìruò Nánguò de shíhòu méi rén ānwèi wǒ Bùrú zhǎo yī shǒu zuì ài de gē Tīngzhe dùguò Shāngxīn de shíhòu Kěyǐ tīng qínggē Yōushāng de xuánlǜ Kěyǐ gǎn zǒu shīluò Jìmò de shíhòu Kěyǐ tīng qínggē Yōuyù de gēshēng Kěyǐ dài lái kuàilè Shāngxīn de shíhòu Kěyǐ tīng qínggē Wéiměi de jiézòu Kěyǐ gǎn zǒu nánguò Jìmò de shíhòu Kěyǐ tīng qínggē Yīnwèi zhè zhǒng gǎnjué Zhēn de hěn bùcuò

Why are there more and more love songs?
Why is this in the end?
'Cause heartbroken people are too many
And want to let others know…
Sad people, there are more and more:
Feelings are just too frail!
When I am sad and no-one comforts me,
I'll just look for my favorite song,
Just to go on…

When you're sad,
Then love songs are there for you,
For a tune full of grief
Can raise your spirits.
When you're lonely,
Love songs are there for you,
For a melancholic voice
Can get your joy back.
When you're sad,
Then love songs are there for you,
For a nice rhythm
Can take sadness from you.
When you're lonely,
Love songs are there for you,
'Cause the feeling in them's
Really not that bad.

Missing support

Last time we had a sad song with lots of loneliness, and today we have 匍背 | Phù-poi, a very sad song where the singer tells us of her grandma and how they used to go sell groceries at dawn, and how granny wanted the singer to go to Uni but failed to be there for her when she got into 中国文化大学 (Chinese Culture Univerity). This is one of the many songs I found because of digging through my computer to make the list for this monster post. The language is Meinong Hakka (or at least, since the song suggests she comes from Meinong, I assume it's Meinong Hakka, since it's definitely Hakka), and making the dictionary material match what I hear in the video has been a nightmare. About that, here's a little spoiler with the current state of the art as of drafting the post (Jan 2019). Hopefully I'll be able to keep it up to date as new solutions to the tone problems (and sound problems) emerge.

First of all, this song is probably in Meinong Hakka. That it is Hakka is clear. That it is Meinong I infer from when she says she and granny set off from Meinong to sell groceries. After lots and lots and lots of work at SE, and 1 2 3 4 5 6 7 8 9 10 11 12 13 Quora questions (wow!), here is the current state of the art. First of all, the transliteration obeys the conventions of this post - except I found out Minhakka is a bastard who upturned the tone diacritics, and I've always used Minhakka's wrong version of the marks, whereas here I use the correct one. To discuss this, let me first mention this study, which is where I get the tone contours. Here is a table of what I got:

Tone Yin Ping Yang Ping Shang Qu Yin Ru Yang Ru

Contour 322 31 42 55 43 55

Contour as given on hakkadict 24 11 31 55 2 5

Diacritic circumflex grave acute none none vertical line

Hakka Romanization System Diacritic acute circumflex grave none grave none

Minhakka diacritic none circumflex acute grave none vertical line

Before we tackle sandhi rules and all the tone problems I have with this video, there are a few quirks in the singer's pronunciation, and a few new words in her dialect, that need to be addressed:

1. 在 is not the usual tshoi (or rather tshôi), it is pronounced thî; this is documented on the Wiktionary for Southern Sixian Hakka, so no problem there;
2. 个 is not kài or kè (or rather kai or ke), but e; this was documented in the Wiktionary in an example either at 个 or at 的, but now seems to have been removed; this is not the only example of common words being eroded in her dialect:
   
   • 就 and 都 are both pronounced lu; the latter is documented at the Hakka cloud in the example, and the former I can't find documented anymore; that Hakka cloud is highly search unfriendly;
   • 佢 is pronounced ì (well, the tone is to be treated carefully, see below) instead of kì;
   • 正 is pronounced nang instead of cang; this is documented at hakkadict as an alternate Southern Sixian pronunciation;
   • 得 is pronounced et instead of tet; this is undocumented, but with all this erosion business it's easy to accept;
3. 会 is pronounced woi, whereas all other v- initials are pronounced as vs, except the vun in vun-fa which sounds like /vwun/; my guess here is that, before rounded vowels, the v labialized to vw (hence vwun and *vwoi), and then erosion set in and simplified *vwoi>woi;
4. 该 | ke is consistently pronounced te; at the moment, it is unsure whether this is idiolectal or more widespread;
5. 㧡 | khâi seems to be consistently pronounced khan, as though it were 擐; I don't know if the two words are merging, if she's misusing the second one, or if granny actually lifted the poles with her hands instead of carrying them on her shoulders (or any other situation took place that would warrant the use of khan instead of khâi);
6. The particle 等 (-ing in English) is nún (tone problem!) instead of the tén I'm used to; this is documented in the Wiktionary;
7. She says fan-su twice because she gets the tones wrong on the first one; the tones on the first instance are adapted from the video according to the study's tonal description;
8. Instead of the familiar 恁样 | an-nyong (don't remember the tones right now), we find 恁呢 | án-nê, documented as such on the Wiktionary, not in an entry of its own, but in the dialectal synonyms for e.g. this word;
9. The place name 中坛, which should be Tsung-tham or Tsung-iun according to this, is heard as Tsung-mun; given that source tells us Kana spellings of the old name were Tsun'en and Tsun'un, which seem to match Tsung-yen and Tsung-wun, I guess the name could be Tsung-vun, with vun being pronounced wun (cfr. "woi" a few items above), and the nasality of -ng carrying over to make the w- into a m-;
10. There is one instance of a word "ka", which seems to be equivalent to the 佮 we have oftimes seen in Hakka songs, but I can't document it, and the known word is kak;
11. 君 is read kün instead of kiun; this, despite being undocumented in writing, is documented via recordings of the character's pronunciation at the Hakka cloud and at hakkadict, which show variation between kün and kiun;
12. A variant of 毋过, 啊毋过, is found; I cannot document it, but it seems Justin Richard Leung (@justinrleung on Stack Exchange) can; he said the a- is probably borrowed from Min 猶毋過, one of whose alternate pronunciations is á-m̄-kò;
13. 典礼 is documented as tián-lî, but heard as tiám-dî in the sung part; my take is that the -m is an artefact of singing, while the -di could be an alternate pronunciation *tián-dî, or another artefact of singing;
14. 晡日 is pîn-ngit instead of pû-ngit, but this is (indirectly) documented at Wiktionary and the Hakka cloud (can't find it, the search is just bollocks) as an alternate pronunciation; in 暗晡头, however, it's pû we hear;
15. Phù-poi is not, as I thought, a pronunciation of 扶背 | support, but the (apparently Southern Sixian only) word 匍背 | hunchback / hunched back, documented at the Hakka cloud;
16. There is one instance of a word mâ, seemingly meaning "also, even"; this appears to be a conflation of a Min loan 嗎 (ma) and the synonym yâ which gave the tone;
17. Ngâ and ngài seem to get confused, and in fact it seems ngài is taking the tone of ngâ, except for a few nga; but more on the tone below;
18. 办法 | phan-fap sounds like phan-fat, and the -p is not there because the lips don't close; no idea whether this can be sourced or not; maybe this is an influence of another dialect: after all, the character has a -t in most dialects, including Min and Cantonese, and Hakka seems to be the only one to retain the Middle Chinese -p.
19. 瓜仔 | kwâ-é sounds like kwâ-bé, no idea why; I am, in fact, entertaining the idea that another word was meant, perhaps 瓜薈 | kwâ-ve, or 瓜棫 | kwâ-vet, though the e is held long so the latter seems unlikely;
20. If you see -oy, -ay, -eoi, or -eot, it's because in many -oi she rounds (or seems to round) the -i to a -ü, in many other -oi she seems to front the o and round the i, resulting in an equivalent to Cantonese Jyutping -eoi final, and in Tsung-kwet, she reads kwet as kyeot would be in Cantonese; while the -oy are probably just the rounding lasting too long (a "trailing roundedness" if you will), the -eoi are unexplained because one of them is after k-, where fronting is not warranted by minimization of movement, and kyeot is even more pozzling because it seems the character is usually ket in Meinong, so one could at most guess *kwet>*küet>kyeot or *kwet>*kɰøt>kyeot; actually, -ay and -oy may just be her ending the diphthongs with /ɪ/ as in English instead of /i/ as in Italian;
21. Remember the 恁 | àn (or rather an) from other songs? Well, as documented on the Wiktionary, Southern Sixian has 盖 | koi instead;
22. I mentioned ngai and ki, what about nyi? Well, it's ǹg here, which I spell 你, choosing to reserve the spelling 汝 for the nyî (or rather nyì) I'm used to;
23. The word 蕹菜 is pronounced fung-tshoi, which is reported as an alternate pronunciation in an old dictionary I have no access to; this pronunciation warrants dropping the spelling of the captions, since 瓮菜 would only lead to vung-tshoi;
24. I choose to use the original Hakka spelling of Meinong, 弥浓, instead of the borrowed Japanese respelling 美浓, but use the latter in Min because the original spelling is a Hakka thing;
25. 故所以 is heard as ko-só-yî instead of ku-só-yî, for no known reason;
26. 从 is heard as tshùng instead of the tshùng it's recorded as in dictionaries; this is perhaps a new-style pronunciation influenced by Mandarin's cóng;
27. 重要 is reported as tshung-yeu for Southern Sixian, but is heard as ending in something of a /jǝw/; Justin would expect a -yau, since Southern Sixian should be closer to Meixian than to Northern Sixian; if the should-be is -yeu, maybe it was retracted to /jɵw/ for smoothness of motion, and if the original was -yau, maybe the a was raised to reduce the movement of the tongue; in any case, we don't know if it's idiolectal or more widespread.

Now that those are tackled (and I hope I didn't forget anything), it's time to tackle the biggest problem: tones. Apart from the mismatches between the study and hakkadict, which is illustrated in the above table, neither match what I hear perfectly. But now, let's discuss the sandhi rules mentioned by the study:

1. Yin Ping+Yang Ping=324+Yang Ping; this is the reason I matched the contour 24 to this tone; the Yin Ping never sandhies otherwise;
2. Yang Ping+Yin Ping=Yin Ping+Yin Ping, that is 322+322;
3. Yang Ping+{Shang/Yin Ru}: Yang Ping=32, that is, the Yang Ping is shortened a little before Shang and Yang Ru, making it harder to tell apart from a Yin Ping;
4. Yang Ping+{Qu/Yang Ru}: Yang Ping=3->1.5, that is, instead of going all the way down to level 1, it stops half a level higher;
5. 由上聲和陰入組合的二字詞，前字起始音會高於後字: 諸如「上聲+上聲」（廠長），「上聲+陰入」（粉筆），「陰入+陰入」（竹節），「陰入+上聲」（屋頂）四種組合時，會産生前字起始音高於後字，後字音程變小，音量也變輕的現象，調型則維持不變; basically, when a word is made of Shang+Shang, Shang+Yin Ru, Yin Ru+Yin Ru, or Yin Ru+Shang, the first syllable is slightly higher than the second one, and the second one is shorter and lower in volume than usual;
6. 陰平，陽平分別後接上聲或陰人時，上聲或陰入調值會產生差異: 差異的原因乃是因爲陰平，陽平與上聲或陰入分別有著同樣音程的相對語感;陰，陽平結束音高112（調值）的差異即成爲後接上聲或陰入音高（调值）差異了，例：「豬骨」與「牛骨」，因前字「豬」，「牛」結束音高相差半度左右，在「豬骨」與「牛骨」有著相同的相對語感之情況下，兩詞的後字雖同爲「骨」但前者音者會高於後者半度左右; essentially, to distinguish Yin and Yang Ping before Shang or Yin Ru, the second tone is raised half a degree (but the table later in the study gives a full degree, 53 for Shang and 54 for Yin Ru) after a Yin Ping and left intact after a Yin Ping; in numbers, as per said table, Yin Ping + Shang = 322-53, Yang Ping + Shang = 31-42, Yin Ping + Yin Ru = 322-54, Yang Ping + Yin Ru = 31-43.

The last two sound like they should be easily ignorable if we allow "fuzzy matches" to be enough for us. So I set out to get the tone name of each syllable, and this is what I got:

Thi|YP khiu|Q-ngian|Y'P e|Q sam|YP ngiat|Y'R-fun|Q
Ngai|Y'P yu|Q mung|Q to|S ngai|Y'P e|Q a|YP-ma|YP
Te|Q-ha|Q-e|S he|Q ngai|Y'P koy|Q se|Q koy|Q se|Q e|Q sii|Y'P-tsiet|YR
Mi|YP ngit|YR thien|YP mo|Y'P kong|YP
Lu|Q then|Y'P-nun|S a|YP-ma|YP khiung|Q-ha|Q tshut|YR-mun|Y'P hi|Q mai|Q tshoy|Q
A|YP-ma|YP yung|Q tam|Q-kon|YP khai|YP-nun|S fan|YP-su|Y'P fan|YP-su|Y'P yap|Y'R
Khai|YP-nun|S fung|Q tshoy|Q
Lu|Q an|S-ne|Y'P tshung|Y'P Mi|Y'P-nung|Y'P tsong|YP
Yit|YR-lu|Q-hang|Y'P hang|Y'P to|Q Tsung|YP-mun|Y'P
Thi|YP lu|Q hong|Q a|YP-ma|YP i|~Y'P woy|Q ka ai|Y'P kong|S
Tsii|YP-kyun|YP ng|Y'P e|Q ngian|S-tsu|YP khon|Q m|Y'P to|S e*|YP (actually spelled 唉)
Ko|Q-so|S-yi|YP ngai|Y'P hi|YP-mong|Q ng|Y'P kho|S-yi|YP khau|S-song|YP thai|Q-hok|Y'R
Nga|YP nang|Q piong|Q et|YR lok|Y'R sim|YP
Yin|YP-vi|Q a|YP-ma|YP ya|S ki|Q fa|Q
Ngai|Y'P keoi|Q tap|YR-yang|Y'P
Leoi|Y'P khau|S to|S Tsung|YP-kyeot|YR vun|Y'P-fa|Q Thai|Q-hok|Y'R
A|YP-m|Y'P-ko|Q to|Q ngai|Y'P pit|YR-ngiap|Y'R tiam|S-li|YP te|Q pin|YP-ngit|YR
Nga|YP lu|YP tshim|Y'P mo|Y'P to|S a|YP-ma|YP i|Y'P e|Q phu|Y'P-poi|Q
Hip|YR-siong|Q e|Q te|Q-ha|Q-e|S
Nga|YP ma mo|Y'P yit|YR tsung|S fon|YP-hi|S e|Q kam|S-su|Q
Yin|YP-vi|Q tui|Q nga|YP loi|Y'P kong|S
Tsui|Q tshung|Q-yau|Q tsui|Q tshung|Q-yau|Q e|Q ngin|Y'P
Ngai|Y'P tsai|Q mo|Y'P phan|Q-fa|YR khon|Q to|S
I|Y'P e|Q phu|Y'P-poi|Q

Of course, the ma and ka, which are doubtful, do not have a tone from hakkadict. Again of course, this only deals with the spoken part, since tones are neglected in singing. I ignored the pronunciation problems mentioned above for this transcription. The below two-column section shows the resulting tone contours according to the study in the right column, and the contours I hear in the left column.

