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; on 20/1/19, after the Min translation was done, I fixed the English and the Sicilian from «Though I had to sell veggies with her» and «Puru si avia a vìnniri i chianti cu iđđa» to their present forms, thus fixing the fact m-sii is "no need" and not "although"; I also fixed "vidi" to "vitti" on 30/1/19 at about 14:34;
  2. Sicilian, same as English; 20/1/19 change mentioned in previous item;
  3. Min Nan, started in that night with the English and Sicilian, continued on 23/9, tweaked and continued a little on 3/10/18, still work in progress as of 17/1/19, finished around 16 on 20/1/19; ah so aubergines aren't 紫菜 but 茄子 in Mandarin and 红菜 in Min? Fixing that at 22:44 on Jan 31; 1/2/19 changed 吔 to 咧 in Min at 17:34. 17:50 都寻->拢揣; Also, 最 is 上 in Min, fixed shortly before 23:05;
  4. On Jan 31, mostly in the afternoon with the last 3 lines in the evening, I translated it to Greek, and on 1/2/19 from 23:52 to 00:32 I translated the spoken part; I got a couple corrections in the evening of 6/6/19, presumably "Οταν νεαρή νεαρή ήταν" -> "... ήμουν", "κάθ' ημέρα" -> "κάθε μέρα", and "Δεν εύρηκα" -> "Δε βρήκα", and implemented them. «The long list of those I got after the following midnight seems to not have been implemented yet. I will, however, refrain from implementing them now, because I have a bunch of them yet to discuss with my corrector. Once that is done, I will come back and implement them». Well that's about to change. I have the impression that I actually did discuss them, or at least tried, but all she answered was «As you wish! Just keep the changes you want to keep» to my super-long message of questions about the corrections. Let's start by listing the corrections, with my comments to them from back then (she sent them at 0:37, I replied at 2:19, 2:29, and 2:31):
    1. Το χρόνο αυτό ήταν όταν -> Το χρόνο αυτό ήταν ? όταν in l. 3 of the spoken part; I asked why this ? was there; I would still ask the same question; Kika is also puzzled, and suggests the ? may be accidental;
    2. όταν ακόμη ο ουρανός ήταν σκούρος -> όταν ο ουρανός ακόμη ήταν σκοτεινός, so move the akómi̱ and change skoýros to skotënós; I only noticed the latter, and approved it; so apparently skoýros is typically used for shades of colors, hence why skotënós is more appropriate here; why I should move the akómi̱ is a question for Kika, I guess :); and she doesn't know either;
    3. Μαζί με τη γιαγιά έβγαινα -> Εβγαινα μαζί με τη γιαγιά, «I guess putting έβγαινα where I'd put it sounds strange? I also guess I put it there because Hakka puts it there :)»; apparently, it doesn't sound strange at all;
    4. με "πώλους όμου" κουβάλαγε γλυκοπατάτες -> κουβάλαγε τις γλυκοπατάτες στους όμους, «Adding τις, OK», no not really, we never spoke of sweet potatoes, if anything you should add μερικές or another equivalent of "some"; «The problem I have with "carrying on her shoulders" is that if you say that I imagine she had the plants on her shoulders, whereas with the carrying poles she didn't, because she had the poles on her shoulders and the (presumably) vases the plants were in where dangling from the poles; am I overthinking this :)?», absolutely no overthinking, and you should just use "poles", aka κοντάρια; of course, "πώλους όμου" was some kind of Google translation of "shoulder poles", hence the quotations around it;
    5. Line of water spinach gets comma; I never noticed this back then, nor did she highlight it in her "changelog screenshots" she sent at 0:38, but I guess this whole part is lacking in punctuation;
    6. σε Δζονγτχάν -> στη Δζονγτχάν, «I am not sure what the implications of using τη with Δζονγτχάν; I'm not even sure exactly what that is; literally, it means "central altar", but it seems it's a place name, perhaps of a village; maybe στο Δονγτχάν, in that case? Oh here we go: [Wikipedia link], the Meinong in the song is the Minong village in the list in the link, and Zhongtan is another village; so στο?»; it seems that the problem here is how to gender these names; for example, Milan is το Μιλάνο, but any other city I tried is feminine; well, except το Τορίνο (Turin); so I don't know why I'd use feminine or neuter for Zhongtan and Meinong; does Wiki have Greek entries for either? Nope, nor English ones, because that link is for a district, and Minong and Zhongtan are villages; I guess Minong is what this Meinong in the song is supposed to be, maybe I'll update everything in this dang song accordingly; Kika says feminine is fine; I wonder if there is any criterion to genders of place names in Greek;
    7. έλεγε προς εμένα -> έλεγε μου έλεγε, «OK, so "speak to someone" uses the genitive», or rather the accusative-genitive fusion that pronouns use in place of the dative; OK, moy élege, but I'm pretty sure élege se ména is fine too; anyway, Hakka has the "to me" before the "said", so moy élege be it;
    8. Comma added after Τσιικιούν, ditto to item v;
    9. να μπαίνεις στον πανεπιστήμιο -> να περασεις στο πανεπιστήμιο, «περάσω, form of περνώ, [Wiktionary]; I guess beside all those senses it's used also for "get into (an institution)"?», maybe, but if in the song she suggested μπω, I think I should use μπεις here; I did not notice that πανεπιστήμιο is actually neuter, this was implicitly corrected; also, she forgot about it in the next item :); Kika's comment: «“Περνάω στο πανεπιστήμιο” or “μπαίνω στο πανεπιστήμιο” in MG have almost the same meaning. It implies : after you pass your exams successfully. The proper verb is “επιτυγχάνω”, or in vernacular “πετυχαίνω στις εξετάσεις του Πανεπιστημίου”. Whatever you use “να περάσεις” or “να μπεις” is OK in MG»;
