White Christmas

Merry Christmas everyone! Today I give you White Christmas, a very well-known Christmas carol, which I translated into Chinese on 2/12/20, partly around 10:20, partly around 13:40. Will I fill the column with another translation? Only time will tell. Then around 18 on 14/12/20 I change «我在梦到白色耶诞», «有孩子希望», «跟我每一个耶诞卡», and «愿你的耶诞都白色的» to their current form. On 16/12/20 in the morning I realize the 白圣诞 I'd taken from this video (lyrics and translation here) was actually 雪白圣诞, so I change my «我正在梦到白圣诞» to its current form. Let's see it!

I'm dreaming of a white Christmas,
Just like the ones I used to know,
Where the treetops glisten,
And children listen
To hear sleigh bells in the snow.

I'm dreaming of a white Christmas
With every Christmas card I write.
May your days be merry and bright,
And may all your Christmases be white!

我在梦到雪白圣诞 梦到曾认识的风景 那儿有树顶闪光， 有小孩希望 听到雪中的马铃 我在梦到雪白圣诞 跟我每一张圣诞卡 祝你活得幸福快乐， 祝你的圣诞都变白色。

Wǒ zài mèng dào xuébái Shèngdàn Mèng dào céng rènshí de fēngjǐng Nǎr yǒu shùdǐng shǎnguāng, Yǒu xiǎohái xīwàng Tīng dào xuě zhōng de mǎlíng Wǒ zài mèng dào xuébái Shèngdàn Gēn wǒ měi yī zhāng Shèngdànkǎ Zhù nǐ huó dé xìngfú kuàilè, Zhù nǐ de Shèngdàn dōu biàn báisè.

Io ne soffro

Eh già, ho deciso di farla in Italiano l'intro per questa canzone albanese tradotto in romagnolo. Titolo E vúaj (non "e vwaj", "e vuuuuuaj"), "Ne soffro", tradotta nel cuore della notte tra l'11 e il 12/12/20, precisamente tra le 2:01 e le 2:27, con piccole modifiche la mattina seguente intorno alle 11:45. Poi 14/12/20 13:46 il ritornello «Quãt mêl ch'u-m fa a mè» assume la forma attuale. Non so quando, ma entro il 18/12 il «noooo!» nell'ultima riga della seconda strofa è stato rimosso. Per decifrarla sono partito da qui, traduzione piena di errori e ortografia decisamente meno che stellare, e mi sono aiutato coi miei soliti metodi e con tutto quanto emerso da questa domanda e le sue risposte. Un paio di commenti:

• Il video usa il passato "gjeta" al v. 4, ma io preferisco il presente "gjej", e così ho tradotto.
• Ai vv. 12-13 il sito dice «Thjesht jam ajo / Ty të un^ t^ ndjek nga pas» (Sono semplicemente quella che ti seguirà da dietro), ma questo, oltre ad avere un ordine delle parole che mi sembra decisamente strano (caso mai dovrebbe essere «Thjesht jam ajo / Unë ty të ndiek nga pas»), chiaramente non corrisponde al video, e in effetti il suggerimento emerso dalla domanda di «Thjesht fryma jote / Të më ndjek nga pas», che ho accolto, somiglia assai di più al video.
• Falë suppongo sia il passato semplice aka aoristo di fal, qui usato come "donare, regalare", non come "perdonare", come pensa il sito che mi ha dato il testo.
• "S'e di" può essere sia "non lo so" che "non lo sai" che "non lo sa", io ho scelto "non lo sai" ai vv. 9-10 perché mi sembra la cosa più sensata nel contesto.
• Mi chiedo se si possa leggere «Nuk ka më puthje më as dedikim» come un dativo di possesso alla latina, quindi «Nuk ka (Non v'ha, Non c'è) më (per me) puthje (bacio) më (più), as (né) dedikim (dedizione)»; Aurel su Quora dice di no, e in effetti è una spiegazione un po' fantasiosa, ma altrimenti come si spiega questa strana frase? È solo un "hodgepodge" di parole che dà vagamente un senso? O è una ripetizione di më per enfasi? Boh… Beh Aurel ha fatto una domanda in proposito sull'"Angolo Albanese" (Albanian Corner), vediamo cosa ne esce.
• Fra l'altro forse ka dovrebbe essere ke, «Non hai più bacio né dedizione (per me)»? Bah, forse no.
• E poi dedikim per me è dedizione qui, non dedica, se no dedica de che? Dedizione nel senso di fedeltà, o anche di vicinanza, quindi questo non la bacia più e si sta allontanando da lei.

Bom, vediamola!

Aromën tënde Më ununë nuk e ndjej, ZgjoemZgjohem sërish, Po ty më nuk të gjej. Nuk ka më puthje, Më as dedikim, O Zot! Sa shumshumë e vuaj, Jo, s' e di! Jo, s' e di! Nuk të kërkoj asgjë, VeçVetëm të kem pranpranë Thjesht fryma jote Të më ndjek nga pas Hoooo Thjesht nga pas… *E vuaj unë, Vuaj unë Vuaj unë Vuaj unë Vuaj unë Vuaj unë Vuaj unë Vuaj unë I just wanna make you happy I just wanna make you happy I just wanna make you happy Ooooh yes I just wanna make you happy I just wanna make you happy Ooooh* Nëse mëndonmendon Pa mu më mirmirë do ttë jesh, Ty të uroj, Por vendin tënd asnjë s' do ttë zejzëj: S' do ttë mundem, Dot të dua tjetër, Hoooo, SëSepse ti më falëfale tjetër jetjetë, Tjetër jetjetë… Nuk gjej fuqi Unë ty të të harroj, Jooo, Nuk kam më force, Nuk dua më të ekzistoj. S' dua, jooo! *

'EIl tu parfòmmprofumo Mè mòora a-n-'enon lo sẽtsento piò, A-mMi dèstsveglio incôradi nuovo, MóMa te mòora a-n-tnon ti trövtrovo piò. T-a-n-u-mNon mi béṣbaci piò, Nò, t-a-nnon sisei piò 'e/lail/la mi, O SgnôrSignore! QuãtQuanto ch'u-mmi fa mêlmale, No, t-a-nnon sésai mìghmica! T-a-nnon sésai mìghmica! A-n-tNon ti cmãnddomando pùpure gnitniente, SôlSolo t stëgache tu stia quèqui cun mè! SôlSolo, sôlSolo ch' 'eil tu rispìr U-mMi vègnavenga drìdietro! Ooooh Vègnavenga drìdietro… *QuãtQuanto ch'u-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, U-mmi fa stêṙstare mêlmale, I just wanna make you happy I just wanna make you happy I just wanna make you happy Ooooh yes I just wanna make you happy I just wanna make you happy Ooooh* Se t pẽspensi che ẓẽẓasenza mè Tè t pùpuoi stéṙstare mèjmeglio, A sòSono cuntẽtcontento par tè, MóMa a 'eal tù pòst a-n vòinon voglio inciõnessuno: AvlìVoler bẽbene a 'n êtar/êtraaltro/a, A-n sòNon sono bõ/bõnacapace, Oooooh, Parchè t-m émi hai dêdato 'na vida növa Vida növa La förẓa par scurdê'-tscordarti, A-n-laNon la trövtrovo mìghmica Noooo, A-n òNon ho piò förẓ', A-n vòiNon volgio piò rèss'r-iesserci qua 'nt 'enel mònd! A-n-'e vòiNon lo voglio! *

Only a night

Today we have an Albanian song, Vetëm një nat' – and as I look for the video I find another video with an extra verse, wonder what that says… –, which gives this post its title. I met this as I googled vetëm vs. vetem in the context of corrections to the Albanian version here, and then I worked on it a hell of a lot, and many Quora questions and answers later, I have lyrics and a translation, and I decided to make a Min version and an English version. The former was made between 23/11/20 and 24/11, with a tweak on 25/11, the latter entirely on 25/11/20. The parts in English were always left untranslated. I lost the distinction between "standard" Albanian and dialect parts. The apostrophes mark ë's that are left unpronounced in singing. The ɨ is because ndal would be present and the past, which is what I'd expect based on context, would be ndali, but there's no i in the singing. 27/11/20 14:32 drafting this I see «快来改变， / 咱的这段歹运» doesn't fit the tune too well, so I tweak it. 14:46 same goes for «我曾想欲坐 / 真济的飞机». Also, 双人 is an adjective, so it's not right in there, fixed 15:01. No idea why I switched from pò-tí to tsûn-sú 遵守 in chorus 2 where the former was required for the rhyme. Fixing it 15:35. [I suppose fixing «承诺保持啊» to its current form in chorus 1 was done on the same date.]
UPDATE I then investigated the extra verse, and decided to translate it too, and mingle the two versions. I did the translation into English on 4/12/20 between 21:43 and 22:03, and the Min one on 5/12/20 between 19:59 and 20:19. I decided to assign it to the lady, which in the first version is Alida. Adding verse two in, I change 在恁生活 to start with 伫 at 12:45. Let's see it!