Thi33 khiu55-ngian51 e334 sam11* ngiat33*-fun22* Ngai24 yu55 mung55 to442 ngai11 e33* a11-ma33 Te55 ha55-e52 he33* ngai21* koy33* se334*                                 [koy33* sei33* e34* sii21*-tsiet2* Mi22 ngit51 thien24 mo53 kong21 Lu55 then11*-nun11 a11*-ma34         [khiung44*-ha44* tshut4-mun21 hi33* mai33* tshoi334* A11-ma55 yung55 tam45-kon32                         [khan44*-nun32 fan11-su4 fan24-su31-yap34 Khan44*-nun32* fung33*-tshoi334* Lu55-an53-ne22 tshung21 Mi11-nung11-tsong11 Yit5-lu45 hang21 hang21 to34* Tsung213*-mun21 Thi11* lu34* hong34* a11-ma24                 [i21* woi34* ka43 ai32 kong41 Tsii2:2.5-kün11 ng11 e55 ngian41-tsu112                                 [khon44 m43 to32 e21 Ko55-so53-yi31 ngai23 hi21-mong35                 [ng22 kho22-yi21 khau33 song11* thai33*-hok3* Nga22 nam45 piong5t et43 lok3* sim11 Yin22-vi55 a11-ma34* ya42 ki22* fa223* Ngai31 keoi45* tap324-yang324 Loi22 khau33 to332                 [Tsung22-kyeot32 vun21-fa34* thai34*-hok4* A55-m53-ko44* to34* ngai41                         [pit3*-ngiap4* tian32*-li11* te33* pin32 ngit32* Nga33 lu55 tshim31 mo22 to2.5:1                                 [a22-ma33 i21 e33 phu21-poi334 Hip4-siong55 e55 te44-ha44-e41 Nga11 ma23 mo42 yit2* tsung21*                                 [fon21*-hi33* e33* kam32*-su34* Yin22-vi55 tui55 nga53 loi31 kong442 Tsui54 tshung33*-yau33*                         [tsui32* tshung22*-yau22* e22* ngin21* Ngai31 tsai44* mo42 phan34*-fa32* khon44* to31* I33 e55 phu32-poi44

Thi|322 khiu|55-ngian|3:1.5 e|55 sam|322 ngiat|55-fun|55 Ngai|3:1.5 yu|55 mung|55 to|42 ngai|3:1.5 e|55 a|322-ma|322 Te|55-ha|55-e|42 he|55 ngai|3:1.5 koy|55 se|55                                 [koy|55 se|55 e|55 sii|32-tsiet|43 Mi|322 ngit|43 thien|324 mo|322 kong|322 Lu|55 then|32-nun|42 a|322-ma|322         [khiung|55-ha|55 tshut|43-mun|3:1.5 hi|55 mai|55 tshoy|55 A|322-ma|322 yung|55 tam|55-kon|322         [khai|322-nun|42 fan|324-su|31 fan|324-su|3:1.5 yap|55 Khai|322-nun|42 fung|55 tshoy|55 Lu|55 an|42-ne|31 tshung|31 Mi|31-nung|322 tsong|322 Yit|43-lu|55-hang|31 hang|3:1.5 to|55 Tsung|324-mun|31 Thi|322 lu|55 hong|55 a|322-ma|324                 [i|3:1.5 woy|55 ka|? ai|32 kong|42 Tsii|322-kyun|324 ng|3:1.5 e|55 ngian|42-tsu|322                         [khon|55 m|32 to|42 e*|322 (actually spelled 唉) Ko|55-so|42-yi|324 ngai|322 hi|322-mong|55         [ng|32 kho|42-yi|322 khau|42-song|322 thai|55-hok|55 Nga|322 nang|55 piong|55 et|43 lok|55 sim|322 Yin|322-vi|55 a|322-ma|322 ya|42 ki|55 fa|55 Ngai|3:1.5 keoi|55 tap|43-yang|31 Leoi|32 khau|42 to|42                 [Tsung|322-kyeot|43 vun|3:1.5-fa|55 Thai|55-hok|55 A|324-m|3:1.5-ko|55 to|55 ngai|32                 [pit|43-ngiap|55 tian|42-li|322 te|55 pin|322-ngit|43 Nga|322 lu|324 tshim|31 mo|32 to|42                                 [a|322-ma|324 i|3:1.5 e|55 phu|3:1.5-poi|55 Hip|43-siong|55 e|55 te|55-ha|55-e|42 Nga|322 ma|? mo|32 yit|43 tsung|42                                 [fon|322-hi|42 e|55 kam|42-su|55 Yin|322-vi|55 tui|55 nga|324 loi|32 kong|42 Tsui|55 tshung|55-yau|55                         [tsui|55 tshung|55-yau|55 e|55 ngin|31 Ngai|3:1.5 tsai|55 mo|3:1.5 phan|55-fa(t)|43 khon|55 to|42 I|3:1.5 e|55 phu|3:1.5-poi|55

Asterisks denote where a shift of the frame of reference for the tone levels would improve the match between heard contours and expected contours. The below tackles whatever I don't think I can explain away as fuzzy matches or tone fluctuations.

1. The first problem is obviously the "ngian", which starts way too high; I think at least some of the recordings for 舊年 at the Hakka cloud do have a ngian51 (or ngien51), but I can't slow them down, so I can't be sure; talking speed probably cuts the jump short;
2. Then we see the ngai24; now, I think the -i and the following y- merge, and continuously grow from 2 to 5, so I think I can reread the ngai as a 23 or 22 or 33, which still don't match a Yang Ping, but do match a Yin Ping, and many other ngais later on strongly suggest it's ngâi, not ngài: the next one is 11, then we have 21, then there is that ai32, then ngai23, which is more of an accidental fluctuation from an intended ngai22 or ngai33, and these are more Yin Pings than Yang Pings, then there is a ngai31 which would be a Yang Ping, then ngai41 which is just weird but more of a Yang Ping, then ngai53 which is literally no tone, and finally a ngai31; OK, looking at this list, and at the speed of the speech in each instance, it seems that the Yin Ping appears when ngai is spoken fast, and Yang Ping stays when it's spoken slower (with some funky 41 and 53 businesses); I think we can explain this as a combination of speed cutting the drop short, and conflation with nga, which is indeed ngâ, and is probably merging with ngài; in fact, the ngai53 I reported was a nga53, meaning the two are being tonally and semantically conflated (with funky business, again); so I guess I'll keep the "root tones" ngài and ngâ, with this caveat, and then the nga53 is just weird;
3. The next problem is obviously "a-ma"; this should be â-mâ, but almost every time it appears as two level tones of different heights; in only one instance does it behave like two Yin Pings: in front of ì woi kạ ài kóng, where the sandhi rule applies and mâ is ma24~ma324; however, the sandhi should not occur, because there is a pause after â-mâ; also, in another instance where it's followed by ì, it doesn't sandhi; so we either assume it's actually â-ma, and explain that weird sandhi as an even weirder huge upward drift in pitch, or we stick to â-mâ, and have way more problems; I go for â-ma; what do you think @justinrleung?
4. "To" saves itself by a hair thanks to raising the reference :);
5. What is going on with that ngit51 which is supposed to be ngit43?
6. "Mo" is weird; it seems its tone is adaptive: it's supposed to be mo31 + sandhi, but mo53 is not explained by that, nor is mo22 or mo33, so I guess we can only say its tone is rendered unimportant by how common it is, and what contexts it appears in: in all three instances of the word, it is clear that it must be a negative element, so even if the tone adapts, the message is clear, and adapting the tone allows the pitch to vary continuously instead of being "jumpy"; in view of that, we just leave the etymological tone: mò;
7. The particle nún appears three times; in two of those instances, it is apparently lower than a Yin Ping, and in the other one it is just as low; however, the first two instances are preceded by another doubly problematic word; see below for that, but my conclusion is that that word is a Qu tone (khan), which makes raising the reference a trick to get a nun43~nun42, so nún confirmed; what about the other instance? Well, it seems to be nun21 or nun31, which sounds Yang Ping, but the preceding Yin Ping would have to sandhi, which it doesn't, so it must be nún; I guess it's just de-emphasised so the reference lowers;
8. A mention must be made of how the first fan-su has wrong tones that she corrects afterwards; essentially, the wrongness is fân-su instead of fân-sù, with the different sandhi that follows from this; hence my transcription;
9. I naturally have to re-mention the khâi/khan thing at this point; it is evident that she is saying khan: high level tone, nún starting below it; so that is how I will transcribe it; I will wait for a comment by @justinrleung on whether the captions have the wrong word and it should be the actual khan that is used here;
10. The yap is a raising checked tone, which shouldn't exist, and it's like a reversed Yin Ru; raising the reference risks screwing up the preceding Yang Ping, making it a 42 Shang; but maybe it's just de-emphasised as it ends a three-syllable word, something like the neutral tone in Mandarin;
11. an-ne is reported as án-nè or án-nê, and the level tone of the ne makes it clear we have the latter; as for an53, well, remember Shang+Yin Ping=53-322? Well, that's another reason for positing án-nê :);
12. Mi11-nung11 could only be explained as Mî-nûng, but that is not reported anywhere that I know of; so I either have to posit this Mî-nûng sound, or take Mì-nùng and assume the mì got cut short by speech speed; Mî-nùng definitely doesn't fit, because the Yin Ping would sandhi to 324 and that doesn't happen; @justinrleung what do you think?
13. "I" should be ì, but it is always level; or rather, it seems like it drops like half a degree; that would suggest a Yin Ping î; of course, there is that questionable sandhi that happens once out of two instances of the same word combination, which would make it a Yang Ping; @justinrleung, what say you?
14. "Tsii-kün" seems to have a double problem; the kün shouldn't actually sandhi to 324, because between Tsii-kün and ǹg there is a pause; still, we should have the same tone, which we don't; besides positing a tsii-kü̂n, so assuming tsii is a Qu tone, the only explanation I have is that a sequence of level tones takes a decreasing pitch curve; I would do that in Mandarin with Zījūn, probably; @justinrleung what do you think?
15. The m43 supposed to be m32 is probably another blatant negative whose tone adapts to its surroundings because it's not essential to comprehension;
16. If we raise the reference and read khon55 m54 to43 e32, it's all fuzzy matches, except m disucssed above, so e is also OK;
17. The "so" in "ko-so-yi" sounds like it's being sandhied as if in front of a Yin Ping, except the following is a clear Yang Ping; WTF?
18. The "mong" has a strange big pitch raise which I'm reluctant to explain away as a drift; @justinrleung?
19. The "ng" does seem to have a slight drop in pitch, and given it's very short, it could be ǹg; the other ng in the line before, however, definitely sounds like a Yin Ping n̂g; @justinrleung?
20. "kho" in "kho-yi" is a level tone and should be a Shang; seems to be a Yin Ping; @justinrleung?
21. "khau" has the same problem; again, a Yin Ping would fit, in both instances of the word; @justinrleung?
22. The reference raise for the "lok" could be justified by end-of-phrase tone drop, something like a neutral tone; @justinrleung what do you think?
23. Then we have "ya", which should be yá but sounds like yâ; now, the recording here clearly has ya22 ha44 for yá-ha, in both versions, which would sound like yâ-ha, not yá-ha, so it seems the tone varies; maybe this is another form of erosion (speaking of which, the second recording for Sixian has khon-e-to for khon tet tó, pretty extreme erosion); here it's even weirder: ya53 ha33; moedict doesn't play audios, and hakkadict doesn't even display play buttons, so I can't hear those recordings; oh wait, relistening that is not ya22, but ya42 as expected, and the following Qu tones are 22, perhaps because they end the sentence;
24. In tap324-yang324, tap32 is a fuzzy Yin Ru, and the 4 is a drift, perhaps 323 actually; as for yang324, there is an ending drift, but the rest is more of a yâng than a yàng, it's a level tone; @justinrleung how come? Answer in item 34 below.
25. Â is definitely not what is here, but then again 啊 allows essentially any tone, and this comes from á-m̀-kò in Min where the first tone is level by sandhi, so I'll go for a-m̀-ko;
26. The "ngai" shouldn't actually sandhi because it's followed by a pause, so it should be a 31, add in some speech speed that cuts the jump from to34 down to the 3 of ngai31 short, and ngài is saved;
27. Not raising the reference on "pin" and raising it on the whole rest is probably justified by the exact tone being unimportant given the collocation right before "ngit" which means "day" in and of itself;
28. I posit lû (once tû) and lu (once tshiu) are merging to a single lu, and that is what we find here; the sandhi shouldn't apply because there is a break after it, so it should be lu322, still not lu55;
29. As mentioned above, what was once ma (Min loan) is probably getting conflated with the synonym yâ, and becoming mâ, which fits the ma23 here thanks to sandhi;
30. We raise the reference from yit on because yit tsung ends the first part of the sentence, and the rest keeps the lowered reference;
31. That nga53 is unsandhied and too high, perhaps because of how common it is, so another "tonal erosion" to achieve continuous pitch; @justinrleung what do you think?
32. "ngin" needing less reference raising than the rest is probably because the "tsui tshung-yau" before it is a repetition, and the "e" is a common word; @justinrleung?
33. Finally, the hi in fon-hi sounds like a Qu or Yin Ping, but should be a Shang; @justinrleung?
34. I'm told what I wrote tap-yàng is actually 打拼 | tá-piang; makes more sense, but the tones don't match at all: I hear ta323-piang334, which is closer to ta322-piang322 (tâ-piâng) than ta42-piang55 (tá-piang); if I squint hard enough, however, aka raise the reference, I can render that as ta43-piang44, which is more or less tá-piang.

