Saturday, 28 September 2019

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. 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, they just grow and grow:
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 spirit
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 good=>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

Tuesday, 24 September 2019

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;
  2. Sicilian, same as English;
  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.
And then on 20/1/19 around 16 I finished the Min and fixed the others (I had misinterpreted m-sii as "although" when it meant "no need", so I had "Though I had to sell veggies with her" and "Puru si avia a vìnniri i chianti cu iđđa").
All of this info refers to the song only. 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, but in the meantime around 14:34 I changed "vidi" to "vitti" in the Sicilian version of the song. 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.
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.
In the meantime, 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, and implemented them, whereas 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. Let's see them translations!


口白:
旧年去年三月份
又梦阿妈奶奶
下仔时候时节时候
每日天
阿妈奶奶共下一起出门去卖菜
阿妈奶奶担竿担挑[擐/㧡][提/挑]番薯番薯叶
[擐/㧡][提/挑]蕹菜
恁呢这样弥浓美浓
一路到中坛
在路阿妈奶奶
姿君你眼珠看
故所以希望你可以考上大学
放得
因为阿妈奶奶句话
打拼
来考中国文化大学
啊毋过不过毕业典礼晡日
阿妈奶奶匍背驼背
翕相拍照下仔时候
一种欢喜感受
因为对
最重要最重要
辦法看
匍背驼背

有一个暗晡头晚上
发梦梦阿妈奶奶
久吔以前
时节时候
时节时候

阿妈奶奶每日用担竿担挑
[擐/㧡][提/挑]番薯叶[擐/㧡][提/挑]蕹菜
共下一起去卖菜
弥浓美浓到中坛
么人没有
么人没有

阿妈奶奶希望读大学
毋使不用去卖菜
每日天光就
[擐/㧡][提/挑][擐/㧡][提/挑]啊变匍背驼背
[擐/㧡][提/挑][擐/㧡][提/挑]啊变匍背驼背

有一个暗晡头晚上
发梦梦阿妈奶奶
久吔以前
时节时候
时节时候

阿妈奶奶每日用担竿担挑
[擐/㧡][提/挑]瓜仔瓜子[擐/㧡][提/挑]吊菜茄子
共下一起去卖菜
弥浓美浓到中坛
么人没有
么人没有

一年一年过一年
从大学出社会
毕业典礼晡日
阿妈奶奶匍背驼背
阿妈奶奶匍背驼背



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:
去年的三月份
我又梦我的阿妈奶奶
下仔时候是我小的时阵时候
每日天
阿妈奶奶斗阵一起出门去卖菜
阿妈奶奶扁担担挑[提/挑]着番薯叶
[提/挑]蕹菜
按呢这样从美浓庄
一路到中坛
阿妈奶奶
姿君你的目睭眼珠
故所以我希望你可以考上大学
我才放
因为阿妈奶奶这句话
拍拼打拼?
来考中国文化大学
犹毋过不过到我毕业典礼
阿妈奶奶的驼背
翕相拍照下仔时候
一种欢喜的感受
因为对我来
重要ruby>上重要的人
我再辦法看
的驼背

有一个暗头仔晚上
发梦梦阿妈奶奶
久啊以前
小的时阵时候
小的时阵时候

阿妈奶奶每日用扁担担挑
提/挑番薯叶提/挑蕹菜
斗阵一起去卖菜
从美浓到中坛
啥人
啥人

阿妈奶奶希望我读大学
毋免不用去卖菜
每日天光都
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
发梦梦阿妈奶奶
久啊以前
小的时阵时候
小的时阵时候

阿妈奶奶每日用扁担担挑
提/挑瓜仔瓜子提/挑红菜茄子
斗阵一起去卖菜
从美浓到中坛
啥人
啥人

一年一年过一年
我从大学出社会
毕业典礼个日
阿妈奶奶的驼背
阿妈奶奶的驼背



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
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 thay-hȯk
Ngâ nang piong et lȯk22 sîm
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 mâ296 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
15-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 u sò sustegnu
Man nun vidi u sò sustegnu



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



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

Friday, 20 September 2019

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

Tuesday, 17 September 2019

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
其实问题
你的忍下去
虽然伤着一次
*一看
翻佮再次倒转回到
你的到几时
你的晓留在这儿

@能够忘记你的譮话
好好
今下现在离开
做么为何
可能因为看

系讲如果佢侪无那
真实回答譮话
毋好不要半头路回想一人
容易回答
系讲如果佢侪无那
答应一句清楚譮话
毋好不要阿里这里戆戆傻傻一人
系讲如果结局你的心选佢侪


@


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

*
@
#
#







恋爱
做么为何长久
*一只人情
试着感动伤心
伤怀了我(的)
你的心里是否有别只人

@做么为何
系讲如果真实
恬恬静静想想
单侪孤独痛苦在心里

#如果还爱
毋好不要放在你(的)心里好
系讲如果真实痛心对
希望会变心对
你的心有了
系讲如果你的心里真实为了
希望能够
虽然两感情共下一起
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 if 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










离开

恋爱
做么为何长久
只人情
试着感动伤心
伤怀了我(的)
你的心又有别只人

做么为何
系讲如果真实
恬恬静静

单侪孤独痛苦在心里

#如果
毋爱不要放在我(的)心里好
系讲如果真实捱痛苦
希望变心对
你的心有渴望
系讲如果你的心意真实为了
希望能够想过
虽则两感情共下一起

只人情
试着感动伤心
伤怀了我(的)
你的心意有别只人



#

如果
毋爱不要放在我(的)心里好
系讲如果真实当可惜对
希望变心对
你的心有渴望
系讲如果你的心意真实为了
希望能够想过
虽则两感情共下一起
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