Alida: U ndamndamë pa fjalfjalë, U ndamndamë pa fjalfjalë, Ashtu në heshtje Dhe koha u ndalndali, U ndalndali dhe koha Për një prekje. UnUnë edhe ti Ishim të ri Edhe nuk dinim Për dashurindashurinë, Për dashurindashurinë Që na përkiste. Malli mmë ka marrmarrë, Më ka marrmarrë malli MePër të ta n’gjudëgjuar zâninzërin, Ta them një fjalfjalë Të ttë ledhatoj Ashtu e heshtur, DalëngadalDalëngadalë. Ti i dhe kuptim Jetës time, Zemër më falfalë Falma mua Që të lashlashë vetëm #Vetëm një natnatë Vetëm një natnatë TTë i kthejmkthejmë kujtimet Vetëm një natnatë Vetëm një natnatë TTë i mbajmmbajmë premtimet Vetëm një natnatë Vetëm një natnatë Ne si dikur Vetëm një natnatë Vetëm një natnatë Vetëm një natnatë Zemër ununë dhe ti prapprapë *UnUnë dhe ti prapprapë, mm, Vetëm një natnatë Vetëm një natnatë UnUnë dhe ti prapprapë Zemër ununë dhe ti prapprapë Vetëm një natnatë Vetëm një natnatë Jej je, jej je, jej je GBMC: @You been missin' me, I been missin' you, Tell me what to do, Tell me what to do, You been missin' me, I been missin' you, Fati jonynë i keq Tash ka me ndryshupër të ndryshuar I been missin' you, I been missin' you, ShumShumë aviona Për ty kisha ndrrundërruar, I been missin' you, I been missin' you, VeçVetëm një natnatë bashkbashkë Ne mepër të e kalukaluar Vetëm një natnatë Vetëm një natnatë TTë i ndajmndajmë kujtimet, Vetëm një natnatë Vetëm një natnatë TTë i mbajmmbajmë premtimet Vetëm një natnatë Vetëm një natnatë Ne si dikur Vetëm një natnatë UnUnë dhe ti prapprapë UnUnë dhe ti prapprapë Zemër ununë dhe ti prapprapë Alida: Zemër, të kam, Zemër, të kam Akoma në mendjen, Edhe pse u ndamndamë, Për ty e kam Ktëkëtë dedikim, Për ty e kam. Ti je gjithçka Që unë dua, Ti je gjithçka, Edhe më shumshumë Nga dashuria e jote Dua të marr, Në çdo sekondsekondë Të jetës tënde I joti ununë jam, I joti ununë jam, Zëmrën ma more, I joti ununë jam, Ti e pushtove Qenien time. Zemrën më fal, Falma mua Që të lashlashë vetëm # * GBMC: We are money makers We are money makers You know the mad thing They call us undertakers We are money makers We are money makers Never stop lovin' Always sensin' papers Pick up the phone girl, I wanna see you Later, later, yay, Pick up the phone girl, I wanna see you Later, later, yay, # Alida *, GBMC @ – je!) Alida: 分开无声 分开无声 咱一句无没讲说 时间也定停 时间也定停 为着为了一阵碰 你我，亲爱， 两人真很少年年轻 毋不知所措 为彼那段爱 为属于咱 的彼那段爱情 现时思念， 现时思念 听着到你的声音， 一词讲说啊 想欲要按呢这样 无声爱抚你 慢慢毋不赶 你共把意味 交予交给我人生 请原谅我 亲爱，原谅 我共和你分开 #只有一𠸄晚 只有一𠸄晚 记持记忆改造啊 只有一𠸄晚 只有一𠸄晚 保持承诺啊 只有一𠸄晚 只有一𠸄晚 亲像好像往时 只有一𠸄晚 只有一𠸄晚 只有一𠸄晚 又阁再次共和你做伙一起 *共和你做伙一起, mm, 只有一𠸄晚 只有一𠸄晚 共和你做伙一起 又阁再次共和你做伙一起, ooo 只有一𠸄晚 只有一𠸄晚 Yay yeah, yay yeah, yay yeah GBMC: @You been missin' me, I been missin' you, Tell me what to do, Tell me what to do, You been missin' me, I been missin' you, 快来改变啊， 咱这段歹运背运 I been missin' you, I been missin' you, 我曾想欲要坐真很 济多的飞机 I been missin' you, I been missin' you, 为着为了一𠸄晚 共和你一起 只有一𠸄晚 只有一𠸄晚 记持记忆隔离啊 只有一𠸄晚 只有一𠸄晚 承诺保持啊 只有一𠸄晚 只有一𠸄晚 亲像往时 只有一𠸄晚 共和你做伙一起 共和你做伙一起 又阁再次共和你做伙一起 Alida: 亲爱，我犹还 亲爱，我犹阁还 有你伫在心神， 虽然你无没， 你再无没遮这里， 但我这首歌 犹还向你唱 我想欲要来 揣找着到的全部 犹还只是你 也想欲要从你 得到较更济多爱情， 一点爱情， 伫在恁你的生活 的每一秒啊 我属于你 我属于你 你有提拿取阮我的的心 我属于你 你有捕获 我所有的存在 请原谅我 亲爱，原谅 我共跟你分开 # * GBMC: We are money makers We are money makers You know the mad thing They call us undertakers We are money makers We are money makers Never stop lovin' Always sensin' papers Pick up the phone girl, I wanna see you Later, later, yay, Pick up the phone girl, I wanna see you Later, later, yay, # Alida *, GBMC @ – je!)

Alida: U ndam' pa fjal' We split up without words, In silence, And even time, Even time stopped Just for a soft touch. Me and you Were you and di'n't know What to do then For great love bloomed, Great love was blooming In our hearts then. And now I pine, And now I miss Listėning to your voice, One word I say: That to caress you Thus in silence, Slowly, I pray. 'Twas you Who gave me meaning in life. Darling, forgive me, Please forgive me For breaking with you. #Only a night, Only a night, To change the mem'ries Only a night, Only a night, To keep the promise Only a night, Only a night, Just like before. Only a night, Only a night, Only a night, Dear, me and you once more. *With you once more, mm, Only a night, Only a night, With you once more, mm, Dear, me and you once more, ooo Only a night, Only a night, Yay yeah, yay yeah, yay yeah. GBMC @You been missin' me, I been missin' you, Tell me what to do, Tell me what to do, You been missin' me, I been missin' you, We'll be changing our Ill fate very soon. I been missin' you, I been missin' you, Many planes I'd have Changed for you I been missin' you, I been missin' you, Just a night To spend right by you. Only a night, Only a night, To split the mem'ries Only a night, Only a night, To keep the promise Only a night, Only a night, Just like before. Only a night, With you once more, With you once more, Dear, me and you once more. Alida: I think of you, You are still in my mind, Oh darling, Though I'm not with you, This dedication, It is for you, It is for you. Ev'rything I have ever wanted, All of it is you. Although I want To get some more Of your sweet love, More love from you. In ev'ry second Of your whole life, To you I belong, To you I belong, My heart you've taken, To you I belong. Yōū have conquered All my being. Darling, forgive me, Please forgive me For breaking with you. # * GBMC: We are money makers We are money makers You know the mad thing They call us undertakers We are money makers We are money makers Never stop lovin' Always sensin' papers Pick up the phone girl, I wanna see you Later, later, yay, Pick up the phone girl, I wanna see you Later, later, yay, # Alida *, GBMC @ – je!) Alida: Hun-khui bô-siann Hun-khui bô-siann Lán tsi̍t kì bô kóng Sî-kan iā tiānn Sî-kan iā tiānn Ūi-tio̍h tsi̍t tsūn phòng Lí-guá, tshin-ài, Nn̄g lâng tsin siàu-liân M̄-ti-só-tshò Ūi hit tuān ài Ūi sio̍k-û lán --ê hit tuān ài-tsîng Hiān-sî su-liām, Hiān-sî su-liām Thiann-tio̍h lí--ê siann-im, Tsi̍t sû kóng--ah Siūnn-beh án-ne Bô-siann ài-hú lí Bān-bān m̄ kuánn Lí kā ì-bī Kau-hōo guá lîn-sing Tshiánn guân-liōng guá Tshin-ài, guân-liōng Guá kā lí hun-khui #Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Kì-tî kái-tsō--ah Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Pó-tî sîng-lo̍k--ah Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Tshin-tshiūnn óng-sî Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Iū-koh kā lí tsò-hué *Kā lí tsò-hué, mm, Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Kā lí tsò-hué Iū-koh kā lí tsò-hué, ooo Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Yay yeah, yay yeah, yay yeah GBMC: @You been missin' me, I been missin' you, Tell me what to do, Tell me what to do, You been missin' me, I been missin' you, Khuài lâi kái-piàn--ah， Lán tsit tuānn pháinn-ūn I been missin' you, I been missin' you, Tsn̂g siūnn-beh tsō tsin Tsè--ê hui-ki I been missin' you, I been missin' you, Ūi-tio̍h tsi̍t ing Kā lí it-khí Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Kì-tî keh-lī--ah Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Sîng-lo̍k pó-tî--ah Tsí-ū tsi̍t ing Tsí-ū tsi̍t ing Tshin-tshiūnn óng-sî Tsí-ū tsi̍t ing Kā lí tsò-hué Kā lí tsò-hué Iū-koh kā lí tsò-hué, ooo Alida: Tshin-ài, guá iáu Tshin-ài, guá iáu-koh Ū lí tī sim-sîn, Sui-liân lí bô, Lí tsài bô tsia, Tān guá tsit siú kua Iáu hiòng lí tshiùnn Guá siūnn-beh lâi Tshē--tio̍h--ê tshuân-pōo Lóng tsí-sī lí Iā siūnn-beh tshîng lí Tik-kàu khah tsè ài-tsîng, Tsi̍t tiám ài-tsîng, Tī lín sing-ua̍h --ê múi tsi̍t biáu--ah Guá sio̍k-u lí Guá sio̍k-u lí Lí ū thê gún--ê sim Guá sio̍k-u lí Lí ū pûu-hiak Guá sōo-ū--ê tsûn-tsāi Tshiánn guân-liōng guá Tshin-ài, guân-liōng Guá kā lí hun-khui # * GBMC: We are money makers We are money makers You know the mad thing They call us undertakers We are money makers We are money makers Never stop lovin' Always sensin' papers Pick up the phone girl, I wanna see you Later, later, yay, Pick up the phone girl, I wanna see you Later, later, yay, # Alida *, GBMC @ – je!)