Now that that's out of the way, we have three translations of this song:

1. English, started in the night between 22/9/18 and 23/9/18, continued on 23/9, leaving only one line untranslated, two options given on 26 or 27/9, and on 28 I finally knew which one was right; on 20/1/19, after the Min translation was done, I fixed the English and the Sicilian from «Though I had to sell veggies with her» and «Puru si avia a vìnniri i chianti cu iđđa» to their present forms, thus fixing the fact m-sii is "no need" and not "although"; I also fixed "vidi" to "vitti" on 30/1/19 at about 14:34;
2. Sicilian, same as English; 20/1/19 change mentioned in previous item;
3. Min Nan, started in that night with the English and Sicilian, continued on 23/9, tweaked and continued a little on 3/10/18, still work in progress as of 17/1/19, finished around 16 on 20/1/19; ah so aubergines aren't 紫菜 but 茄子 in Mandarin and 红菜 in Min? Fixing that at 22:44 on Jan 31; 1/2/19 changed 吔 to 咧 in Min at 17:34. 17:50 都寻->拢揣; Also, 最 is 上 in Min, fixed shortly before 23:05;
4. On Jan 31, mostly in the afternoon with the last 3 lines in the evening, I translated it to Greek, and on 1/2/19 from 23:52 to 00:32 I translated the spoken part; I got a couple corrections in the evening of 6/6/19, presumably "Οταν νεαρή νεαρή ήταν" -> "... ήμουν", "κάθ' ημέρα" -> "κάθε μέρα", and "Δεν εύρηκα" -> "Δε βρήκα", and implemented them. «The long list of those I got after the following midnight seems to not have been implemented yet. I will, however, refrain from implementing them now, because I have a bunch of them yet to discuss with my corrector. Once that is done, I will come back and implement them». Well that's about to change. I have the impression that I actually did discuss them, or at least tried, but all she answered was «As you wish! Just keep the changes you want to keep» to my super-long message of questions about the corrections. Let's start by listing the corrections, with my comments to them from back then (she sent them at 0:37, I replied at 2:19, 2:29, and 2:31):
   
   1. Το χρόνο αυτό ήταν όταν -> Το χρόνο αυτό ήταν ? όταν in l. 3 of the spoken part; I asked why this ? was there; I would still ask the same question; Kika is also puzzled, and suggests the ? may be accidental;
   2. όταν ακόμη ο ουρανός ήταν σκούρος -> όταν ο ουρανός ακόμη ήταν σκοτεινός, so move the akómi̱ and change skoýros to skotënós; I only noticed the latter, and approved it; so apparently skoýros is typically used for shades of colors, hence why skotënós is more appropriate here; why I should move the akómi̱ is a question for Kika, I guess :); and she doesn't know either;
   3. Μαζί με τη γιαγιά έβγαινα -> Εβγαινα μαζί με τη γιαγιά, «I guess putting έβγαινα where I'd put it sounds strange? I also guess I put it there because Hakka puts it there :)»; apparently, it doesn't sound strange at all;
   4. με "πώλους όμου" κουβάλαγε γλυκοπατάτες -> κουβάλαγε τις γλυκοπατάτες στους όμους, «Adding τις, OK», no not really, we never spoke of sweet potatoes, if anything you should add μερικές or another equivalent of "some"; «The problem I have with "carrying on her shoulders" is that if you say that I imagine she had the plants on her shoulders, whereas with the carrying poles she didn't, because she had the poles on her shoulders and the (presumably) vases the plants were in where dangling from the poles; am I overthinking this :)?», absolutely no overthinking, and you should just use "poles", aka κοντάρια; of course, "πώλους όμου" was some kind of Google translation of "shoulder poles", hence the quotations around it;
   5. Line of water spinach gets comma; I never noticed this back then, nor did she highlight it in her "changelog screenshots" she sent at 0:38, but I guess this whole part is lacking in punctuation;
   6. σε Δζονγτχάν -> στη Δζονγτχάν, «I am not sure what the implications of using τη with Δζονγτχάν; I'm not even sure exactly what that is; literally, it means "central altar", but it seems it's a place name, perhaps of a village; maybe στο Δονγτχάν, in that case? Oh here we go: [Wikipedia link], the Meinong in the song is the Minong village in the list in the link, and Zhongtan is another village; so στο?»; it seems that the problem here is how to gender these names; for example, Milan is το Μιλάνο, but any other city I tried is feminine; well, except το Τορίνο (Turin); so I don't know why I'd use feminine or neuter for Zhongtan and Meinong; does Wiki have Greek entries for either? Nope, nor English ones, because that link is for a district, and Minong and Zhongtan are villages; I guess Minong is what this Meinong in the song is supposed to be, maybe I'll update everything in this dang song accordingly; Kika says feminine is fine; I wonder if there is any criterion to genders of place names in Greek;
   7. έλεγε προς εμένα -> έλεγε μου έλεγε, «OK, so "speak to someone" uses the genitive», or rather the accusative-genitive fusion that pronouns use in place of the dative; OK, moy élege, but I'm pretty sure élege se ména is fine too; anyway, Hakka has the "to me" before the "said", so moy élege be it;
   8. Comma added after Τσιικιούν, ditto to item v;
   9. να μπαίνεις στον πανεπιστήμιο -> να περασεις στο πανεπιστήμιο, «περάσω, form of περνώ, [Wiktionary]; I guess beside all those senses it's used also for "get into (an institution)"?», maybe, but if in the song she suggested μπω, I think I should use μπεις here; I did not notice that πανεπιστήμιο is actually neuter, this was implicitly corrected; also, she forgot about it in the next item :); Kika's comment: «“Περνάω στο πανεπιστήμιο” or “μπαίνω στο πανεπιστήμιο” in MG have almost the same meaning. It implies : after you pass your exams successfully. The proper verb is “επιτυγχάνω”, or in vernacular “πετυχαίνω στις εξετάσεις του Πανεπιστημίου”. Whatever you use “να περάσεις” or “να μπεις” is OK in MG»;
   10. στον Πανεπιστήμιο Πολιτιστικό Κινεζικό -> στον Πολιτιστικό Κινεζικό Πανεπιστήμιο, looks like I never noticed this, and why the word order should change like this I have no idea; Kika answered that in Greek the order is title, (location adjective), "Uni", (location name), so Cultural University of China or Cultural Chinese University, not Chinese Cultural University nor University Cultural Chinese;
   11. Ποτέ δεν βρηκα της γιαγιάς την καμπούρα -> Ποτέ δε αντικρυσα την καμπούρα της γιαγιας, «βρήκα (<βρίσκω) -> αντίκρυσα (alt. form of αντίκρισα<αντικρίζω): why? Also, maybe δεν αντίκρυσα (with the final -n on den)?», that verb means "set eyes on", so I guess that's what you do when you "find" a back hunch? It's not like you physically search for it, rather you look for it with eyes only; «I guess της γιαγιάς την καμπούρα is a strange order? Again, I basically copied the Hakka order :)», ah, that problem; that is often a problem for me; here it is important, IMO, to emphasise the hunched back, so I will leave the weird order; and apparently the only time it's a problem is if the genitive is a pronoun :);
   12. Καν όταν πήρα τη φωτογραφία -> Και όταν ελαβα τη φωτογραφία, «πήρα(<παίρνω)->έλαβα(<λαβαίνω/λαμβάνω) welp, I guess Google got me the wrong verb :); yep, totally», but there is also Καν->Και which is inmotivated to me; Kika says "kan" is only used in negative sentences, which is not what we have here;
   13. Ο πιο σπουδαίο πιο σπουδαίος πρόσωπος -> Ο πιο σπουδαίος πιο σπουδαίος άνθρωπος, «πρόσωπος->άνθρωπος: why?», well, aside from the gender mismatches, we have either what she proposed, or Το πιο σπουδαίο πιο σπουδαίο πρόσωπο; Greek Wiktionary glosses the latter as the former in one sense, so I have no idea why the change would be needed or advisable; and neither does Kika;
   14. δεν είχα τρόπος -> δεν είχα τρόπο, yup, that's a case error on me;
   15. Αυτής την καμπούρα -> Αυτή την καμπούρα, «Did you miss a sigma or did you forget to make a change red? In the last spoken line, I had αυτής, and you have αυτή…», it's the order again, I guess; yup, it's "kinda AG" as per Kika, so I decided for "tin kampoura tis";
   16. Σε μιαν εσπέραν -> Μιαν εσπέραν in l. 1 of the song, «Dropping Σε from l. 1 of the song doesn't sit well with the tune: 6 syllables in the original, 5 in my translation, 4 with the correction, with the first one spanning the notes of the first 3 in the original; we'll have to think about that», and I did in my remake, for which see below;
   17. Ήταν πολύ πολύ χρόνο πριν -> Ήταν πολύ καιρο πριν, «χρόνο->καιρό: the two are given as synonyms by Wiktionary, so I don't get why; also, shifting a stress in a musical translation isn't an easy thing: we either alter the tune, or end up singing καίρο instead of καιρό», this is going straight to Kika :); for events, one uses either kärós, or khrónia, the plural of khrónos, which means "years"; the word χρόνος means "year", or "time" as an abstract concept, or "tense", or "volume" of a periodical;
   18. Όταν νεαρή νεαρή ήμουν -> Όταν νεαρή ημουν ακομη, «The repetition νεαρή νεαρή renders a repetition in the original, which goes "ngai han koi se koi se e sii-tsiet", "kui se" meaning "very young"; in fact, the Hakka repeats exactly the words of the spoken intro, where we had "όταν εγώ ήμουν πολύ νεαρή, πολύ νεαρή"; so do we keep the repetition or keep the ακόμη?», again, straight to Kika; no reason to avoid the repetition, though it would be perceived as her being very very young, like a little child, but I do think this would be correct;
   19. Γιαγιά κάθε μέρα με “πόλους όμου” -> Η γιαγιά κάθε μέρα στους ώμους, «στους ώμους has one syllable too few, and has us "howling" (the στους spans two notes); plus, cfr. comment above; maybe με πώλους στους ώμους? This has two syllables too many, but we're putting so many extra syllables into that tune that two more won't be a big deal, and this way we get rid of both the "howling" and the comment above», I guess that's another option, but I remade this with κοντάρια which allowed me to avoid adding notes, so whatever;
   20. L. 2 of the second part of the chorus gets final comma; another thing that flew under the radar #IambicPentameter; then again, the whole song only uses a couple ? as punctuation, so why add this comma?
   21. αγοράζει -> αγοράσει, «why?», because this is not supposed to be an action that develops over time, so perfective is more appropriate; or at least, that's my impression;
   22. Έλπιζε να μπαίνω στον πανεπιστήμιο -> Ηλπιζε […] μπω, the aspect change is again because of what I said the previous item, the imperfect flew under the radar and was a typo on her part; «Also, maybe περάσω?», yeah, I wonder why the switch, but I decided to use mpō/mpës, same verb in both instances;
   23. έπειτα από πολλά χρόνια -> Επειτα απο πολλά χρονια, «έπειτα από πολλά χρόνια and the tune are kind of on two different planets :); έπειτα απ' χρόνια πολλά fits better», but that can't be done; I completely changed this thing in the remake; as Kika says, «“έπειτα από πολλά χρόνια” serves the prose, while your syntax can serve the verse», so I'll keep my order :);
   24. Στην ημέρα -> Την ημέρα, alright;
   25. My message at 2:31: How come you changed βρήκα in the spoken and not here 🙂? I'm afraid δεν αντίκρυσα της καμπούρα της γιαγιάς and the tune are just irreconcilable, so we're forced to keep it the way I did, and then we should probably keep it that way in the spoken too because the originals are identical…
   So below I have my original version (after the couple corrections), the version she sent me with the above changes, and the remake;
5. Then I came back to this, finally, and decided it could hardly be said to fit the tune, and thus needed a remake; after thinking about it a while, I finally did it all in the evening of 8/3/23; the spoken part in the remake is the corrected version, plus maybe some on-the-fly changes from 1:46-1:52 on 9/3/23; I sent it to Kika on 9/3/23, presumably right after editing this post, along with 14 questions whose answers I implemented above; we went back and forth with questions and translation between 10/3 and 12/3, and the "corrected remake" below is the final version from 13/3; well, except for the 23/3/23 23:54 tweak changing Όταν νεαρή νεαρή ήμουν to Ότι ακόμη μικρή μικρή ήμουν in the chorus.

The post title, "Missing support", is presumably from trying to interpret Phù-poi as 扶背 (I think that's the character?), which I took to mean "support" somehow, not sure how. Not sure what ended up in the Min and English translations of this misinterpretation, but the Sicilian "u sò sustegnu" made it even into the blog, in the song, not in the spoken part. I don't think the Greek got this misinterpretation, pretty sure it was fixed before that.
All of this info refers to the song only, or to the Greek version. The spoken intro was translated while drafting this post. I got around to drafting the part of the spoken part + song on Jan 29 2019 at about 17:30. I did the English translation by 12:24 on 30/1/19. The others are yet to be done. By 15:20 the Min version was done, and by 16:22 the Sicilian version was there, and only the romanizations were yet to be made.
The superscripts refer you to tone problems in the spoiler. Speaking of which, problem 34 arose from a correction of the word tap-yàng to tá-piang which caused edits to the translations of the spoken part carried out on Jan 31 at about 19:50.
Let's see them translations!

口白： 在旧年去年个的三月份 涯我又梦着到涯我个的阿妈奶奶 该那下仔时候系是涯我盖很细小盖很细小个的时节时候 每日天无没光 就跈跟等着阿妈奶奶共下一起出门去卖菜 阿妈奶奶用担竿担挑[擐/㧡][提/挑]等着番薯番薯叶 [擐/㧡][提/挑]等着蕹菜 就恁呢这样从弥浓美浓庄 一路行走行走到中坛 在路项上阿妈奶奶佢她会佮跟涯我讲说 姿君你个的眼珠看毋不着到吔 故所以涯我希望你可以考上大学 吾我正才放得落下心 因为阿妈奶奶哩这句话 涯我盖很打拼 来考着上中国文化大学 啊毋过不过到涯我毕业典礼该那晡日天 吾我都寻找无没着到阿妈奶奶佢她个的匍背驼背 翕相拍照个的该那下仔时候 吾我吗也无没一种欢喜个的感受 因为对吾我来讲说 最重要最重要个的人 涯我再无没辦法看着到 佢她个的匍背驼背 有一个暗晡头晚上 涯我发梦梦着到涯我个的阿妈奶奶 该那系是盖很久盖很久吔以前 涯我还盖很细小盖很细小个的时节时候 涯我还盖很细小盖很细小个的时节时候 阿妈奶奶每日用担竿担挑 [擐/㧡][提/挑]着到番薯叶[擐/㧡][提/挑]蕹菜 带涯我共下一起去卖菜 从弥浓美浓行走到中坛 有么人谁爱要买无没有 有么人谁爱要买无没有 阿妈奶奶希望涯我读大学 毋使不用像佢她爱要去卖菜 每日天无没光就爱要行 [擐/㧡][提/挑]菜[擐/㧡][提/挑]啊变匍背驼背 [擐/㧡][提/挑]菜[擐/㧡][提/挑]啊变匍背驼背 有一个暗晡头晚上 涯我发梦梦着到涯我个的阿妈奶奶 该那系是盖很久盖很久吔以前 涯我还盖很细小盖很细小个的时节时候 涯我还盖很细小盖很细小个的时节时候 阿妈奶奶每日用担竿担挑 [擐/㧡][提/挑]着到瓜仔瓜子[擐/㧡][提/挑]吊菜茄子 带涯我共下一起去卖菜 从弥浓美浓行走到中坛 有么人谁爱要买无没有 有么人谁爱要买无没有 一年一年过一年 涯我从大学爱要出社会 毕业典礼该那晡日天 寻找无没阿妈奶奶个的匍背驼背 看无没阿妈奶奶个的匍背驼背 Spoken: In march last year I dreamt of my grandma again It was in a time when I was very very young Every day, before daybreak, I went out with my grandma to sell groceries Grandma, carrying sweet potatoes And water spinach with shoulder poles, Just this way from Meinong Went all the way to Zhongtan On the road, grandma would tell me: «Zijun, your eyes cannot see, So I hope you can get into univerisity And only then will I be at peace». Because of these words of my grandma I worked really hard And got into the Chinese Culture University. However, all the way to the day of my graduation ceremony, I never saw my grandma's hunched back Even when I took a picture, I wasn't feeling happy, Because she was for me The most important, most important person, And I never had a way to see Her hunched back. There was an evening when I got to see my granny in dreams That was long oh so long ago, In my very very young age, In my very very young age. Granny each day with shoulder poles Lifted sweet potatoes and water spinach To sell veggies she walked with me From Meinong up to Zhongtan Does someone want to buy? Does someone want to buy? She hoped I'd go to university: I didn't have to sell veggies like her Before dawn each day we did walk Her back hunched under these poles Her back hunched under these poles There was an evening when I got to see my granny in dreams That was long oh so long ago, In my very very young age, In my very very young age. Granny each day with shoulder poles Lifted watermelons and aubergines To sell veggies she walked with me From Meinong up to Zhongtan Does someone want to buy? Does someone want to buy? After years past and more years past I leave uni for society On the day of my degree I did not find her hunched back I did not see her hunched back 口白： 伫在去年的三月份 我又梦着到我的阿妈奶奶 彼那下仔时候是我真很小真很小的时阵时候 每日天无没光 就缀跟着阿妈奶奶斗阵一起出门去卖菜 阿妈奶奶用扁担担挑[提/挑]着番薯叶 [提/挑]等着蕹菜 就按呢这样从美浓庄 一路行走行走到中坛 伫在路顶上阿妈奶奶伊她会共跟我讲说 姿君你的目睭眼珠看袂不着到咧 故所以我希望你可以考上大学 我才放会得落下心 因为阿妈奶奶这句话 我真很拍拼打拼? 来考着上中国文化大学 犹毋过不过到我毕业典礼彼那日 我拢都揣找无没着到阿妈奶奶伊她的驼背 翕相拍照的彼那下仔时候 我嘛也无没一种欢喜的感受 因为对我来讲说 上最重要上最重要的人 我再无没辦法看着到 伊她的驼背 有一个暗头仔晚上 阮我发梦梦着到阮我的阿妈奶奶 彼那是真很久真很久啊以前 我犹还真很小真很小的时阵时候 我犹还真很小真很小的时阵时候 阿妈奶奶每日用扁担担挑 提/挑着到番薯叶提/挑蕹菜 毛带我斗阵一起去卖菜 从美浓行走到中坛 有啥人谁欲要买无没？ 有啥人谁欲要买无没？ 阿妈奶奶希望我读大学 毋免不用像伊她爱要去卖菜 每日天无没光都爱要行走 提/挑菜提/挑啊变驼背 提/挑菜提/挑啊变驼背 有一个暗头仔晚上 阮我发梦梦着到阮我的阿妈奶奶 彼那是真很久真很久啊以前 我犹还真很小真很小的时阵时候 我犹还真很小真很小的时阵时候 阿妈奶奶每日用扁担担挑 提/挑着到瓜仔瓜子提/挑红菜茄子 毛带我斗阵一起去卖菜 从美浓行走到中坛 有啥人谁欲要买无没？ 有啥人谁欲要买无没？ 一年一年过一年 我从大学爱要出社会 毕业典礼彼那个日 揣找无没阿妈奶奶的驼背 看无没阿妈奶奶的驼背 Original Corrected Remake Corrected remake Λεγόμενο· Πέρυσι το Μάρτιο Πάλι ονειρεύτηκα τη γιαγιά μου Το χρόνο αυτό ήταν όταν εγώ ήμουν πολύ νεαρή, πολύ νεαρή Κάθε μέρα, όταν ακόμη ο ουρανός ήταν σκούρος, Μαζί με τη γιαγιά έβγαινα και πηγαίναμε να πουλάμε λαχα- Η γιαγιά με "πώλους όμου" κουβάλαγε γλυκοπατάτες    [νικά Κουβάλαγε σπανάκια του νερού Και ακριβώς έτσι από το χωριό Μέϊνονγ Παρευθής πηγαίναμε σε Δζονγτχάν. Στο δρόμο, η γιαγιά έλεγε προς εμένα· «Τσιικιούν τα μάτια σου δε βλέπουν Επομένως ελπίζω να μπορείς να μπαίνεις στον πανεπιστήμιο Και μόνο τότε θα μπορώ να είμαι εν ειρήνη». Εξαιτίας των λόγων της γιαγιάς των αυτών, Δούλεψα πολύ σκληρά, Και μπήκα στον Πανεπιστήμιο Πολιτιστικό Κινεζικό. Οπωσδήποτε μέχρι την ημέραν της τελετής της αποφοίτησης Ποτέ δεν βρηκα της γιαγιάς την καμπούρα.                        [μου, Καν όταν πήρα τη φωτογραφία, Δεν ενίωθα ευτυχισμένη, Επειδή αυτή ήταν για εμένα Ο πιο σπουδαίο πιο σπουδαίος πρόσωπος, Και ποτέ δεν είχα τρόπος να βλέπω Αυτής την καμπούρα. Σε μιαν εσπέραν Ονειρεύτηκα τη γιαγιά μου Ήταν πολύ πολύ χρόνο πριν Όταν νεαρή νεαρή ήμουν Όταν νεαρή νεαρή ήμουν Γιαγιά κάθε μέρα με “πόλους όμου” Κουβάλαγε γλυκοπατάτες και σπανάκια του νερού Και μ’ έφερνε να πουλάμε λαχανικά Απ’ Μέϊνονγ πηγαίναμε σε Δζονγτχάν Ποίος θέλει να αγοράζει? Ποίος θέλει να αγοράζει? Έλπιζε να μπαίνω στον πανεπιστήμιο Δε χρειαζόμουν να πουλώ λαχανικά Πριν απ’ την αυγή πηγαίναμε Κουβαλώντας έγινε καμπούρα Κουβαλώντας έγινε καμπούρα Σε μιαν εσπέραν Ονειρεύτηκα τη γιαγιά μου Ήταν πολύ πολύ χρόνο πριν Όταν νεαρή νεαρή ήμουν Όταν νεαρή νεαρή ήμουν Γιαγιά κάθε μέρα με “πόλους όμου” Κουβάλαγε καρπούζια και μελιτζάνες Και μ’ έφερνε να πουλάμε λαχανικά Απ’ Μέϊνονγ πηγαίναμε σε Δζονγτχάν Ποίος θέλει να αγοράζει? Ποίος θέλει να αγοράζει? Χρόνια πολλά έπειτα Έχω τελειώσει τον πανεπιστήμιο Στην ημέρα της αποφοίτησης Δε βρηκα της γιαγιάς την καμπούρα Δεν είδα της γιαγιάς την καμπούρα Λεγόμενο· Πέρυσι το Μάρτιο Πάλι ονειρεύτηκα τη γιαγιά μου Το χρόνο αυτό ήταν ? όταν εγώ ήμουν πολύ νεαρή, πολύ νεαρή Κάθε μέρα, όταν ο ουρανός ακόμη ήταν σκοτεινός, Έβγαινα μαζί με τη γιαγιά και πηγαίναμε να πουλάμε λαχα- Η γιαγιά κουβάλαγε τις γλυκοπατάτες στους όμους    [νικά Κουβάλαγε σπανάκια του νερού, Και ακριβώς έτσι από το χωριό Μέϊνονγ Παρευθής πηγαίναμε στη Δζονγτχάν. Στο δρόμο, η γιαγιά έλεγε μου έλεγε· «Τσιικιούν, τα μάτια σου δε βλέπουν Επομένως ελπίζω να μπορείς να περάσεις στο πανεπιστήμιο Και μόνο τότε θα μπορώ να είμαι εν ειρήνη». Εξαιτίας των λόγων της γιαγιάς των αυτών, Δούλεψα πολύ σκληρά, Και μπήκα στον Πολιτιστικό Κινεζικό Πανεπιστήμιο. Οπωσδήποτε μέχρι την ημέραν της τελετής της αποφοίτησης Ποτέ δε αντίκρυσα την καμπούρα της γιαγιάς.                        [μου, Και όταν έλαβα τη φωτογραφία, Δεν ενίωθα ευτυχισμένη, Επειδή αυτή ήταν για εμένα Ο πιο σπουδαίος πιο σπουδαίος άνθρωπος, Και ποτέ δεν είχα τρόπο να βλέπω Αυτή την καμπούρα. Μιαν εσπέραν Ονειρεύτηκα τη γιαγιά μου Ήταν πολύ καιρο πριν Όταν νεαρή ήμουν ακόμη Όταν νεαρή ήμουν ακόμη Η γιαγιά κάθε μέρα στους ώμους Κουβάλαγε γλυκοπατάτες και σπανάκια του νερού, Και μ’ έφερνε να πουλάμε λαχανικά Απ’ Μέϊνονγ πηγαίναμε σε Δζονγτχάν Ποίος θέλει να αγοράσει? Ποίος θέλει να αγοράσει? Ηλπιζε να μπω στον πανεπιστήμιο Δε χρειαζόμουν να πουλώ λαχανικά Πριν απ’ την αυγή πηγαίναμε Κουβαλώντας έγινε καμπούρα Κουβαλώντας έγινε καμπούρα Μιαν εσπέραν Ονειρεύτηκα τη γιαγιά μου Ήταν πολύ καιρο πριν Όταν νεαρή ήμουν ακόμη Όταν νεαρή ήμουν ακόμη Η γιαγιά κάθε μέρα στους ώμους Κουβάλαγε καρπούζια και μελιτζάνες Και μ’ έφερνε να πουλάμε λαχανικά Απ’ Μέϊνονγ πηγαίναμε σε Δζονγτχάν Ποίος θέλει να αγοράσει? Ποίος θέλει να αγοράσει? Έπειτα από πολλά χρόνια Έχω τελειώσει τον πανεπιστήμιο Την ημέρα της αποφοίτησης Δε βρηκα της γιαγιάς την καμπούρα Δεν είδα της γιαγιάς την καμπούρα Λεγόμενο· Πέρυσι το Μάρτιο Πάλι ονειρεύτηκα τη γιαγιά μου Ήταν στο χρόνο όταν ήμουν πολύ νεαρή, πολύ νεαρή Κάθε μέρα, όταν στον ουρανό ακόμη δεν ήταν φως, Έβγαινα μαζί με τη γιαγιά και πηγαίναμε να πουλάμε λαχα- Η γιαγιά με κοντάρια κουβάλαγε γλυκοπατάτες στους όμους    [νικά Κουβάλαγε σπανάκια του νερού, Και ακριβώς έτσι από το χωριό Μέϊνονγ Παρευθύς πηγαίναμε στο Δζονγτχάν. Στο δρόμο, η γιαγιά μου έλεγε· «Τσιικιούν, τα μάτια σου δε βλέπουν Επομένως ελπίζω να μπορείς να μπεις στο πανεπιστήμιο Και μόνο τότε θα μπορώ να 'μαι στη γαλήνη». Εξαιτίας των λόγων της γιαγιάς των αυτών, Δούλεψα πολύ σκληρά, Και μπήκα στο Πανεπιστήμιο Πολιτιστικό Κινεζικό. Οπωσδήποτε μέχρι τη μέρα της τελετής της αποφοίτησης Ποτέ δεν αντίκρυσα της γιαγιάς την καμπούρα.                        [μου, Καν όταν έλαβα τη φωτογραφία, Δεν ενίωθα ευτυχισμένη, Επειδή αυτή ήταν για εμένα Το πιο σπουδαίο πιο σπουδαίο πρόσωπο, Και ποτέ δεν είχα τρόπο να βλέπω Αυτής την καμπούρα. Μια σπέρα στ' όνειρα Πάλι είδα εγώ τη γιαγιά μου Ήταν τόσο πολύ χρόνο πριν Όταν νεαρή νεαρή ήμουν Όταν νεαρή νεαρή ήμουν Κάθε μέρα με κοντάρια Γλυκοπατάτες και σπανάκια του νερού Να τα πουλάμε τά 'φερε Απ’ Μέϊνογγκ μέχρι του Τζογγκτχάν Ποίος θέλει ν' αγοράσει? Ποίος θέλει ν' αγοράσει? Στο πανεπιστήμι' έλπιζε να μπω Δεν χρειαζόμουν να πουλώ με την / μ' αυτήν Και στο σκότος πηγαίναμε Στα κοντάρια έγινε καμπούρα Στα κοντάρια έγινε καμπούρα Μια σπέρα στ' όνειρα Πάλι είδα εγώ τη γιαγιά μου Ήταν τόσο πολύ χρόνο πριν Όταν νεαρή νεαρή ήμουν Όταν νεαρή νεαρή ήμουν Κάθε μέρα με κοντάρια Μελιτζάνες και καρπούζια Να τα πουλάμε τά 'φερε Απ’ Μέϊνογγκ μέχρι του Τζογγκτχάν Ποίος θέλει ν' αγοράσει? Ποίος θέλει ν' αγοράσει? Χρόνο το χρόνο / Χρόνια και χρόνια σπούδασα, Το πανεπιστήμιο, να, τέλειωσα. Μα όταν αποφοίτησα, Δε βρηκα αυτής την καμπούρα Δεν είδα αυτής την καμπούρα Λεγόμενο· Πέρυσι το Μάρτιο Πάλι ονειρεύτηκα τη γιαγιά μου Ήταν στο καιρό όταν ήμουν πολύ μικρή, πολύ μικρή Κάθε μέρα, όταν στον ουρανό ακόμη δεν έφεγγε, Μαζί με τη γιαγιά έβγαινα και πηγαίναμε να πουλάμε λαχα- Η γιαγιά με κοντάρια κουβάλαγε γλυκοπατάτες στους ώμους    [νικά Κουβάλαγε σπανάκια του νερού, Και ακριβώς έτσι από το χωριό Μέϊνογγκ Παρευθύς πηγαίναμε στη Τζογγκτχάν. Στο δρόμο, η γιαγιά μου έλεγε· «Τσιικιούν, τα μάτια σου δε βλέπουν Επομένως ελπίζω να μπορείς να μπεις στο πανεπιστήμιο Και μόνο τότε θα μπορώ να 'μαι γαλήνια». Εξαιτίας αυτών των λόγων της γιαγιάς, Δούλεψα πολύ σκληρά, Και μπήκα στο Πολιτιστικό Κινεζικό Πανεπιστήμιο. Οπωσδήποτε μέχρι τη μέρα της τελετής της αποφοίτησης Ποτέ δεν αντίκρυσα της γιαγιάς την καμπούρα.                        [μου, Και όταν έλαβα τη φωτογραφία, Δεν ενίωθα ευτυχισμένη, Επειδή αυτή ήταν για εμένα Το πιο σπουδαίο πιο σπουδαίο πρόσωπο, Και ποτέ δεν είχα τρόπο να βλέπω Την καμπούρα της. Μια νύχτα στ' όνειρα Πάλι είδα εγώ τη γιαγιά μου Ήταν τόσο πολλά χρόνια πριν Ότι ακόμη μικρή μικρή ήμουν Ότι ακόμη μικρή μικρή ήμουν Κάθε μέρα με κοντάρια Γλυκοπατάτες και σπανάκια του νερού Να τα πουλάμε τά 'φερνε Απ’ τη Μέϊνογγκ μέχρι της Τζογγκτχάν Ποίος θέλει ν' αγοράσει? Ποίος θέλει ν' αγοράσει? Στο πανεπιστήμιο έλπιζε να μπω Δεν χρειαζόταν να πουλώ μ' αυτήν Και στο σκότος πηγαίναμε Κουβαλώντας έγιν' η καμπούρα Κουβαλώντας έγιν' η καμπούρα Μια νύχτα στ' όνειρα Πάλι είδα εγώ τη γιαγιά μου Ήταν τόσο πολλά χρόνια πριν Ότι ακόμη μικρή μικρή ήμουν Ότι ακόμη μικρή μικρή ήμουν Κάθε μέρα με κοντάρια Μελιτζάνες και καρπούζια Να τα πουλάμε τά 'φερνε Απ’ τη Μέϊνογγκ μέχρι της Τζογγκτχάν Ποίος θέλει ν' αγοράσει? Ποίος θέλει ν' αγοράσει? Χρόνια και χρόνια σπούδασα, Το πανεπιστήμιο, να, τέλειωσα. Μα όταν αποφοίτησα, Δεν της αντίκρισα την καμπούρα Δεν της είδα την καμπούρα