Home is following my thoughts

Today we continue with ATajuddin's poems. We have two English ones combined, one titled "Home: an illusion" giving us sections 1 and 4, the other titled "A long journey" giving us the rest. The combination was conceived by me 8/10 or very early 9/10/20, set to music by me (with slight text alterations) on 31/10/20 in the evening, with tweaks on 1/11 and 4/11, and then translated to Chinese starting in the evening of 3/11/20 and going on into the following night, with a tweak (tàiyáng chūxiàn -> tàiyáng lái) as I wrote this draft on 7/11 at 17:27, and another one (zhēn ài wǒ -> zhēn ài nǐ) slightly earlier. At 17:40, I realize I confused 小儿子 with 小孩子, so I fix that. To fill the column, I give the original on the left, and a literal rendition of the Chinese translation on the right. Recording this on 7/11/20 at around 19:40 I change 山顶->高山 and 它们上床之前->上床的时候之前. Let's see it!

Home: an illusion. Those who love us truly, become our home. Not the dirt or the rain, Just the feeling of being loved, Being treasured and cared for. A dream has set me on a long long journey: Wish I knew that I should go so far, so far away, Where loneliness would be                 [the only jewel to adorn me, This solitude would be                 [the only feather in my cap. My thoughts set out ev'ry morning. When the sun comes to bid me goodbye, «Until tomorrow», it says: «Let the moon play your muse tonight». Just like a little child thinks                 [that the moon follows him, Thus home is following my thoughts: Not the bricks or the wood, Just beautiful,                 [beautiful memories of loved ones, The meek remembering of them,                 [of them, who are my home. I see them sparkle as the sun sets, These mountains gazing at my window. Before going to their beds, The little birds sing the last song of the day: «Until tomorrow», they sing: «Let the bright stars above     [be your guests tonight». 家只是幻想： 真爱你的人们就变成家。 不是土，不是雨水， 就是感到人慈爱你， 珍重你而且在乎你。 个梦有送我去很长的旅行： 愿我曾知道我就要去这么遥远， 这种寂寞就是点缀我的唯一的珠宝， 只有这种孤单来让我引以为豪。 我思想每天早上动身。 当太阳来向我告别， «直到明天»，他告诉我， «请让月亮做你的缪斯»。 好像小孩子来想像月亮跟随他， 我家这样伴随我思想： 不是砖头，不是木头， 只是好回忆，关于心爱的人的回忆， 谦恭地记得那些人，组成我家的人。 日落之时我看他们闪耀， 望住我的窗口的高山。 上床的时候之前， 小鸟来唱日子结束的歌曲。 «直到明天»，它们唱， «请让明星今夜做你的客人»。

Home is just an illusion: The people who truly love you become home. It's not ground, it's not rainwater, It's feeling that people love you, Treasure you and care for you. A dream has sent me to go on a long journey: Wish I knew I would go this far, [And] this loneliness would be                 [the only jewel to adorn me, [And] only this solitude                 [would make me feel proud. My thoughts every morning set out. When the sun bids me goodbye, «Until tomorrow», he says, «Let the moon be your muse». Just like a little child                 [imagines that the moon follows him, My home thus follows my thought: It's not bricks, it's not wood, Just good memories,                 [memories about loved people, Meekly remembering those people,                 [the people who make up my home. At the time of sunset I watch them glitter, The mountaintops that gaze at my window. Before they go to bed, The little birds sing the song of the ending day. «Until tomorrow», they sing «Let the bright stars                 [be your guests tonight». Jiā zhǐ shì huànxiǎng: Zhēn'ài nǐ de rénmen jiù biàn chéng jiā. Bù shì tǔ, bù shì yǔshuǐ, Jiù shì gǎndào rén cí'ài nǐ, Zhēnzhòng nǐ érqiě zàihū nǐ. Gè mèng yǒu sòng wǒ qù hěn cháng de lǚxíng: Yuàn wǒ céng zhīdào wǒ jiù yào qù zhème yáoyuǎn, Zhè zhǒng jìmò jiù shì diǎnzhuì wǒ de wéiyī de zhūbǎo, Zhǐyǒu zhè zhǒng gūdān lái ràng wǒ yǐn yǐ wéi háo. Wǒ sīxiǎng měitiān zǎoshang dòngshēn. Dāng tàiyáng lái xiàng wǒ gàobié, «Zhídào míngtiān», tā gàosù wǒ, «Qǐng ràng yuèliang zuò nǐ de móu sī». Hǎoxiàng xiǎo háizi lái xiǎngxiàng yuèliàng gēnsuí tā, Wǒ jiā zhèyàng bànsuí wǒ sīxiǎng: Bù shì zhuāntóu, bù shì mùtou, Zhǐshì hǎo huíyì, guānyú xīn'ài de rén de huíyì, Qiāngōng de jìdé nà xiē rén, zǔchéng wǒjiā de rén. Rìluò zhī shí wǒ kàn tāmen shǎnyào, Wàng zhù wǒ de chuāngkǒu de gāoshān. Shàngchuáng de shíhòu zhīqián, Xiǎo niǎo lái chàng rì zǐ jiéshù de gēqǔ. «Zhídào míngtiān», tāmen chàng, «Qǐng ràng míngxīng jīnyè zuò nǐ de kèrén».

Love - când ko

Today we have a weird one. This is a combination of an Urdu poem and half an English poem, both by ATajuddin, the same author as May the mirror not hide her and The pen of God, a combination operated by me which I recently set to music. As a translation, I have the languages swapped. The setting to music and the translation happened between 22:38 and 0:15 of 14/10/20, with some tweaks the next day between 12:56 and 13:48. In fact, the music started a bit earlier, with the chorus set to music in the evening of 13/10. The title of the combination is the same as the post, când ko (چاند کو) meaning "to the moon". While working on the collection of my friend ATajuddin's poems I'm curating, I stumbled upon a correction she made to my interpretation, and realized I mistranslated the line «Maybe you are giving me peace even more, even more than him», which in the original actually says «Maybe your vision is giving him peace too». That was on 18/10/20 in the evening, the next day at 11:15 I set out to straighten the score. Well, make that 11:56, because Avid link would not sign in until I restarted, and I was freeing up space on my HD. Anyway, at 11:57 I have «Maybe your vision is gīving peace tō him too», then at 11:57 still I change the end to «to him as well», and the present form is chosen by 11:58. Score below, just for clarity. Also, prob. at 14:33 on 17/10/20, I changed netritv to sarbarâhî in the Urdu translation part, because netritv is not findable in any Urdu dictionary, while sarbarâhî is, and the latter also fits the tune better. Let's see it!

کرس: کچھ اندھیرا ضروری ہے، کچھ تیرا دیدار بھی ضروری ہے. دیدار نا جس کا ہو سکے، وو بھی تجھے دیکھ رہا ہے، میری نگاہے بھی تجھ پر، اس کی نگاہے بھی تجھ پر، وو مجھے تجھ میں ڈھونڈ رہا ہے شاید میں بھی اس سے تجھ میں ہی ڈھونڈ رہا. کرس There is a veil on the mirror, Only with love will you see The true heart of your beloved. If there is true love, All veils will fall, The mirror will open the door, The door will open, Door that leads you to her heart. کرس روشن تو اس کا بھی سونا آسمان کر رہا ہے، روشن میرا بھی فلک تو کر رہا ہے، دیدار تیرا شاید اس سے بھی سکون دے رہا ہے۔ تو اکیلے ایک ہی، ایک ہی تو چاند ہے، اس کے فلک کا بھی اور میرے فلک کا چراغ ہے! کرس Chorus: A little darkness is important, A glimpse of you is important too. May you be no-one else's vision. He too is now looking at you. My own eyes are also on you, His own eyes are also on you, He is a-looking for me inside you, Maybe I too now am a-looking to find him in you. Chorus درپں پر ایک پردہ ہے، کیول پیار سے دیکھے گا تمہاری پریتم کے سچے دل کو۔ اگر سچا پیار ھے، پردے گریں گے۔ درپں دوار کو کھولے گا، دوار جو اس کے دل کو سربراہی کرتا ھے۔ Now you are making even his deserted sky shine, You are making even my skydome shine, Maybe your vision is giving peace to him as well. You alone are indeed a moon, Are indeed a moon, Both of his skydome and of my skydome                                         [you are the bright lamp.

Koras: Kucẖ 'andẖěrâ ẑarŭrî ḥê̱, Kucẖ těrâ dîdâr bẖî ẑarŭrî ḥê̱. Dîdâr nâ jis kâ ḥô sakê. Vô bẖî tujẖê děkẖ raḥâ ḥê̱. Měrî nigâḥê bẖî tujẖ par, 'Us kî nigâḥê bẖî tujẖ par, Vô mujẖê tujẖ měṅ ḍẖûnḍ raḥâ ḥê̱, Šâyad mě̱ṅ bẖî 'us sê tujẖ měṅ ḥî ḍẖûnḍ raḥâ. Koras There is a veil on the mirror, Only with love will you see The true heart of your beloved. If there is true love, All veils will fall, The mirror will open the door, The door will open, Door that leads you to her heart. Koras Rôšan tû 'us kâ bẖî sûnâ 'âsmân kar raḥâ ḥê̱, Rôšan měrâ bhî falak tû kar raḥâ ḥê̱. Dîdâr těrâ šâyad 'us sê bẖî sukûn dê raḥâ ḥê̱. Tû 'akělê 'ěk ḥî, 'ěk ḥî tô când ḥê̱, 'Us kê falak kâ bẖî 'ô̱r měrê falak kâ cirâğ ḥê̱. Koras Chorus: A little darkness is important, A glimpse of you is important too. May you be no-one else's vision. He too is now looking at you. My own eyes are also on you, His own eyes are also on you, He is a-looking for me inside you, Maybe I too now am a-looking to find him in you. Chorus Darpaṇ par 'ěk pardāĥ ḥê̱, Kěval pyâr sê děkḫê gâ Tumḥârî prîtam kê saccê dil kô. 'Agar saccâ pyâr ḥê̱, Pardê girěṅ gê. Darpaṇ dvâr kô kḫôlê gâ, Dvâr jô 'us kê dil kô sarbarâhî kartâ ḥê̱. Now you are making even his deserted sky shine, You are making even my skydome shine, Maybe your vision is giving peace to him as well. You alone are indeed a moon, Are indeed a moon, Both of his skydome and of my skydome                                         [you are the bright lamp.

The pen of God

Today we have an Urdu poem, رب کی قلم | Rab kî qalam, which titles the post and was authored by ATajuddin, also the author of May the mirror not hide her, and set to music by me. The musication was complete within Sat 26/9/20, the translation was complete within 28/9, a few tune tweaks and chord tweaks were made within 2/10, the day of writing this draft. But am I right that «我天主的荣耀里多宋诗写» sounds like «I write many poems of praise in the glory of God»? Let's make that «Wǒ de Tiānzhǔ». 23:58 2/10. Let's see it!

رب نے توجھے قلم دیا هے، ظلم نہ لکھ! قلم سے تو تقدیر نہ لکه سکے تو تکلیف نہ لکھ! خطاكار نہ بن، سلسلای رنج نہ لکھ! عشق نہ سہھی، بوفای کی داستان نہ لکه! رب نے کرم جو کیا ھے، !میرے رب کی شان وچ قسیدے لکھ 天主把钢笔给妳了，压迫别写！ 如果用钢笔不会写前定，痛苦也别写！ 不要做坏事，悲苦的系列别写！ 没经过爱，背叛疑心的故事别写！ 天主对妳若用恩惠， 我的天主的荣耀里多宋诗写！

Rab nê tŭjḫê qalam diyâ ḥê̱, żŭlm naĥ likḫ! Qalam sê tû taqdîr naĥ likḫ sakê, tô taklîf naĥ likḫ! Xaṫâkâr naĥ ban, silsilâ-ẹ̌ ranj naĥ likḫ! `Išq naĥ saḥî, bevafâî kî dâstân naĥ likḫ! Rab nê karam jô kiyâ ḥê̱, Měrê Rab kî šân vic qasîdê likḫ! Tiānzhǔ bǎ gāngbǐ gěi nǐ le, yāpò bié xiě! Rúguǒ yòng gāngbǐ bù huì xiě qián dìng, tòngkǔ yě bié xiě! Bùyào zuò huàishì, bēikǔ de xìliè bié xiě! Méi jīngguò ài, bèipàn yíxīn de gùshì bié xiě! Tiānzhǔ duì nǐ ruò yòng ēnhuì, Wǒ de Tiānzhǔ de róngyào lǐ duō sòng shī xiě!

God has given you a pen, don't write oppression!
Not being able to write destiny with the pen, so don't write hardships!
Don't become an oppressor, don't write a succession of grief!
[If you] haven't gone through love, don't write a story of betrayal!
If God has given [you] a blessing,
Write poems of praise in my God's glory!

La notte che ho visto le stelle

Oggi canzone di Chieffo, La notte che ho visto le stelle, tradotta in cinese, ritornello e fine ultima strofa (ultime due righe) nel pomeriggio dell'1/9/20, e poi terminata la sera del 6, con notevoli modifiche a quanto già fatto per fare le rime. 12/9/20 alle 9:57 cambio «我就不再想要睡觉» e «为了明白而为了看到» alle loro forme attuali. Vediamo!

Aspetto che passi la notte
Notte lunga da passare
E sento il mio cuore che batte
E non smette di sognare

Vorrei ritornare bambino
Nella casa di mio padre
Le storie davanti al camino
E la voce di mia madre

Rit.
La notte che ho visto le stelle
Non volevo più dormire
Volevo salire là in alto
Per vedere e per capire

Ascolto il silenzio dei campi
Dove sta dormendo il grano
Il giorno fu pieno di lampi
Ma ora il tuono è gia lontano

Vorrei ritornare bambino
Nella casa di mio padre
Le storie davanti al camino
E la voce di mia madre

Rit.

La luna nasconde i suoi occhi
Come donna innamorata
Il fiume l'aspetta nell'acqua
E una notte l'ha baciata

Vorrei ritornare bambino
E guardare ancora il fuoco
La stora più grande è il destino
Che si svela a poco a poco

Rit.

我正在等着夜间过去 就是慢慢过的夜啊 听到我的心跳继续 感到内心不停梦啊 我愿意再变得孩子啊 回到父亲的房屋里 暖炉前再听到故事啊 也听到我母亲的声音 合唱： 我看到星星的那夜里 我就不再想要睡眠 我当时就想要上天去 为了明白而为了看见 我听到田野那声沉默 那里小麦正在睡眠 今天就有充满闪电哦 如今雷声已经遥远 我愿意再变得孩子啊 回到父亲的房屋里 暖炉前再听到故事啊 也听到我母亲的声音 合唱 天上的月亮正藏眼睛 就像爱上的女人啊 水里有河流等到她呢 有日将她有亲吻啊 我愿意再变得孩子啊 而且热火再次凝视 一点一滴照面的运命 它就是最伟大的故事 合唱

Wǒ zhèngzài děngzhe yèjiān guòqù Jiùshì mànman guò de yè a Tīng dào wǒ de xīntiào jìxù Gǎn dào nèixīn bù tíng mèng a Wǒ yuànyì zài biànde háizi a Huí dào fùqīn de fángwū li Nuǎnlú qián zài tīng dào gùshì a Yě tīng dào wǒ mǔqīn de shēngyīn Héchàng: Wǒ kàn dào xīngxīng de nà yèlǐ Wǒ jiù bù zài xiǎngyào shuìmián Wǒ dāngshí jiù xiǎngyào shàng tiān qù Wèile míngbái ér wéile kànjiàn Wǒ tīng dào tiányě nà shēng chénmò Nàlǐ xiǎomài zhèngzài shuìmián Jīntiān jiù yǒu chōngmǎn shǎndiàn ó Rújīn léishēng yǐjīng yáoyuǎn Wǒ yuànyì zài biànde háizi a Huí dào fùqīn de fángwū li Nuǎnlú qián zài tīng dào gùshì a Yě tīng dào wǒ mǔqīn de shēngyīn Héchàng Tiān shàng de yuèliàng zhèng cáng yǎnjīng Jiùxiàng àishàng de nǚrén a Shuǐ li yǒu héliú děngdào tā ne Yǒu rì jiāng tā yǒu qīnwěn a Wǒ yuànyì zài biànde háizi a Érqiě rèhuǒ zàicì níngshì Yī diǎn yī dī zhàomiàn de yùnmìng Tā jiù shì zuì wěidà de gùshì héchàng