Héu-phȧk: Thî khiu-ngiàn1 e sâm ngiȧt-fun Ngài2 yu mung tó ngài2 e â-ma3 Te ha-é he ngài2 koy sei koy sei e sìi-tsiet Mî ngit5 thiên mò6 kông Lu thèn-nún7 â-ma3 khiung-ha tshut-mùn hi mai tshoy Â-ma3 yung tam-kôn khan9-nún7 fân-su8 fân-sù-yȧp10 Khan9-nún7 fung-tshoy Lu án-nê11 tshùng Mî-nûng12 tsông Yit lu hàng hàng to Tsûng-mùn Thî lu hong â-ma3 î13 woy kạ ày2 kóng Tsîi-kü̂n14 n̂g19 e ngián-tsû khon m̀15 tó ê Ko-só17-yì17 ngâ hî-mong18 n̂g19 khó20-yì17 khâu21 sông Ngâ nang piong et lȯk22 sîm                                  [thay-hȯk Yîn-vi â-ma3 yá ki fa Ngài2 keoi tá-piang34 Leòi khâu21 tó Tsûng-kyeot Vùn-fa Thai-hȯk A25-m̀15-ko to ngày2 pit-ngiȧp tián-lî te pîn27-ngit Ngâ31 lu28 tshìm mò6 tó â-ma3 î13 e phù-poi Hip-siong e te ha-é Ngâ mâ29 mò6 yit30 tsúng fôn-hí33 e kám-su Yîn-vi tui ngâ31 leòi kóng Tsui tshung-yau tshui tshung-yau e ngìn32 Ngày2 tsay mò6 phan-fat khon tó Î13 e phù-poy Yû yit ke am-pû-thèu Ngài2 pot-mung mung tó ngài2 e â-ma3 Te he koi kíu koi kíu ê yî-tshièn Ngày2 hàn koi se koi sei e sìi-tsiet Ngày2 hàn koi se koi sei e sìi-tsiet Â-ma3 mî ngit yung tam-kôn Khan9 tó fân-sù-yȧp10 khan9 fung-tshoy Tay ngài2 khiung-ha hi may tshoy Tshùng Mî-nûng12 hàng to Tsûng-mùn Yû mak-ngìn oy mâi mò6 Yû mak-ngìn oi mâi mò6 Â-ma3 hî-mong18 ngài2 thu̇k thai-hȯk M̀15-síi tshiong î13 oi hi mai tshoy Mî ngit thiên mò6 kông lu oy hòng Khan tshoy khan a pien phu-poy Khan tsheoi khan a pien phu-poy Yû yit ke am-pû-thèu Ngài2 pot-mung mung tó ngài2 e â-ma3 Te he koi kíu koy kíu ê yî-tshièn Ngày2 hàn koy se koy sei e sìi-tsiet Ngày2 hàn koy se koy sei e sìi-tsiet Â-ma3 mî ngit yung tam-kôn Khan9 tó kwâ-bé khan9 tiau-tshoi Tay ngày2 khiung-ha hi may tshoy Tshùng Mî-nûng12 hàng to Tsûng-mùn Yû mak-ngìn oy mâi mò6 Yû mak-ngìn oy mâi mò6 Yit ngiàn yit ngiàn ko yit ngiàn Ngài2 tshùng thay-hȯk oy tshut sa-fi Pit-ngiȧp tiám-dî te pîn-ngit Tshìm mò6 â-ma3 e phù-poy Khon mò6 â-ma3 e phù-poy Parratu: A marzu i l'annu scorsu Sunnai n'autřa vòta a me nanna Èra quannu iò èra picciriđđa assai, picciriđđa assai Ogni jòrnu, quannu ancora nun c'èra u suli, Annavu c'a nanna a vìnniri virdura A nanna cu dî pali a spalla jisava patati doci, Jisava spinaci d'acqua, E si nn'annava accussì d'u villaggiu i Meinong Finu a Zhongtan Ntâ střata, a nanna mi diçìa: Zijun, i tò occhi nun ci vìrunu, Pi chistu speru c'hai a třasiri ntâ univirsità, E solu ntonzi aiu a siri třanquilla. Pi chisti palori dâ mè nanna Třabagghiai duru assai E třasii ntâ Univirsità Culturali Çinisi Pirò finu ô jòrnu d'a mè làuria, Nun vitti mai a gobba d'a mè nanna Puru quannu fiçi a futugrafia Nun èra filiçi, Picchì iđđa èra pi mmia A pirzòna cchiù mpurtanti, chiù mpurtangti, E iò nun avia mai avutu modu i vidiri A sò gobba. Iò una sira Ntê suonni vitti a mè nanna Era tantu tantu tempu fa, Quannu ancora eru assai picciriđđa, Quannu ancora eru assai picciriđđa. Ogni jornu cu dî pali Tirava su patati e spinaci E annava a vìnnirili cu mmia Di Meinong finu a Zhongtan: Quaṛcunu voli cumprari? Quaṛcunu voli cumprari? Spirava che annassi a studiari Nun avia a vinniri i chianti cu idda Prima i l'alba svigghi èramu Ci vinni a gobba sutt'a sti pali Ci vinni a gobba sutt'a sti pali Iò una sira Ntê suonni vitti a mè nanna Era tantu tantu tempu fa, Quannu ancora eru assai picciriđđa, Quannu ancora eru assai picciriđđa. Ogni jornu cu dî pali Tirava su cucùmmiri e milinciani E annava a vìnnirili cu mmia Di Meinong finu a Zhongtan: Quaṛcunu voli cumprari? Quarcunu voli cumprari? Dopu anni e anni iò Li mè studi tirminai Puru u jornu d'a lauria Nun třuvaï a gobba sò Man nun vidi a gobba sò Khóo-pėh: Tī khì-nî--ê sann guėh-hūn Guá iū bāng tiȯh guá--ê a-má Hit ē-á sī guá tsin siáu tsin siáu--ê sî-tsūn Múi lıt thinn bô kong Tiȯh tuè-tiȯh a-má tàu-tīn tshut-mn̂g khì buē tshài A-má iōng pín-tann thê/thio-tiȯh han-tsû-iȧp Thê/thio-tiȯh èng-tshài Tiȯh án-ne tshîng Bi-long tsong Tsıt lōo kiânn kiânn kàu Tiōng-thân Tī lōo tíng a-má i ē kā guá kóng Tsir-kun lí--ê bȧk-tsiu khuànn buē tiȯh--leh Kòo-sóo-í guá hi-bāng lí khó-í khó siōng tāi-hȧk Guá tsiah pàng-ē-lȯh sim In-uī a-má tsé kì uē Guá tsin phah-piànn Lâi khó tiȯh Tiōng-kok Bûn-huà Tāi-hȧk Á-m̄-kò kàu guá pit-giȧp tián-lé hit lıt Guá lóng tshé bô kàu a-má i--ê tô-puè Hip-siòng--ê hit ē-á Guá mā bô tsıt tsióng huann-hí--ê kám-siū In-uī tuì guá lâi kóng Siōng tiōng-iàu siōng tiōng-iàu--ê lâng Guá tsài bô pān-huat khuànn-tiȯh I--ê tô-puè Ū tsıt ê àm-thâu-á Gún huat-bāng bāng tiȯh gún--ê a-má Hit sī tsin kú tsin kú--ah í-tsîng Guá iû tsin siáu tsin siáu--ê sî-tsūn Guá iû tsin siáu tsin siáu--ê sî-tsūn A-má múi lıt iōng pín-tann Thê/thio-tiȯh han-tsû-iȧp thê/thio èng-tshài Tshuā guá tàu-tīn khì buē tshài Tshîng Bi-long kiânn kàu Tiōng-thân Ū siánn-lâng beh bué--bô? Ū siánn-lâng beh bué--bô? A-má hi-bāng guá thȯk tāi-hȧk M̄-bián tshiūnn i ài khì buē tshài Múi lıt thinn bô kong tiȯh ài kiânn Thê/thio tshài thê/thio--ah piàn tô-puè Thê/thio tshài thê/thio--ah piàn tô-puè Ū tsıt ê àm-thâu-á Gún huat-bāng bāng tiȯh gún--ê a-má Hit sī tsin kú tsin kú--ah í-tsîng Guá iû tsin siáu tsin siáu--ê sî-tsūn Guá iû tsin siáu tsin siáu--ê sî-tsūn A-má múi lıt iōng pín-tann Thê/thio-tiȯh kue-á thê/thio âng-tshài Tshuā guá tàu-tīn khì buē tshài Tshîng Bi-long kiânn kàu Tiōng-thân Ū siánn-lâng beh bué--bô? Ū siánn-lâng beh bué--bô? Tsıt nî tsıt nî kuè tsıt nî Guá tshîng tāi-hȧk ài tshut siā-huē Pit-giȧp tián-lé hit ê lıt Tshé bô a-má--ê tô-puè Khuànn bô a-má--ê tô-puè Original Corrected Remake Corrected remake Legómeno: Pérysi to Mártio Páli onëréfti̱ka ti̱ gjagjá moy To khróno aftó í̱tan ótan egó̱ í̱moyn polý nearí̱, polý nearí̱ Káthe méra, ótan akómi̱ o oyranós í̱tan skoýros, Mazí me ti̱ gjagjá évgäna kä pi̱gä́name na poyláme lakhaniká. I̱ gjagjá me "póloys ómoy" koyválage glykopatátes, Koyválage spanákia toý neroý, Kä akrivó̱s étsi apó to kho̱rió Méïnong Parefthí̱s pi̱gä́name se Dzongtkhán Sto drómo, i̱ gjagjá élege pros eména: «Tsiikjoýn, ta mátia soy de vlépoyn, Epoméno̱s elpízo̱ na mporë́s na mpä́nës ston panepistí̱mio, Kä móno tóte tha mporó̱ na ë́mä en ërí̛ni̱». Exätías to̱n lógo̱n ti̱s gjagjás to̱n aftó̱n, Doýlepsa polý skli̱rá Kä mpí̱ka ston Panepistí̱mio Politistikó Kinezikó. Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy, Poté de vríka ti̱s gjagjás ti̱n kampoýra. Kan ótan pí̱ra ti̱n fo̱tografía, Den enío̱tha eftykhisméni̱, Epëdí̱ aftí̱ í̱tan gja eména O pio spoydäo pio spoydä́o próso̱po, Kä poté den ë́kha trópos na vlépo̱ Aftí̱s ti̱n kampoýra Se mian espéran Onëréfti̱ka ti̱ gjagjá moy Í̱tan polý polý khróno prin Ótan nearí̱ nearí̱ í̱moyn Ótan nearí̱ nearí̱ í̱moyn Gjagjá káthe méra me "pó̱loys ómoy" Koyválage glykopatátes kä spanákia toý neroý, Kä m'éferne na poyláme lakhaniká Ap' Méïnong pi̱gä́name se Dzongtkhán Pö́os thélë na agorázë? Pö́os thélë na agorázë? Élpize na mpä́no̱ ston panepistí̱mio De khrëazómoyn na poyló̱ lakhaniká Prin ap' ti̱n avgí̱ pi̱gä́name Koyvaló̱ntas égine kampoýra Koyvaló̱ntas égine kampoýra Se mian espéran Onëréfti̱ka ti̱ gjagjá moy Í̱tan polý polý khróno prin Ótan nearí̱ nearí̱ í̱moyn Ótan nearí̱ nearí̱ í̱moyn Gjagjá káthe méra me "pó̱loys ómoy" Koyválage karpoýzia kä melitzánes Kä m'éferne na poyláme lakhaniká Ap' Méïnong pi̱gä́name se Dzongtkhán Pö́os thélë na agorázë? Pö́os thélë na agorázë? Khrónia pollá épëta Ékho̱ telëó̱së ton panepistí̱mio Sti̱n i̱méra ti̱s apofö́ti̱si̱s De vrí̱ka ti̱s gjagjás ti̱n kampoýra Den ë́da ti̱s gjagjás ti̱n kampoýra Legómeno: Pérysi to Mártio Páli onëréfti̱ka ti̱ gjagjá moy To khróno aftó í̱tan ? ótan egó̱ í̱moyn polý nearí̱, polý nearí̱ Káthe méra, ótan o oyranós akómi̱ í̱tan skotënós, Évgäna mazí me ti̱ gjagjá kä pi̱gä́name na poyláme lakhaniká. I̱ gjagjá tis glykopatátes stoys ómoys    [νικά Koyválage spanákia toý neroý, Kä akrivó̱s étsi apó to kho̱rió Méïnong Parefthí̱s pi̱gä́name sti̱ Dzongtkhán Sto drómo, i̱ gjagjá élege moy élege: «Tsiikjoýn, ta mátia soy de vlépoyn, Epoméno̱s elpízo̱ na mporë́s na perásës sto panepistí̱mio, Kä móno tóte tha mporó̱ na ë́mä en ërí̛ni̱». Exätías to̱n lógo̱n ti̱s gjagjás to̱n aftó̱n, Doýlepsa polý skli̱rá Kä mpí̱ka ston Politistikó Kinezikó Panepistí̱mio. Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy, Poté de antíkrysa ti̱s gjagjás ti̱n kampoýra. Kä ótan élava ti̱n fo̱tografía, Den enío̱tha eftykhisméni̱, Epëdí̱ aftí̱ í̱tan gja eména O pio spoydäos pio spoydä́os ánthro̱pos, Kä poté den ë́kha trópo na vlépo̱ Aftí̱ ti̱n kampoýra Mian espéran Onëréfti̱ka ti̱ gjagjá moy Í̱tan polý käro prin Ótan nearí̱ í̱moyn akómi̱ Ótan nearí̱ í̱moyn akómi̱ I̱ gjagjá káthe méra stoys ṓmoys Koyválage glykopatátes kä spanákia toý neroý, Kä m'éferne na poyláme lakhaniká Ap' Méïnong pi̱gä́name se Dzongtkhán Pö́os thélë na agorásë? Pö́os thélë na agorásë? I̱lpize na mpo̱ ston panepistí̱mio De khrëazómoyn na poyló̱ lakhaniká Prin ap' ti̱n avgí̱ pi̱gä́name Koyvaló̱ntas égine kampoýra Koyvaló̱ntas égine kampoýra Mian espéran Onëréfti̱ka ti̱ gjagjá moy Í̱tan polý käro prin Ótan nearí̱ í̱moyn akómi̱ Ótan nearí̱ í̱moyn akómi̱ I̱ gjagjá káthe méra stoys ṓmoys Koyválage karpoýzia kä melitzánes Kä m'éferne na poyláme lakhaniká Ap' Méïnong pi̱gä́name se Dzongtkhán Pö́os thélë na agorásë? Pö́os thélë na agorásë? Épëta apó pollá khrónia Ékho̱ telëó̱së ton panepistí̱mio Ti̱n i̱méra ti̱s apofö́ti̱si̱s De vrí̱ka ti̱s gjagjás ti̱n kampoýra Den ë́da ti̱s gjagjás ti̱n kampoýra Legómeno: Pérysi to Mártio Páli onëréfti̱ka ti̱ gjagjá moy Í̱tan sto khróno ótan í̱moyn polý nearí̱, polý nearí̱ Káthe méra, ótan ston oyranó akómi̱ den í̱tan fōs, Évgäna mazí me ti̱ gjagjá kä pi̱gä́name na poyláme lakhaniká. I̱ gjagjá me kontária koyválage glykopatátes stoys ómoys Koyválage spanákia toý neroý, Kä akrivó̱s étsi apó to kho̱rió Méïnong Parefthýs pi̱gä́name sto Dzongtkhán Sto drómo, i̱ gjagjá moy élege: «Tsiikjoýn, ta mátia soy de vlépoyn, Epoméno̱s elpízo̱ na mporë́s na mpës ston panepistí̱mio, Kä móno tóte tha mporó̱ na 'mä sti̱ galí̱ni̱». Exätías to̱n lógo̱n ti̱s gjagjás to̱n aftó̱n, Doýlepsa polý skli̱rá Kä mpí̱ka sto Panepistí̱mio Politistikó Kinezikó. Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy, Poté de antíkrysa ti̱s gjagjás ti̱n kampoýra. Kan ótan élava ti̱n fo̱tografía, Den enío̱tha eftykhisméni̱, Epëdí̱ aftí̱ í̱tan gja eména To pio spoydäo pio spoydä́o próso̱po, Kä poté den ë́kha trópos na vlépo̱ Aftí̱s ti̱n kampoýra Mia spéra st' ónëra Páli ë́da egṓ ti̱ gjagjá moy Í̱tan tóso polý khróno prin Ótan nearí̱ nearí̱ í̱moyn Ótan nearí̱ nearí̱ í̱moyn Káthe méra me kontária Glykopatátes kä spanákia toý neroý Na ta poyláme ta 'fere Ap' Méïnoggk mékhri toy Tzoggktkhán Pö́os thélë n' agorásë? Pö́os thélë n' agorásë? Sto panepistí̱mi' élpize na mpō De khrëazómoyn na poyló̱ me ti̱n / m' af̆tí̱n Kä sto skótos pi̱gä́name Sta kontária égine kampoýra Sta kontária égine kampoýra Mia spéra st' ónëra Páli ë́da egṓ ti̱ gjagjá moy Í̱tan tóso polý khróno prin Ótan nearí̱ nearí̱ í̱moyn Ótan nearí̱ nearí̱ í̱moyn Káthe méra me kontária Melitzánes kä karpoýzia Na ta poyláme ta 'fere Ap' Méïnoggk mékhri toy Tzoggktkhán Pö́os thélë n' agorásë? Pö́os thélë n' agorásë? Khróno to khróno / Khrónia kä khrónia spoýdasa, To panepistí̱mio, na, télëōsa. Ma ótan apofö́ti̱sa, De vrí̱ka af̆tí̱s ti̱n kampoýra Den ë́da af̆tí̱s ti̱n kampoýra Legómeno: Pérysi to Mártio Páli onëréfti̱ka ti̱ gjagjá moy Í̱tan sto käró ótan í̱moyn polý mikrí̱, polý mikrí̱ Káthe méra, ótan ston oyranó akómi̱ den éfegge, Mazí me ti̱ gjagjá évgäna kä pi̱gä́name na poyláme lakhaniká. I̱ gjagjá me kontária koyválage glykopatátes stoys ṓmoys Koyválage spanákia toý neroý, Kä akrivó̱s étsi apó to kho̱rió Méïnoggk Parefthýs pi̱gä́name sti̱ Tzoggktkhán Sto drómo, i̱ gjagjá moy élege: «Tsiikjoýn, ta mátia soy de vlépoyn, Epoméno̱s elpízo̱ na mporë́s na mpës sto panepistí̱mio, Kä móno tóte tha mporó̱ na 'mä galí̱nia». Exätías af̆tṓn to̱n lógo̱n ti̱s gjagjás, Doýlepsa polý skli̱rá Kä mpí̱ka sto Politistikó Kinezikó Panepistí̱mio. Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy, Poté de antíkrysa ti̱s gjagjás ti̱n kampoýra. Kä ótan élava ti̱n fo̱tografía, Den enío̱tha eftykhisméni̱, Epëdí̱ aftí̱ í̱tan gja eména To pio spoydäo pio spoydä́o próso̱po, Kä poté den ë́kha trópo na vlépo̱ Ti̱n kampoýra ti̱s Mia nýkhta st' ónëra Páli ë́da egṓ ti̱ gjagjá moy Í̱tan tóso pollá khrónia prin Óti akómi̱ mikrí̱ mikrí̱ í̱moyn Óti akómi̱ mikrí̱ mikrí̱ í̱moyn Káthe méra me kontária Glykopatátes kä spanákia toý neroý Na ta poyláme ta 'ferne Ap' ti̱ Méïnoggk mékhri ti̱s Tzoggktkhán Pö́os thélë n' agorásë? Pö́os thélë n' agorásë? Sto panepistí̱mio élpize na mpō De khrëazótan na poyló̱ m' af̆tí̱n Kä sto skótos pi̱gä́name Koyvalōntas égin' i̱ kampoýra Koyvalōntas égin' i̱ kampoýra Mia nýkhta st' ónëra Páli ë́da egṓ ti̱ gjagjá moy Í̱tan tóso pollá khrónia prin Óti akómi̱ mikrí̱ mikrí̱ í̱moyn Óti akómi̱ mikrí̱ mikrí̱ í̱moyn Káthe méra me kontária Melitzánes kä karpoýzia Na ta poyláme ta 'ferne Ap' ti̱ Méïnoggk mékhri ti̱s Tzoggktkhán Pö́os thélë n' agorásë? Pö́os thélë n' agorásë? Khrónia kä khrónia spoýdasa, To panepistí̱mio, na, télëōsa. Ma ótan apofö́ti̱sa, Den ti̱s antíkrisa ti̱n kampoýra Den ti̱s ë́da ti̱n kampoýra