My brothers

And today we close the blog with this beautiful Mandarin song which I kept for last because it seemed like a great goodbye to my followers. It is 我的好兄弟 | Wǒ de hǎo xiōngdì, which I met sometime in Spring 2013, later than April 18, and translated within that year's early June [5/5 in fact, as evidenced by a Facebook note containing the translation that was last edited on that date. There was then a change from «Bitter hearts 'cause you speak to me» to «Pain in their hearts 'cause you tell me» at 15:50 on 28/1/22 and then to «Bitter hearts 'cause you're telling me» at 2:10 that night, in which night «Let me sing a song for you» changed to «Let me for you sing a song» at 3:16]. With this song, the done material is over, so I will stop posting twice a week because I won't have stuff to post. I do have a couple drafts yet unposted, one of them about the heritage of the Romagnol side of my family, one is an Italian edition of Sappho yet to get the fragments rearranged for it, one is this crazy project of turning Sappho into Chinese songs to arouse curiosity, if I ever do that I'll upload the songs to Youku and see what happens, and one yet unmade about the three attempts at constructing a language which I did back in middle to high school, so those will get posted sooner or later, but I'm out of translations, so unless I make new ones (which is entirely possible), all that is left is to finish the Indonesian songs post, the Chinese songs post, the All of Sappho post and the Chinese poetic Sappho post, and do the Japanese songs post which, as of 11/9/18 14:20 as I write this intro, is yet to be started. And on 25/8/19 the situation hasn't changed. I'd like to add that, if I do do new translations, I will stick to posting on Tuesdays and Saturdays, whereas other posts will be posted as soon as they are ready, just like other "OOP" (out of program) posts have been. And on 12/2/20 the situation of the unmade stuff is unchanged, except there's the "crazy project" and the Italian edition that I just added, and a Korean songs post I plan on doing. How, in all that, I completely forgot about the Modern G Sappho edition, I have no clue. In any case, as of finally posting this on 1/9/20, the situation is pretty much the same, save for the Indonesian songs post being, I believe, as finished as I can make it (that song with unfindable lyrics needs outside help). So this is essentially my goodbye. It has been a lot of work to post these translations, and a lot of fun to make them. I wish y'all well. But let's see the song, shall we?

在你辉煌的时刻 让我为你唱首歌 我的好兄弟 心里有苦你对我说 前方的路一起走 哪怕是河也一起过 苦点累点 又能算什么 在你需要我的时候 我来陪你一起度过 我的好兄弟 心里有苦你对我说 人生难得起起落落 还是要坚强的生活 哭过笑过 至少你还有我 ＊朋友的情谊呀 比天还高比地还辽阔 那些岁月我们一定会记得 朋友的情谊呀 我们今生最大的难得 像一杯酒      像一首老歌 所有从开始，然后＊ 像一杯酒 像一首老歌

Zài nǐ huīhuáng de shíkè Ràng wǒ wèi nǐ chàng shǒu gē Wǒ de hǎo xiōngdì Xīn li yǒu kǔ nǐ duì wǒ shuō Qiánfāng de lù yīqǐ zǒu Nǎpà shì hé yě yīqǐ guò Kǔ diǎn lèi diǎn Yòu néng suàn shénme Zài nǐ xūyào wǒ de shíhou Wǒ lái péi nǐ yīqǐ dùguò Wǒ de hǎo xiōngdì Xīn li yǒu kǔ nǐ duì wǒ shuō Rénshēng nán de qǐqǐ-luòluò Háishì yào jiānqiáng de shēnghuó Kūguò xiàoguò Zhìshǎo nǐ hái yǒu wǒ Péngyǒu de qíngyì ya Bǐ tiān hái gāo bǐ dì hái liáokuò Nà xiē suìyuè wǒmen yīdìng huì jìde Péngyǒu de qíngyì ya Wǒmen jīnshēng zuì dà de nándé Xiàng yī bēi jiǔ      xiàng yī shǒu lǎo gē Suǒyǒu cóng kāishǐ, ránhòu * Xiàng yī bēi jiǔ Xiàng yī shǒu lǎo gē

In your moments of splendour
Let me for you sing a song
My dear brothers feel
Bitter hearts 'cause you're telling me:
Let's together walk any road
Even rivers together cross
Pain and tiredness,
Can they matter now?

In the times when you will need me
I will spend my time with you
My dear brothers feel
Bitter hearts 'cause you're telling me:
Do you want changing difficulties
Or do you want to strongly live?
Laughing, crying,
At least you'll still have me

* Because friendship's
Higher than the Heavens, vaster than the Earth
We will certainly remember those few years
Because friendship is
The greatest rarity in our whole lives
Like a full glass      like an old old song

All from the start, then from *

Like a full glass
like an old old song

Your heart

Today we have another song with no ties to the surrounding posts. It's a Hakka song, it's undatable number 4, it comes from a video that I downloaded and was since removed from Youtube, it's titled 若你（的）个的心 | Nyia kài sim, and it gives this post its title. On 4/10/19 around 18:20 I finally picked it up and started an English translation, and by 18:26 I was done, except for correcting "Can face all things carefully" at 18:53. I don't think I'll produce a column filler for this one. I basically translated it just as an excuse to put it back on Youtube for the Chinese songs post. Here it comes!

每一次倒转回到 单侪独自孤单中坚强 每一次就算心恁很够 也无不噭哭出来 涯我也知汝你一直 有一只心就能够 带涯我去离开阿里这里 无没想着到佢兜他们 总有恁很靓美丽个的爱情 涯我看着到每日个的日头太阳 也会爱要落山 涯我也知汝你一直 有一只心就能够 带涯我去分让涯我欢喜 涯我终于看着到 所有理想个的结果 试着知道吾我（的）个的心 能够爱下去 涯我终于真真 用心用意来面对 下辈会有汝你 就行走着到远里

Mui yit tshìi tò-cón Tan-sâ ku-tan cung kien-khiông Mui yit tshìi tshìu-sòn sim án kèu Ya mô kiàu chut-lôi Ngâi ya ti nyî yit-chıt Yìu yit cak sim tshìu nên-kèu Tài ngâi hì lî-khoi a-lî Mô sióng tó kî-teu Tsúng yìu án tsiang kài òi-tshîn Ngâi khòn tó mui nyit kài nyit-thêu Ya vòi òi lȯk-san Ngâi ya ti nyî yit-chıt Yìu yit cak sim tshìu nên-kèu Tài ngâi hì pun ngâi fon-hí Ngâi cung-yi khòn tó Só-yìu li-sióng kài kiet-kwó Chì-tó nga kài sim Nên-kèu òi hà-hì Ngâi cung-yi cin-cin Yùng-sim yùng-yì lôi mièn-tùi Hà-pùi vòi yìu nyî Tshìu hâng tó yén lî

Every time I go
Back to being strong alone,
Every time, my heart's had enough,
But I still do not cry.
I do know that, if you have a heart,
You always can
Brīng me away from here.

Haven't thought that they
Always had such a great love.
I see that the sun of each day’s
Always bound to set.
I do know that, if you have a heart,
You always can
Bring me away and make me happy.

I now finally
Look at all my ideal outcomes,
I know my heart
Can keep on with its love.
I now finally
Can face things with all my heart,
In the next life
You'll sure go far away!

Dammi un pochino di cielo

Oggi ennesima canzone greca (dovrebbe essere l'ultima, ma non si sa mai), Δώσε μου λιγάκι ουρανό | Dṓse moy ligáki oyranó, lo stesso titolo di questo post. L'ho tradotta in italiano, dopo mesi che stava tra i "plan", il 9/8/20 tra le 15:46 e le 16:04 – rapido rapido, eh già. Vediamola!

Τώρα που φεύγεις Από μένα και σε χάνω Ένα σου λέω, Μην αλλάξεις ουρανό Σημάδια άφηνε Στα σύννεφα απάνω, Γιατί δεν πρέπει να Χαθούμε εμείς οι δυο. Σημάδια άφηνε Στα σύννεφα απάνω, Γιατί δεν πρέπει να Χαθούμε εμείς οι δυο. *Δώσε μου λιγάκι ουρανό, Πάρε με μαζί στο πέταγμά σου, Μάθε με κι εμένα να πετώ, Να μην έχω ανάγκη τα φτερά σου. Κι αν κάτι άλλο Την καρδιά σου έχει πάρει, Ένα σου λέω Μην αλλάξεις ουρανό θα 'ρχονται νύχτες Που θα ψάχνεις το φεγγάρι, Και το δικό μου Τελευταίο σ’ αγαπώ. θα 'ρχονται νύχτες Που θα ψάχνεις το φεγγάρι, Και το δικό μου Τελευταίο σ’ αγαπώ. Όλοι! * (και μένα) * (και μένα) Ora che fuggi Da me e ti perdo, Una [cosa] ti dico, Non cambiare cielo Lascia segni Sulle nuvole in alto Perché non è necessario che Ci perdiamo noi due. Lascia segni Sulle nuvole in alto Perché non è necessario che Ci perdiamo noi due. *Dammi un pochino di cielo, Prendimi con te nel tuo volo, Insegnami anche a me a volare, Perché non abbia bisogno delle tue ali. E se qualcos'altro Il tuo cuore ha preso, Una [cosa] ti dico, Non cambiare cielo Verranno notti Che cercherai la luna, E nel mio stesso Ultimo [momento] ti amo. Verranno notti Che cercherai la luna, E nel mio stesso Ultimo [momento] ti amo. Tutti! * *

Tṓra poy fév̆gës Apó ména kä se khánō Éna soy léō, Mi̱n alláxës oyranó Si̱mádia áfi̱ne Sta sýnnefa apánō, Giatí den prépë na Khathoýme emë́s ö dyo. Si̱mádia áfi̱ne Sta sýnnefa apánō, Giatí den prépë na Khathoýme emë́s ö dyo. *Dṓse moy ligáki oyranó, Páre me mazí sto pétagmá soy, Máthe me ki eména na petṓ, Na mi̱n ékhō anágki̱ ta fterá soy. Ki an káti állo Ti̱n kardiá soy ékhë párë, Éna soy léō, Mi̱n alláxës oyranó Tha 'rkhontä nýkhtes Poy tha psákhnës to feggári, Kä to dikó moy Telef̆tä́o s' agapṓ. Tha 'rkhontä nýkhtes Poy tha psákhnës to feggári, Kä to dikó moy Telef̆tä́o s' agapṓ. Ólö! * (kä ména) * (kä ména) Or che ti perdo E da me lontano fuggi, Ti dico solo: Il tuo cielo non cambiar. Lascia dei segni là, Su in alto, sulle nubi, Perderci entrambi, Noi non lo dobbiamo far. Lascia dei segni là, Su in alto, sulle nubi, Perderci entrambi, Noi non lo dobbiamo far. *Un pochin di cielo donami, Portami con te, voliamo insieme, Anche a me a volare insegnami Perché non mi servan le ali tüe. Se qualcos’altro T’ha saputo il cuor via portare, Ti dico solo: Il tuo cielo non cambiar. Verranno notti che La luna avrai a cercare Fino al mio ultimo Respir io t’ho ad amar. Verranno notti che La luna avrai a cercare Fino al mio ultimo Respir io t’ho ad amar. Tutti! * *

The cranes

Russian song today like last time, Журавли | Žuravlĵí is the title, and the same as this post's. The text I give is my mashup of three versions, there will probably be a post on Deciphering unknown languages with Michele Gorini about this song. Where there are options, the left one is for female singer to male addressee, the right one is the opposite. I doubt any other pair would have been conceivable when it was written. I translated it first to Italian, on 10/8/20 between 11:01 and 13:46 save for the last two lines of verse 1 done at 14:26, and then to English, hence the post's language, between 12:20 and 12:35 the following day, save for the second half of verse 2 done around 15:50. The Italian had original/alternate versions «Nel mattino il richiamo triste sento delle gru» and «Presto presto» instead of «Molto presto». Let's see it!

Се́рым у́тром крик печа́льный Слы́шу в не́бе журавле́й. Всё проща́ясь улета́ют Ста́ей из родны́х поле́й. По́мнишь их встре́чать весно́ю Вме́сте шли к реке́ с тобо́ю? Как же случи́лось, не зна̇ю, В путь журавле́й провожа́ю Я одна́ / Я оди́н. Ско́ро бе́лой пелено́ю скро́ет снег просто́р поле́й. Но верну́тся к нам весно́ю Сно́ва ста́и журавле́й. Я хочу́, что ты за мно́ю Был/Бы́ла и ле́том и зимо́ю что́бы в любо́е нена́стье мы берегли̇ на́ше сча́стье, ми́лый мой / Ми́лая. Giorno grigio, il richiamo Triste sento delle gru Salutando volan via Dai campi natìi nel ciel lassù In primavera al ruscello – Ricordi? – A incontrarle corremmo. Non so come sia capitato, Con lor nessuno è restato Se non io Molto presto un bianco manto Di neve i campi coprirà In primavera torneranno Gli stormi di gru di nuovo qua Voglio che con me in eterno Tu resti, in estate e in inverno E in qualsiasi tempo ci troviamo Noi la nostra gioia proteggiamo, Caro mio / Cara mia

Sĵérym útrom krik pĵećál'nyj Slýšu v nĵébĵe žuravlĵéj. Vsĵo prośáĵas' ulĵetáĵut Stáĵej iz rodnýkh polĵéj. Pómniš' ikh vstrĵéćat' vĵesnóĵu Vmĵéstĵe šli k rĵekĵé s tobóĵu? Kak že slućílos', nĵe znáĵu, V put' žuravlĵéj provožáĵu Ĵa odná / Ĵa odín. Skóro bĵéloj pĵelĵenóĵu Skróĵet snĵeg prostór polĵéj. No vĵernútsĵa k nam vĵesnóĵu Snóva stái žuravlĵéj. Ĵa khoćú, čto ty za mnóĵu Byl/Býla i lĵétom i zimóĵu Čtóby v lĵubóĵe nĵenást'ĵe My bĵerĵeglí našĵe sćást'ĵe, Mílyj moj / Mílaĵa. This grey morning the sad calling Of the cranes in the sky I hear They bid goodbye as they fly off From their native fields so dear In springtime – do you recall? – we Went to the creek to them all meet Don't know how this came into being But on their way I now see ‘em On my own Soon a mantle of white snowflakes Will on all the fields be lain And in springtime there will come back The flocks of cranes to us again I wish you'll be at my side here Through winter and summer, oh my dear, So that through any bad weather We'll guard our joy together, Me and you.

Il pero

*Oh-oh. Non ho la bozza. Vabbeh, posto dopo. Oh mamma, pure l'Hard Disk saturo? Vabbeh, attaccherò la bozza a mezzogiorno :).* Oggi altra canzone russa, грушица | grúšitsa, "perino/peretto/perello/peruccio" o il diminutivo/vezzeggiativo che preferite, o anche "piccolo pero". O magari "Il pero". COmunque l'ho tradotta in Italiano il 13/8/20 tra le 18:09 e le 18:16 – rapido rapido eh :)? Bon, vediamola! Certo che 'sta storia che i testi online mi dànno зорька ясная "camion luminoso" quando зорка è "stella" mi fa alquanto strano…

Гру́шица кудря́вая. Ой, ты кучеря́вая. Ты стои́шь зелёная, Велича́вая. Все тобо́й любу́ются — Ре́ченька широ́кая, Зо́рка я́сная и я, Одино́кая. Да́леко уе́хал мой Синегла́зый дорого́й. Се́рдце ско́рой встре́чи ждёт И о нём поёт. Где ты, милый, где ты мой, Синегла́зый дорого́й? Гру́шица в саду́ цветёт, На́шей встре́чи ждёт. Pero rigoglioso, Oh, tu dai rami riccioluti, Tu sorgi, verde, Maestoso. Tutti ti ammirano – Il fiumicello largo, La stella brillante, e io, La sola. Lontano è andato il mio Caro dagli occhi blu. Il [mio] cuore aspetta di vederlo presto, E di lui canta: Deve sei tu, dove sei, mio Caro dagli occhi blu? Il pero è in fiore nel giardino, Il nostro incontro attende.

Grúšitsa kudrĵávaĵa, Oj, ty kućĵerĵávaĵa, Ty stoíš zĵelĵónaĵa, Vĵelićávaĵa. Vsĵe tobój lĵubúĵutsĵa – Rĵéćĵen'ka širókaĵa, Zórka ĵásnaĵa, i ĵa, Odinókaĵa. Dálĵeko uĵékhal moj Sinĵeglázyj dorogój, Sĵérdtsĵe skóroj vstrĵéći ždĵot, I o nĵom poĵót: Gdĵe ty, mílyj, gdĵe ty, moj Sinĵeglázyj dorogój? Grúšitsa v sadú tsvĵetĵót, Nášĵej vstrĵéći ždĵot. Pero pien di riccioli, Che rigoglioso sei così, Verdeggiante sōrgi E maëstoso, sì. Tutti ti ammirano: Cè quel fiume lārgo, C'è questo astro fulgido, E io che sola sto. Il mio amor lontano andò, Lui dall'occhio ceruleo, Incontrarlo brama il mio cuor, Di lui canta ognor: «Dove sei, amāto, Tu d'occhio ceruleo? Il pero in giardino attende, in fior, Di vederti ancor!».

On spelling and transliteration

When you write a blog on translations of songs between languages, spelling and transliteration issues will definitely come to bite. Let me comment on the spelling/transliteration I use for each language I've worked with.