Home's so far

After that infinite post from last time, today we have just one song, 家太远了 | Jiā tài yuǎnliao (should be yuǎnle, but the singer always sings liao instead of le, so…), "Home is so far", which I met probably at the start of September 2013, and translated way later in the early afternoon of Jan 24 2018. Let's see!

风      太大了 难道只是为了 吹干眼泪 雨      太急了 仿佛真是为了 洗去哀伤 山      太高了 难道只因早已 无处可躲 河      太宽了 仿佛注定永远 无法渡过 ＊鲜血浸透了土地 也开不出花 永远短暂如彩虹 抓也抓不住 ＃我们没有家 我们没有家 孤儿是我们的名字 回家是梦里的呼唤 我们没有家 我们没有家 孤儿是我们的名字 回家是梦里的呼唤＃ 太远了      我们的家 家      太远了 难道只是因为时间 因为距离 梦      太长了 仿佛只是为了绝望 为了逃避 死      太多了 难道真是为了仇恨 为了生存 爱      太短了 仿佛只是为了分别 为了回忆 ＊ ＃ ＃（高一个全音） 太远了      我们的家

Fēng      tài dàliao Nándào zhǐ shì wèiliao Chuī gān yǎnlèi Yǔ      tài jíliao Fǎngfú zhēn shi wèiliao Xǐ qù āishāng Shān      tài gāoliao Nándào zhǐ yīn zǎoyǐ Wú chù kě duǒ Hé      tài kuānliao Fǎngfú zhùdìng yǒngyuǎn Wúfǎ dùguò * Xiān xuě jìntòuliao tǔdì Yě kāi bù chū huā Yǒngyuǎn duǎnzàn rú cǎihóng Zhuā yě zhuā bù zhù # Wǒmen méi yǒu jiā Wǒmen méi yǒu jiā Gū'ér shì wǒmen de míngzì Huíjiā shì mèng lǐ de hūhuàn Wǒmen méi yǒu jiā Wǒmen méiyǒu jiā Gū'ér shì wǒmen de míngzì Huíjiā shì mèng lǐ de hūhuàn # Tài yuǎnliao      wǒmen de jiā Jiā      tài yuǎnliao Nándào zhǐ shì yīnwèi shíjiān Yīnwèi jùlí Mèng      tài chángliao Fǎngfú zhǐ shì wèiliao juéwàng Wèiliao táobì Sǐ      tài duōliao Nándào zhēn shì wèiliao chóuhèn Wèiliao shēngcún Ài      tài duǎnliao Fǎngfú zhǐ shì wèiliao fēnbié Wèiliao huíyì * # # (Gāo yī gè quányīn) Tài yuǎnliao      wǒmen de jiā

Wind      is too strong
Is it really just to
Blow all tears dry?
Rain      is so quick
Looks like that's only to
Wash sadness off
Mountains      are so high
Is it just 'cause they have
Nowhere to hide?
Rivers      are so wide
Looks like you never will
Wade your way through

* Fresh blood's soaking the dark soil
So flowers can't bloom
Things as fleeting as rainbows
Never can be grasped

# We don't have a home
We don't have a home
We bear the title of orphans
And we all dream to return home
We don't have a home
We don't have a home
We bear the title of orphans
And we all dream to return home #
Oh how far      our houses are

Home      is so far
Is it only because of time,
Because of distance?
Dreams      are so long
Seems it's only 'cause of despair,
To run away
Deaths      are so many
Is it only because of hate,
And to survive?
Love      is so short
Looks like it's only for to part,
For memories

*

#

# (1 tone higher)
Oh how far      our houses are

If there wasn't him

Today we have three songs with more or less the same title, "If there wasn't him would you (still) love me", whether it be Mandarin 如果没有他你还爱我吗 | Rúguǒ méi yǒu tā nǐ hái ài wǒ ma, Hakka 系讲无佢侪汝爱涯无那 | Hè-kóng mô kî sâ nyî òi ngâi mô ná, or Hakka again 如果系无佢汝还爱涯无 | Yu-kwó hè mô kî nyî hân òi ngâi mô. Now, the first one, I met sometime between Jun 22 and mid-July 2013 and translated way later at 9:20 on Jan 11 2018; the second one I met within May 17 2014, I would assume after Easter, definitely after October 2013, and I translated it way later at 9:10 on Jan 11 2018; the third one I met on Nov 11 2017 in this horrible format, tried my very best to decrypt it, asking for help on Hakka Lyrics, was presented with smule lyrics on Nov 25 2017, and found the link given above on Nov 24, which is what I follow for the lyrics; I translated this to English, like all the other ones, way later, at 9:37 on Jan 11 2018. At the end, I will also present my best meaningful and repetition-respecting rendition of the horrible format, listing the changes from the last Hakka version to the rendition in question. Let's see 'em!

伤痛我背 我也是无所谓 当爱情已成烟灰 最后留下狼狈 ＊一个人睡 只有孤单相随 独自在午夜梦回 留下一个人沉醉 @难道你真的忘了吗 当初你说想要个家 如今你离开我怎么啦 是否你心里只有一个他 ＃如果没有他你还爱我吗 我很想知道你的真心话 一句话了却我心中的牵挂 爱与不爱都算是回答 如果没有他你还爱我吗 我真的在意你给的回答 请不要再让我泪滴如雨下 在爱与痛的边缘挣扎 ＊ @ ＃ ＃

Shāngtòng wǒ bèi Wǒ yě shì wúsuǒwèi Dāng àiqíng yǐ chéng yānhuī Zuìhòu liúxià lángbèi * Yī gè rén shuì Zhǐyǒu gūdān xiàngsuí Dúzì zài wǔyè mèng huí Liúxià yī gè rén chénzuì @ Nándào nǐ zhēn de wàngle ma Dāngchū nǐ shuō xiǎngyào gè jiā Rújīn nǐ líkāi wǒ zěnme la Shìfǒu nǐ xīnlǐ zhǐyǒu yī gè tā # Rúguǒ méi yǒu tā nǐ hái ài wǒ ma Wǒ hěn xiǎng zhīdào nǐ de zhēnxīn huà Yī jù huà liǎoquè wǒ xīnzhōng de qiānguà Ài yǔ bù ài dōu suàn shì huídá Rúguǒ méi yǒu tā nǐ hái ài wǒ ma Wǒ zhēn de zàiyì nǐ gěi de huídá Qǐng bùyào zài ràng wǒ lèidī rú yǔ xià Zài ài yǔ tòng de biānyuán zhēngzhá * @ # #

You hurt my back
But I no longer care
When our love has turned to ash
In the end we leave our shame
* I sleep alone
With my own solitude
At night in my dreams I see
Me not getting drunk alone

@ Could it be that you have forgot
You said you wanted a family
But now you're leaving me
Why is that?
Is there really just one he in your heart?

# If there wasn't him would you still love me?
Really want to know what the truth would be
Just one word solves the worries inside my heart:
Love or not love as answers both count
If there wasn't him would you still love me?
Really care about what you'll answer me
Please don't make my tears rain once again for you
I am fighting between love and grief

*
@
#
#

受苦为汝你 其实涯我无没问题 为若你的情涯我忍下去 虽然伤着加多一次 ＊一看着到你 又翻佮再次倒转回到佢他 受若你的气爱要到几时 若你的心正才晓能晓留在里这儿 @能够汝你忘记若你的譮话话 爱要佮跟涯我好好䟘起只个家 今下现在汝你离开涯我 做么为何那啦 可能汝你骗涯我因为看涯我戆傻 ＃系讲如果无没佢侪他汝你爱涯我无那吗 涯我真实爱要知汝你应回答个的譮话话 毋好不要放留涯我半头路回想汝你家一人 爱系或毋不爱恁很该容易应回答个的话 系讲如果无没佢侪他汝你爱涯我无那吗 汝你应答应涯我一句清楚个的譮话话 毋好不要放留涯我阿里这里戆戆傻傻等汝你家一人 系讲如果结局若你的心选佢侪他 ＊ @ ＃ ＃

Shìu khú vùi nyî Khî-shıt ngâi mô mùn-thî Vùi nya tshîn ngâi nyun ha-hì Sui-yên shong-tó ka yit tshìi * Yit khòn tó nyî Yù fan-kak tò-cón kî Shìu nya hì òi tèu kí shî Nya sim cang hiáu lîu tshoi lî @ Nén-kèu nyî mông-kì nya voi-fà Òi kak ngâi hó-hó hòng cak ka Kin-hà nyî lî-khoi ngâi Tsò-mài nâ Khó-nén nyî phièn ngâi yin-vùi khòn ngâi ngà * Hè-kóng mô kî-sâ nyî òi ngâi mô nâ Ngâi cin-shıt òi ti nyî èn kài voi-fà M-mó piòng ngâi pàn thêu-lû fûi-sióng nyî ka Òi hè m òi àn koi èn kài fà Hè-kóng mô kî-sâ nyî òi ngâi mô nâ Nyî èn ngâi yit kì tshin-tshú kài voi-fà M-mó piòng ngâi a-lî ngà-ngà tén nyî ka Hè-kóng kiet-khiu̇k nya sim sién kî-sâ * @ # #

Suff'ring for you
Is no problem for me
I still bear my love for you
Though you've wounded me again
* When I see you
Have just gone back to him,
How long will you be mad at me?
When will you let go of me?

@ Maybe you have forgot your words?
You said you wanted a family...
But now you're leaving me:
Why is that?
Did you deceive 'cause you thought I was dumb?

# If there wasn't him would you still love me?
Really wanna know what your answer is
Do not leave me thinking of you so cluelessly:
Love or not love, an easy reply.
If there wasn't him would you still love me?
Just with one clear sentence please answer me
Do not leave to wait for you dumbly here
If you're gonna choose him in the end

*
@
#
#

汝你讲说爱要走 涯我也毋不晓能留汝你 恋爱佮跟汝你恁很久 做么为何毋不晓能长久 ＊一只人情 涯我也试着感动伤心 汝你伤怀了吾我（的）个的心 若你的心里系是否有别只人 @做么为何汝你毋不爱要讲说涯我知 系讲如果汝你真实毋不爱涯我 害涯我佮再恬恬静静想想着到汝你 汝你放留涯我单侪孤独痛苦在心里 ＃如果系是无没佢他汝你还爱涯我无吗 毋好不要放在若你（的）个的心里好无吗 系讲如果汝你真实系是恁很痛心对涯我 涯我希望汝你毋不会变心对涯我 若你的心有了佢他毋不爱要讲说涯我知 系讲如果若你的心里真实为了佢他 涯我希望汝你能够晓能想着到涯我 虽然两侪人感情毋不晓能共下一起

Nyî kóng òi tséu Ngâi ya m hiáu lîu nyî Lièn-òi kak nyî àn kíu Tsò-mài m hiáu chông-kíu * Yit cak nyîn-tshîn Ngâi ya chì-tó shong-sim Nyî shong-fài-liáu nga kài sim Nya sim li hè yìu phėt cak nyîn @ Tsò-mài nyî m òi kóng ngâi ti Hè-kóng nyî cin-shıt m òi ngâi Hòi ngâi kak tiâm-tiâm sióng sióng tó nyî Nyî piòng ngâi tan-sâ thùng-khú tshoi sim li # Yu-kwó hè mô kî nyî hân òi ngâi mô M-mó piòng tshoi nya kài sim li hó mô Hè-kóng nyî cin-shıt hè àn thùng-sim tùi ngâi Ngâi hi-mòng nyî m vòi pièn-sim tùi ngâi Nya sim yìu-liáu kî m òi kóng ngâi ti Hè-kóng nya sim li cin-shıt vùi-liáu kî Ngâi hi-mòng nyî nén-kèu hiáu sióng tó ngâi Sui-yên lióng-sâ kám-tshîn m hiáu khiùng-ha

You say you'll leave
But I cannot leave you
I've loved you for so long
Why could it not be forever
* With this feeling I also feel sad
You have wounded my heart
Is there someone else in yours

@ Why don't you want to tell me
If you really do not love me?
Make me quietly think, think of you
You have left me here with grief in my heart

# If there wasn't him would you still love me?
Please don't keep this locked in your heart, OK?
If you really are very sorry for me
I hope you will not change mind about you
There's him in your heart, you don't wanna tell me
If your feelings are really all for him
I just hope you can think about me still
Even though we cannot be two in love

Now before I give the famous rendition, let me give you what I hear in the video and a possible character rendition and a few comments on changes that are needed for that text to make sense. If you see ¯, it means the vowel over which it is found is stretched out more that it should be. If you see ¨, the lone syllable it is put on is sung as if split into two.

Nyi kak oi sap ngai Kak ng hiāu liǝü nyi Lien-oi kak nyi an kiu Tso-mai ng hiau tshon̈g kiu Li tsak nyīn chin Ngai ya tshi-to song-sim Nyi siong-fai-liau nga kai sit Nya sim yiu ǝ yiu phet tsak nyin Tso-mai nyi m-mai kong ngai ti He kong nyi cin sit m oi ngiany Hoi ngai ka(k) tiam tiam siong to nyi Ng… piong ko tua sa thong-ko tshai sim li Yu-ko he mo ki nyit m oi ngai mo M-moi piong tshoi nga kai sim li ho mo He-kong nyi cin-sit he ngai tong ko tsut tui ngai Ngai hi-mong nyi ng hiau pien-sim tui ngai Nya sim biau liau ki m oi kong ngai ti He-kong nya sim-yi cin se buei-liau ki Ngai hi-mong nyi nen-keu hiau sio(ng)-ko ngai Tsui ten liong-sa kam-chin hiau kiung-ha Li tsak nyīn chin Ngai ya tshi-to song-sim Nyi siong-fai-liau nga kai sit Nya sim yit yiu pheut cak nyin Ko-mai nyi m-moi kong ngai ti He-kong nyi cin-sit m oi ngai Hoi ngai ka(k) tiam siong to nyi Nyi piong kai sa thung-ko tshoi sim li Yu ko he mo ki nyi han m oi ngai Piong mwa piong tshoi nga kai sim li ho mo He-kong nyi cin-sit hen tung-ku tsuk tui ngai Ngai hi-mong nyi m oi pien-sim tui ngan Nya sim hiau liau ki m oi kong ngai ti He-kong nya sim li cin se buei-liau ki Ngai hi-mong nyi nen-keu hiau sio(ng)-ko ngai Tsui ten liong-sa kam-chin yau kiung-ha Yu-ko he mo ki nyi hat m oi ngai mo M-mo piong (t)soi nga kai sim li ho mo He-kong nyi cin-sit he an tung kho-sit tui ngai Ngai hi-mong nyi ng hiau pien-sim tui ngai Ya sim yu liau ki m oi kong ngai ti He-kong nya sim li cin se bue-liau ki Ngai hi mong nyi nen-keu hiau sio(ng)-ko ngai Tsui-(s)ien liong-sa kam-chin m hiau kiung-ha