1. Languages with standard orthographies in the Latin alphabet: Italian, English, French, German, Spanish, Portuguese, Galician, Swedish, Indonesian, Xhosa, Zulu, Haitian Creole, Latin, Venetian, Friulian, Occitan, Middle English, Swahili, Finnish, Albanian, Czech, Slovak, Croatian, Vietnamese, Turkish, Irish, Romanian, Danish, Hungarian, Lingála; for these, there isn't really much of an issue; just a couple special mentions: for Vietnamese, I decided to link syllables of single words with dashes, whereas the normal orthography is to separate all syllables with spaces (so I write "cô-bé" for "girl" while it's normally written "co bé"), and for Irish I use both the standard and my own creation, which was conceived to be easier for me to crack, but I don't really remember exactly how it was supposed to work; oh, and in Indonesian I try to mark all /e/ as é to distinguish them from schwas, which the standard orthography doesn't do; and I try to mark tones and the e/ɛ and o/ɔ distinctions in Lingála, which isn't always done;
2. Languages spelled with the Latin alphabet for which I either know of no standard, or of multiple competing standards: Romagnolo, Neapolitan, Sicilian, Mende; let's look at these one by one:
   
   1. For Romagnolo, I'm transcribing a specific variety, and I devised my own orthography; there is a standard orthography, but I don't know how it works; judging by a dictionary I consult, I'm really not too far off, the main difference between me and it being it's transcribing a dialect with /e/ and /e:/~/ej distinct, so it uses ē for the long vowel / diphthong and é for the short one, whereas I, not having the short vowel, just use é for the diphthing;
   2. For Sicilian, I know of two ways to spell autoctonous sounds, but I decided to devise my own conventions;
   3. For Neapolitan, there are three conventions regarding the spelling of the schwa sound: Neapolitan proper spells schwas as what they were before vowel reduction; Abruzzese dialects (as well as the San Benedetto del Tronto dialect, and perhaps others as well) use e for the schwa; Facebook illiterate dialect speakers don't write the schwa at all; as for me, I usually stick to whatever convention the dialect I'm working with uses, perhaps marking schwas with some diacritic; I guess it's typically using overdotted non-reduced vowels in Neapolitan proper, and ë or ė for other "nap-code" dialects;
   4. For Mende, there are distinct conventions as regards: vowel lengthe, either using macrons or doubling vowels; and e/ɛ and o/ɔ, where these symbols are used sometimes, the distinction is sometimes ignored, and sometimes you find ẹ/e (or e/ẹ?) and o/ọ (or viceversa), and then there is o̱ which I assumed was I-don't-recall-which of these sounds; I use e/ɛ, o/ɔ, and macrons;
3. Languages with a standard orthography that uses a non-Latin alphabet: Russian, Ukrainian, Mandarin, Cantonese, Japanese, Modern and Ancient Greek, Korean, Arabic, Hindi, Urdu, Persian, Bulgarian, Hebrew; for the native orthography, no issue; for the transliteration, as with any transliteration, I strive for back-transliteratability as well as phonetic transparency; let's discuss each language:
   
   1. My romanization of Russian is a modification of some "standard" systems; here's how I transliterate each Ciryllic letter:
      

      Аа

      Бб

      Вв

      Гг

      Дд

      Ее

      Ёё

      Жж

      Зз

      Ии

      Йй

      Кк

      Лл

      Мм

      Нн

      Оо

      Пп

      Рр

      Сс

      Тт

      Aa

      Bb

      Vv

      Gg

      Dd

      Ĵe ĵe

      Ĵo ĵo

      Žž

      Zz

      Ii

      Jj

      Kk

      Ll

      Mm

      Nn

      Oo

      Pp

      Rr

      Ss

      Tt

      
      
      

      Уу

      Фф

      Хх

      Цц

      Чч

      Шш

      Щщ

      Ъъ

      Ыы

      Ьь

      Ээ

      Юю

      Яя

      Uu

      Ff

      Kh kh

      Ts ts

      Ćć (except when it's pronounced š, in which case it's Čč)

      Šš

      Śś

      `

      Yy

      '

      Ee

      Ĵu ĵu

      Ĵa ĵa

      
      So there is one case where I privileged phonetic transparency over back-transliteratability: the choice not to use c for the ts sound; note that the ĵ has a circumflex, which was placed there specifically to have back-transliteratability; I originally used carons instead, but ě́ and similar didn't render well in the captions for this video (or was it the title?), so I switched; NOTE: I was checking up transliteration explanations when I went «Oh, so I use ` for the tvĵórdyj znak?», so I may have transliterated that differently or not at all in some places;
   2. I honestly haven't put much thought into how I transliterate Ukranian;
   3. For Mandarin, the native orthography is well-standardized, and the transliteration I use is Pinyin; there may be some oscillation on whether I mark "neutered" tones as neuter or as what the character's root tone is, for example 个 is gè, but is often pronounced ge; I suspect I normally mark that because Google does, and I fix Google's Pinyin when I transliterate stuff here rather than transliterating from scratch; spaces are mostly placed according to dictionary words, save for what I do with aspect particles guò le zhe, which I usually stick only to verbs; I use dashes for doubled verbs and adjectives, I think, and perhaps for some other 4-char phrases too;
   4. For Cantonese, the orthography is well-established, and the transliteration is Jyutping with tone numbers and dashes for syllable division within words; when I worked on my first Cantonese song, I was transliterating with Wiktionary which uses Yale, then I discovered CantoDict, a much more complete (at least at the time) dictionary using Jyutping; the switch may have left hybrids in my old file, so some transliterations may still be hybrids;
   5. For Japanese, the orthography is… fuzzy; I probably tend to over-kanji-ize, since I use furigana on every kanji, though this trend may have reduced in recent times; the romanization is Hepburn in any case, modulo using ou and ei as distinct from ō and ē which are reserved for おお and ええ and not applied to おう and えい; I wonder if I've ever attempted to distinguish ou and ei pronounced ō and ē from those pronounced ou and ei;
   6. For Modern and Ancient Greek, the orthography is well-established (except for some Modern words like μαντήλι/μαντίλι, though I believe the rule is now no eta in loanwords? In any case, in the specific example, I used the eta because my lyrics used it); as for transliteration, again, a compromise between back-transliterability and phonetic transparency; I'm too lazy to make another table, so here's the Greek alphabet as transliterated for Modern Greek: a-b-g-d-e-z-i̱-th-i-k-l-m-n-x-o-p-r-s-t-y-f-kh-ps-ō, but then you have αι ει οι υι = ä ë ö ÿ and αυ ευ = ay̆ ey̆ or af̆/av̆ ef̆/ev̆, and that should be all; as for Ancient, a-b-g-d-e-z-ē-th-i-k-l-m-n-x-o-p-r-s-t-y-ph-kh-ps-ō;
   7. For Korean, I use the Wiktionary's Revised transliterations; I don't really take cases of non-phonetic Hangul into account, but I haven't really thought much about this anyway;
   8. For Arabic, the standard transliteration is just outright stupid; I means, are you seriously having us distinguish LEFT AND RIGHT QUOTES? You gotta be kidding me, right? Since ayn sounds kind of like a nonstandard pronunciation of r I've heard in Italy, I decided that ř would be ayn (I mean, řayn), so the apostrophe is definitely 'ālif; for a few more remarks, I'll quote this post:
      
      The transliteration scheme is my own. In particular, I differ from the "standard" transliteration in the following respects: I use ŕ for the left-quote transliterating ŕayn (ع), because using left-quote and right-quote for two different sounds dounds like complete madness to me, and because the sound of ŕayn sounds like a particular kind of "r moscia" (nonstandard pronunciation of the Italian phoneme /r/); I prefer using th and dh to ṯ and ḏ for the dental fricatives (ث and ذ), because it is quicker to type and easier to read; I use gh for ghayn (غ), for similar reasongs to th and dh; I guess I did not have to think about what to do with kha (خ), but either kh or x are fine: x is IPA, kh is just as easy to type and read; standard probably has ḵ, which I doff for the same reasongs as ṯ and ḏ; should ta-ha, dal-ha or kaf-ha ever occur, to avoid confusion with tha, dhal and kha, I'd use t.h, d.h and k.h respectively; I doffed š for šin in favor of sh, with the same solution to sin-ha combinations, for the same reasons.
      And then I promptly forget about everything said above in my other Arabic post Problems, where the romanization is compatible with the following table:
      

      ا

      ب

      ت

      ث

      ج

      ح

      خ

      د

      ذ

      ر

      ز

      س

      ش

      ص

      ض

      ط

      ظ

      ع

      غ

      ف

      ق

      ک

      ل

      م

      ن

      ه

      و

      ی

      '/ā

      b

      t

      ṯ

      j

      ḥ

      x

      d

      ḏ

      r

      z

      s

      š

      ṣ

      ḍ

      ṭ

      ẓ

      `

      ğ

      f

      q

      k

      l

      m

      n

      w/ū

      h

      y/ī

      
      
   9. For Hindi, I use the Devanagari standard orthography as a reference for back-transliteratability; now, Hindi has this perfect system which could be fully phonetic… and then it decides to not use it as such; more specifically, it mutes a bunch of schwas, and virtually regularly turns "aha" into /ɛh(ɛ)/, like in the word पहले, which looks like "pahale" but is actually "peh(e)le", and "ahu" and "uha" into /ɔhɔ/, as in बहुत "bahut", pronounced "bohot"; for back-transliteratability, I use ä for /e/s that are spelled a, å and ů for a and u pronounced o (so "båhůt", "můhåbbat"), and ' to indicate mute schwas, so the word from before is "päh'le"; then it happens that some normally-muted schwas resurface in singing, in which case I use a literal schwa, ǝ; for example, एक looks like eka, but is actually pronounced ek', except in "ekǝ din" found in this video; I use ai and au for ऐ and औ, as is standard; then there is the matter of anusvāra and candrabindu; normally, these are nasalizing diacritics: put one on इ i, and it becomes nasalized; in that case, I use ṅ for the anusvāra and ṃ for the candrabindu; for example, the verb "to be" (honā) conjugates हूँ, है, है, हैं, हो, हैं, a.k.a. hūṃ, hai, hai, haiṅ, ho, haiṅ; then there's words like चांद or संबंध, which look like cāṅd' and saṅbaṅdh', but where the anusvāras are pronounced as nasals that assimilate to the next consonant; I use ń in those cases, so cāńd' and sańbańdh'; I don't know if candrabindus can do that, but if they can and I ever find one that does, I'll definitely use ḿ; I believe that's all; note that this was conceived over a long time, so there may be leftover errors that I missed when correcting posts – especially in the one I haven't corrected yet [as of the last edit to this post, I wonder if by 1/7/21 I had done that…]; this also means that the same word in Hindi or Urdu spelling would be transliterated differently;
   10. Speaking of, let's deal with the ABSOLUTE MESS that the Urdu script is; let's make a table of letters, transliterations, and letter names:
       

       ا

       ب

       پ

       ت

       ٹ

       ث

       ج

       چ

       ح

       خ

       د

       ڈ

       ذ

       ر

       ڑ

       ز

       ژ

       س

       ش

       ص

       ض

       ط

       ظ

       ', â

       b

       p

       t

       ṭ

       s̱

       j

       c

       h

       x

       d

       ḍ

       ẕ

       r

       ṛ

       z

       ž

       s

       š

       ṡ

       ẑ

       ṫ

       ż

       'alif

       bê

       pê

       tê

       ṭê

       s̱ê

       jîm

       cê

       baṛî hê huttî hê

       xê

       dâl

       ḍâl

       ẕâl

       rê

       ṛê

       zê

       žê

       sîn

       šîn

       ṡẃâd

       ẑẃâd

       ṫôê

       żôê

       
       
       

       ع

       غ

       ف

       ق

       ک

       گ

       ل

       م

       ن

       ں

       و

       ه

       ھ

       ی

       ے

       ؤ ,ئ ,إ/أ

       `

       ğ

       f

       q

       k

       g

       l

       m

       n

       ṅ, ṇ

       w, û, ô, ô̱, ŭ

       ḥ, ĥ

       ẖ

       y, î, ě, ě̱, ẹ̌, ĭ?

       ê, ê̱

       '', ŷ, ŵ

       `ě̱n

       ğě̱n

       fê

       qâf

       kâf

       gâf

       lâm

       mîm

       nûn

       nûn ğunnaĥ

       wâŵo

       gôl ḥê cḫôṭî ḥê

       dô cašmî ḥê

       cḫôṭî yê

       baṛî yê

       'alif hamzaĥ, yê hamzaĥ, wâŵo hamzaĥ

       
       If you're going «What the heck?!», that's exactly what I thought; a few remarks:
       • First of all, ẃ is probably ONLY in the names ṡẃâd and ẑẃâd, because there is a w in the pronunciation, but it is not written; and I thought the consonants were the strong point of Urdu…;
       • Next up, yes, s̱ê and sîn and ṡẃâd, as well as zê and ẕâl and ẑẃâd and żôê, as well as tê and ṫôê, are pronounced exactly the same; they are purely etymological distinction for Arabic terms;
       • ḫ just indicates the aspiration of the previous consonant;
       • As for baṛî hê and cḫôṭî ḥê, they are pronounced the same, except when the latter is silent, in which case I write ĥ;
       • Nûn ğunnaĥ was apparently created to nasalize vowels, hence my ṅ, the same as for the anusvār' in Hindi; they even created ڻ for the retroflex nasal ṇ, it would seem; and then I find दर्पण darpaṇ' spelled with a nûn ğunnaĥ; like WTF? So I guess they ditched the specific character, and used nûn ğunnaĥ for ṇ too, hence my double transliteration; also, I think medial and initial forms of nûn ğunnaĥ and of plain nûn coincide?
       • For `ě̱n, I always make it a silent `; some argue it represents vowels in some places, but I bet it's only ever found in (ultimately) Arabic loans, where it was an actual /ʕ/, hence my `;
       • And speaking of vowels, they are a complete mess; so, 'alif is used either as etymological, in which case I use ', or to represent a long a (the आ ā of Hindi), in which case I use â; I haven't developed a convention for 'alif madda (whatever that is spelled like), i.e. آ, but I guess it would have to be 'â;
       • Wâŵo is either w, its root sound, or used to represent the sounds ओ o and औ au and उ u and ऊ ū of Hindi, which I render respectively as ô, ô̱ (note the underline), ŭ, and û; because not writing short vowels was bad enough, now we hacve some of them written and some not, and I think there are also some unwritten ऊ ū, and am pretty sure some ओ o and औ au aren't written either;
       • Yê is the biggest mess of all; well, *"the yê's are"; so, yê is of couirse used for y, and for long ई ī, which I render y and î respectively; all good there; then you have ए e and ऐ ai in Hindustani, right? What do you do for those? Apparently they created baṛî yê ad hoc… and then restricted it to word end; yes, you heard that right; they create a glyph for two sounds, and then restrict it to the end of words, and use, guess what, yê (I mean cḫôṭî yê) for those same sounds in other positions; like, seriously? Anyway, when ě = ए e spelled with cḫôṭî yê, ê = ए e spelled with baṛî yê, ě̱ = ऐ ai spelled with cḫôṭî yê, ê̱ = ऐ ai spelled with baṛî yê, and then since I'm crazy I decided I would specify when something is an ezafe (you know that Persian grammar construct which Urdu borrowed? Yeah, that one), and went with ẹ̌; that is AFAIK pronounced as Hindi ए e, never ऐ ai, and that is a blessing because I couldn't render such a difference, that would be too many diacritics; finally, as with w, I suppose y could also happen to write short इ i at times, which is why I have "ĭ?";
       • Then we have the hamza carriers, which are their consonant representations with a circumflex, except for 'alif hamzaĥ where apostrophe-circumflex '̂ would look terrible, so I just gave up some degree of back-transliteratability – or did I? You judge if '' can be mistaken for double 'alif; actually, I think that's disallowed, and the madda ˜ was invented in Arabic just to avoid that combo; btw, WTH is up with the keyboard layout that doesn't have any of these except for ŷ, which it has on layer 1? I don't think a lone hamzaĥ is allowed in Urdu, so that is not a problem luckily;
       • I may have to come back to this because apparently ezafe can also be written with heh (see Persian below), but I haven't seen that yet in Urdu.
   11. For Persian, I don't exactly remember what conventions I developed; looking at this video, it seems I used ë for /e/ "written as heh" (including ezafes, transliterated -e when unwritten), separated plural marker hâ with a dash, used ř for ayn, č for če, ǧ for qaf, ' for alif (except for when I used ʔ instead, as in ʔAgë), š for shin, â for "long a", x for kh, ẃ for the mute w in bexẃâd which is pronounced bexâd, ṣ for ṣad (as opposed to s for sin), presumably underdots for all unmentioned emphatics, and ḥ for ḥe, and marked all written vowels with macrons (except of course for â);
       That was my original comment; I have since decided to actually develop a scheme to apply to posts and translations from after 1/7/21; this will transliterate the letters as follows:
       

       ا

       ب

       پ

       ت

       ٹ

       ج

       چ

       ح

       خ

       د

       ذ

       ر

       ز

       ژ

       س

       ش

       ص

       ض

       ط

       ظ

       ع

       غ

       ف

       ق

       ک

       گ

       ل

       م

       ن

       و

       ھ

       ی

       '/â

       b

       p

       t

       s̱

       j

       č

       h/ë

       x

       d

       ẕ

       r

       z

       ž

       s

       š

       ṣ

       ẑ

       ṭ

       ẓ

       `

       ğ

       f

       q

       k

       g

       l

       m

       n

       w/û/ô

       ẖ

       y/î/ê

       
       
       When I use ë, it means "vowel e spelled with he"; note that ezafes, progressive(?) mî's, and possessives are separated with dashes, so mî-konî, beh-et, etc;
   12. For Bulgarian, I didn't put much thought into it, I probably followed Wiktionary; look at this post and infer what you can;
   13. For Hebrew, I have two systems: one fully back-transliteratable, and one less cluttered and more readable; let's see a table of the transliterations of letters in the first system, make a couple remarks, and then see what changes in the second system:
       

       א

       ב

       ג

       ד

       ה

       ו

       ז

       ח

       ט

       י

       כך

       ל

       מם

       נן

       ס

       ע

       פף

       צץ

       ק

       ר

       ש

       ת

       '

       v/b

       g

       d

       ḥ

       v/ų/ǫ

       z

       ħ

       ṭ

       j/į/ę

       kh/k

       l

       m

       n

       ṣ

       `

       f/p

       tz

       q

       r

       s/sh

       t

       If dageshes were used more often, most pairs of transliterations would be no dagesh / dagesh, the exception being s/sh whcih depends on the also-omitted top dot; yod and vav are often used to mark vowels, hence the multiple transliterations, the ogonek showing the vowel in question is marked; I also separate articles from nouns and conjunctions and prepositions from whatever follows them with dashes, so you see things like l-i for "in me", shel-i for "of me" (=my, mine), and ḥa-kavód for "the respect"; the transcription was made a bit carelessly at times, but it should drop the ogoneks (ǫ ų į ę), the ḥ (meaning ḥeḥ is effectively not transliterated in the transcription), and the ' and ` (so 'alef and `ayn are also untransliterated); I will make sure that is all the differences;
4. Languages without a standard orthography or a standard script: Min Nan, Hakka, Teochew; I've covered all of these in this post.