汝你佮再爱要䪞涯跟我争吵？ 佮和毋不晓能留汝你 恋爱佮跟汝你恁很久 做么为何毋不晓能长久 里这只人情 涯我也试着感动伤心 汝你伤怀了吾我（的）个的心(?) 若你的心又？有别只人 做么为何汝你毋不爱要讲说涯我知 系讲如果汝你真实毋不爱？ 害涯我佮再恬恬静静想着到汝你 你……放留过单(?)侪(?)孤独痛(?)苦(?)在心里 如果系是无没佢他汝(?)你毋不爱涯我无吗 毋爱不要放在吾我（的）个的心里好无吗 系讲如果汝你真实系是捱痛(?)苦(?)出(?)对涯我 涯我希望汝你毋不晓能变心对涯我 若你的心晓能嫪渴望佢他毋不爱要讲说涯我知 系讲如果若你的心意真实(?)为了佢他 涯我希望汝你能够晓能想(?)过涯我 ？？两侪人感情晓能共下一起 里这只人情 涯我也试着感动伤心 汝你伤怀了吾我（的）个的心(?) 若你的心意(?)有别只人 做么为何汝你毋不爱要讲说涯我知 系讲如果汝你真实毋不爱涯我 害涯我佮再恬静想着到汝你 汝你放留箇侪那个人痛苦(?)在心里 如果系是无没佢他汝你还毋不爱涯我无吗 放(?)？放在吾我（的）个的心里好无吗 系讲如果汝你真实肯捱痛苦？对涯我 涯我希望汝你毋不晓能变心对涯我 若你的心晓能嫪渴望佢他毋不爱要讲说涯我知 系讲如果若你的心意真实(?)为了佢他 涯我希望汝你能够晓能想(?)过涯我 ？？两侪人感情晓(?)能共下一起 如果系是无没佢他汝你还(?)毋不爱涯我无吗 毋爱不要放在(?)吾我（的）个的心里好无吗 系讲如果汝你真实系是恁很？可惜对涯我 涯我希望汝你毋不晓能变心对涯我 若你的心有嫪渴望佢他毋不爱要讲说涯我知 系讲如果若你的心里真实(?)为了佢他 涯我希望汝你能够晓能想(?)过涯我 最先两侪人感情毋不晓能共下一起

OK, let's go through this line by line to make some sense of it:

1. «Nyi kak oi sap ngai»: the problem here is "sap", because while I have some kind of "sap = quarrel" from 无意见毋晓䪞气 here, I would be surprised to find it transitive, as if "sap" itself meant "to quarrel with". So my take is that she meant "sak", or 捒, which in Min means "leave", and will have to be assumed as a Min loan since nothing similar is found on Minhakka.
2. «Kak ng hiāu liǝü nyi»: the line is clear, modulo the horrible mispronunciation of "liu" and the stretch of "hiau", but the original lyrics split the lines before the "ngai", so I will add a "ngai" back in, also because the subject here has to change and implying it sounds confusing to me.
3. «Lien-oi kak nyi an kiu»: perfectly matches the original.
4. «Tso-mai ng hiau tshon̈g kiu»: same as above.
5. «Li tsak nyīn chin»: perfectly clear, in fact I prefer this to the original 一只人情.
6. «Ngai ya tshi-to song-sim»: perfectly matches the original.
7. «Nyi siong-fai-liau nga kai sit»: I can't make sense of the "sit", so besides asking Anton Xie if he can, I will assume she's just cutting "sim" off early and I'm interpreting that as a -t. Why she does that both times, no idea.
8. «Nya sim yiu ǝ yiu phet tsak nyin» / «Nya sim yit yiu pheut cak nyin»: AFAIK, "pheut" is not a valid syllable in Hakka, so I'll take that as "phet" with a spurious u added for no apparent reason. The schwa is also not a valid syllable, and I'll just cut it out since I can't explain it as anything but a random error. As for yiu vs. yit, I will keep a difference, keeping "yiu" for the first iteration, and "yi" (心意) for the second one.
9. «Tso-mai nyi m-mai kong ngai ti» / «Ko-mai nyi m-moi kong ngai ti»: I am told "kho-mai" is a local variation of "tso-mai", so "ko-mai" is that variation without the aspiration (and this is not the only aspiration she loses). as for "m-mai" vs. "m-moi", the first one is probably an error, perhaps influenced by Min or Mandarin where 爱 is read ài, and the initial m- of moi is just carried over from the negation, as happens in "m-moi", "m-mo", "m-me", and who knows what other cases.
10. »He-kong nyi cin-sit m oi ngiany» / «He-kong nyi cin-sit m oi ngai»: being "ngiany" an invalid syllable reminiscent of "ngai", I'll read that as a weird error.
11. «Hoi ngai ka(k) tiam tiam siong to nyi» / «Hoi ngai ka(k) tiam siong to nyi»: well, she just forgot a "tiam" the second time, no big deal.
12. «Ng… piong ko tua sa thong-ko tshai sim li» / «Nyi piong kai sa thung-ko tshoi sim li»: this is messy. The ending is probably 痛苦在心里 with some mispronunciations and with 在 changing from tshài to tshoi, both valid pronunciations. The initial "ng" in the first iteration might be either a negation or the variant form "ng" for "nyi", which is recorded in hakkadict under the character 你. The negation is out of place, so I'll take the variant form route and eliminate the variation. As for "piong ko tua sa" vs. "piong kai-sa", I think the first one is a corruption of "piong-ko (ngai) tan-sa", "left (me) alone", whereas he second one seems to imply the addressee of the song left the other person, which goes against the premise of the song, so I'll go for the first one with the corruption removed.
13. «Yu-ko he mo ki nyit m oi ngai mo» / «Yu ko he mo ki nyi han m oi ngai» / «Yu-ko he mo ki nyi hat m oi ngai mo»: the third version is the second one with "han" cut off early and the question particle added back in. The "nyit" is probably another early cutoff. So the choice is between han+mo, no han, or no mo. I'll keep both, because I need "mo" for this to be a question, and "han" was in the original, but I'll also keep the "m" because it doesn't harm the meaning and it's there in all versions.
14. «M-moi piong tshoi nga kai sim li ho mo» / «Piong mwa piong tshoi nga kai sim li ho mo» / «M-mo piong (t)soi nga kai sim li ho mo»: in the second version I think she got confused, started a "piong", then remembered she had "m-moi" before that and squeezed it into the "mwa", and then resumed normally. So all that's left to discuss is "m-mo" vs. "m-moi", and since I'm more used to negative imperatives with "m-mo"… but wait, we have "nga" instead of "nya", so maybe I want a negation, so I keep "m-moi", which is by chance also the most frequent.
15. «He-kong nyi cin-sit he ngai tong ko tsut tui ngai» / «He-kong nyi cin-sit hen tung-ku tsuk tui ngai» / «He-kong nyi cin-sit he an tung kho-sit tui ngai»: wow, that is some variation. "He-kong nyi cin-sit" at the beginning and "tui ngai" at the end are constants, so we need to make sense of «he ngai tong ko tsut» / «hen tung-ku tsuk» / «he an tung kho-sit». The second version seems to mean "(you) are willing (to let) pain (do something)", perhaps "reach", so it sounds like she is wishing herself pain with the next line: nonsense, I tell you. Discarded. The first version seems to have a "he" which means mostly nothing, "ngai" could mean "endure", so we'd have "If you are really enduring pain", which seems promising, and then we run into that undecipherable "tsut". Let me look it up a sec… well hello there, "卒 | tsut | die"! Maybe it isn't so undecipherable after all. More looking up… Nothing interesting. So that will be my take on version 1: 系讲汝真实系捱痛苦卒对涯, «If you are really dying from pain for me». Poor him, wished so much pain unto by this evil girl :). And version 3? "he" is the dummy, "an" is "very", "tung" could be "tong", aka 当, "undertake", and "kho-sit" is "pity". So here I will use version 1 for all but the last iteration, where version 3 will be used.
16. «Ngai hi-mong nyi ng hiau pien-sim tui ngai» / «Ngai hi-mong nyi m oi pien-sim tui ngan» / «Ngai hi-mong nyi ng hiau pien-sim tui ngai»: I'm surprised by the "m oi" in version two, and I'll keep the other versions, identical to the original.
17. «Nya sim biau liau ki m oi kong ngai ti» / «Nya sim hiau liau ki m oi kong ngai ti» / «Ya sim yu liau ki m oi kong ngai ti»: I think the biau/hiau is just a corruption, but I will keep my reading of "liau" as "to pine for" rather than a vanilla perfect aspect marker.
18. «He-kong nya sim-yi cin se buei-liau ki» / «He-kong nya sim li cin se buei-liau ki» / «He-kong nya sim li cin se bue-liau ki»: I think "sim-yi" fits better here than "sim li", so that's what I'm going with. "buei" and "bue" are corruptions of "bui". This "cin se" is a puzzle: it should be 真实, but she consistently sings that as "cin-sit", which is correct, except here, where in all three versions she has "cin se", so I'll ask Anton about this, maybe "cin se" is correct in the sense that it can make sense without being corrected to "cin-sit" (or at least with a correction that keeps it distinct from "cin-sit".
19. «Ngai hi-mong nyi nen-keu hiau sio(ng)-ko ngai» / «Ngai hi-mong nyi nen-keu hiau sio(ng)-ko ngai» / «Ngai hi mong nyi nen-keu hiau sio(ng)-ko ngai»: the only difference from the original is that "sio(ng)-ko", where "siong" is possible but not certain from the audio, but "ko" is definitely "ko" in all three iterations, and we can take it as "I hope you may have thuoght of me", aka "I hope you may have actually loved me (back when we were together)".
20. «Tsui ten liong-sa kam-chin hiau kiung-ha» / «Tsui ten liong-sa kam-chin yau kiung-ha» / «Tsui-(s)ien liong-sa kam-chin m hiau kiung-ha»: in all three version, "tsui" could be "sui", because the musical base has the backup of the Mandarin version with its "zai ai yu tong de bianyuan zhengzha" which superimposes "(t)sui" with "zai" and could create the illusion of an affricate ts when in fact it's a fricative s that's being pronounced. A similar explanation isn't available for the following "ten"/"(s)ien", however. I just relistened, and it's more like "(t)sui teu" / "(t)sui ten" / "(t)sui sen" (or "(t)sui set"). The last version hints at 虽则 | sui-tset | although, which is what I'll take this for. The "m" is easy to miss since it can fuse with the -n of the tshin before it. As for hiau/yau, the "yau"s I found were 要 | will, 摇 | rock, 銚 | burn, and half a billion others that don't fit at all, and those three don't convince me, so I'll take that as a corruption of "hiau".

汝你佮再爱要捒离开涯我 涯我佮再毋不晓能留汝你 恋爱佮跟汝你恁很久 做么为何毋不晓能长久 里这只人情 涯我也试着感动伤心 汝你伤怀了吾我（的）个的心 若你的心又有别只人 ＊做么为何汝你毋不爱要讲说涯我知 系讲如果汝你真实毋不爱涯我 害涯我佮再恬恬静静 想着到汝你 汝你放留过单侪孤独痛苦在心里 ＃如果系是无没佢他汝你还毋不爱涯我无吗 毋爱不要放在吾我（的）个的心里好无吗 系讲如果汝你真实系是捱痛苦卒死对涯我 涯我希望汝你毋不晓能变心对涯我 若你的心有嫪渴望佢他毋不爱要讲说涯我知 系讲如果若你的心意真实为了佢他 涯我希望汝你能够晓能想过涯我 虽则两侪人感情毋不晓能共下一起 里这只人情 涯我也试着感动伤心 汝你伤怀了吾我（的）个的心 若你的心意有别只人 ＊ # 如果系是无没佢他汝你还毋不爱涯我无吗 毋爱不要放在吾我（的）个的心里好无吗 系讲如果汝你真实系是恁很当可惜对涯我 涯我希望汝你毋不晓能变心对涯我 若你的心有嫪渴望佢他毋不爱要讲说涯我知 系讲如果若你的心意真实为了佢他 涯我希望汝你能够晓能想过涯我 虽则两侪人感情毋不晓能共下一起

Nyî kak òi sak ngâi Ngâi kak m hiáu lîu nyî Lièn-òi kak nyî àn kíu Tsò-mài m hiáu chông-kíu Lî cak nyîn-tshîn Ngâi ya chì-tó shong-sim Nyî shong-fài-liáu nga kài sim Nya sim yìu yìu phėt cak nyîn * Tsò-mài nyî m mòi kóng ngâi ti Hè-kóng nyî cin-shıt m òi ngâi Hòi ngâi kak tiâm-tiâm Sióng tó nyî Nyî piòng-kwò tan-sâ thùng-khú tshoi sim li # Yu-kwó hè mô kî nyî hân m òi ngâi mô M mòi piòng tshoi nga kài sim li hó mô Hè-kóng nyî cin-shıt hè ngâi thùng-khú tsut tù ngâi Ngâi hi-mòng nyî m hiáu pièn-sim tùi ngâi Nya sim yìu liàu kî m òi kóng ngâi ti Hè-kóng nya sim-yì cin-shıt vùi-liáu kî Ngâi hi-mòng nyî nén-kèu hiáu sióng-kwò ngâi Sui-tset lióng-sâ kám-tshîn m hiáu khiùng-ha Lî cak nyîn-tshîn Ngâi ya chì-tó shong-sim Nyî shong-fài-liáu nga kài sim Nya sim-yì yìu phėt cak nyîn * # Yu-kwó hè mô kî nyî hân m òi ngâi mô M mòi piòng tshoi nga kài sim li hó mô Hè-kóng nyî cin-shıt hè àn tong khó-sit tù ngâi Ngâi hi-mòng nyî m hiáu pièn-sim tùi ngâi Nya sim yìu liàu kî m òi kóng ngâi ti Hè-kóng nya sim-yì cin-shıt vùi-liáu kî Ngâi hi-mòng nyî nén-kèu hiáu sióng-kwò ngâi Sui-tset lióng-sâ kám-tshîn m hiáu khiùng-ha