    10. στον Πανεπιστήμιο Πολιτιστικό Κινεζικό -> στον Πολιτιστικό Κινεζικό Πανεπιστήμιο, looks like I never noticed this, and why the word order should change like this I have no idea; Kika answered that in Greek the order is title, (location adjective), "Uni", (location name), so Cultural University of China or Cultural Chinese University, not Chinese Cultural University nor University Cultural Chinese;
    11. Ποτέ δεν βρηκα της γιαγιάς την καμπούρα -> Ποτέ δε αντικρυσα την καμπούρα της γιαγιας, «βρήκα (<βρίσκω) -> αντίκρυσα (alt. form of αντίκρισα<αντικρίζω): why? Also, maybe δεν αντίκρυσα (with the final -n on den)?», that verb means "set eyes on", so I guess that's what you do when you "find" a back hunch? It's not like you physically search for it, rather you look for it with eyes only; «I guess της γιαγιάς την καμπούρα is a strange order? Again, I basically copied the Hakka order :)», ah, that problem; that is often a problem for me; here it is important, IMO, to emphasise the hunched back, so I will leave the weird order; and apparently the only time it's a problem is if the genitive is a pronoun :);
    12. Καν όταν πήρα τη φωτογραφία -> Και όταν ελαβα τη φωτογραφία, «πήρα(<παίρνω)->έλαβα(<λαβαίνω/λαμβάνω) welp, I guess Google got me the wrong verb :); yep, totally», but there is also Καν->Και which is inmotivated to me; Kika says "kan" is only used in negative sentences, which is not what we have here;
    13. Ο πιο σπουδαίο πιο σπουδαίος πρόσωπος -> Ο πιο σπουδαίος πιο σπουδαίος άνθρωπος, «πρόσωπος->άνθρωπος: why?», well, aside from the gender mismatches, we have either what she proposed, or Το πιο σπουδαίο πιο σπουδαίο πρόσωπο; Greek Wiktionary glosses the latter as the former in one sense, so I have no idea why the change would be needed or advisable; and neither does Kika;
    14. δεν είχα τρόπος -> δεν είχα τρόπο, yup, that's a case error on me;
    15. Αυτής την καμπούρα -> Αυτή την καμπούρα, «Did you miss a sigma or did you forget to make a change red? In the last spoken line, I had αυτής, and you have αυτή…», it's the order again, I guess; yup, it's "kinda AG" as per Kika, so I decided for "tin kampoura tis";
    16. Σε μιαν εσπέραν -> Μιαν εσπέραν in l. 1 of the song, «Dropping Σε from l. 1 of the song doesn't sit well with the tune: 6 syllables in the original, 5 in my translation, 4 with the correction, with the first one spanning the notes of the first 3 in the original; we'll have to think about that», and I did in my remake, for which see below;
    17. Ήταν πολύ πολύ χρόνο πριν -> Ήταν πολύ καιρο πριν, «χρόνο->καιρό: the two are given as synonyms by Wiktionary, so I don't get why; also, shifting a stress in a musical translation isn't an easy thing: we either alter the tune, or end up singing καίρο instead of καιρό», this is going straight to Kika :); for events, one uses either kärós, or khrónia, the plural of khrónos, which means "years"; the word χρόνος means "year", or "time" as an abstract concept, or "tense", or "volume" of a periodical;
    18. Όταν νεαρή νεαρή ήμουν -> Όταν νεαρή ημουν ακομη, «The repetition νεαρή νεαρή renders a repetition in the original, which goes "ngai han koi se koi se e sii-tsiet", "kui se" meaning "very young"; in fact, the Hakka repeats exactly the words of the spoken intro, where we had "όταν εγώ ήμουν πολύ νεαρή, πολύ νεαρή"; so do we keep the repetition or keep the ακόμη?», again, straight to Kika; no reason to avoid the repetition, though it would be perceived as her being very very young, like a little child, but I do think this would be correct;
    19. Γιαγιά κάθε μέρα με “πόλους όμου” -> Η γιαγιά κάθε μέρα στους ώμους, «στους ώμους has one syllable too few, and has us "howling" (the στους spans two notes); plus, cfr. comment above; maybe με πώλους στους ώμους? This has two syllables too many, but we're putting so many extra syllables into that tune that two more won't be a big deal, and this way we get rid of both the "howling" and the comment above», I guess that's another option, but I remade this with κοντάρια which allowed me to avoid adding notes, so whatever;
    20. L. 2 of the second part of the chorus gets final comma; another thing that flew under the radar #IambicPentameter; then again, the whole song only uses a couple ? as punctuation, so why add this comma?
    21. αγοράζει -> αγοράσει, «why?», because this is not supposed to be an action that develops over time, so perfective is more appropriate; or at least, that's my impression;
    22. Έλπιζε να μπαίνω στον πανεπιστήμιο -> Ηλπιζε […] μπω, the aspect change is again because of what I said the previous item, the imperfect flew under the radar and was a typo on her part; «Also, maybe περάσω?», yeah, I wonder why the switch, but I decided to use mpō/mpës, same verb in both instances;
    23. έπειτα από πολλά χρόνια -> Επειτα απο πολλά χρονια, «έπειτα από πολλά χρόνια and the tune are kind of on two different planets :); έπειτα απ' χρόνια πολλά fits better», but that can't be done; I completely changed this thing in the remake; as Kika says, «“έπειτα από πολλά χρόνια” serves the prose, while your syntax can serve the verse», so I'll keep my order :);
    24. Στην ημέρα -> Την ημέρα, alright;
    25. My message at 2:31: How come you changed βρήκα in the spoken and not here 🙂? I'm afraid δεν αντίκρυσα της καμπούρα της γιαγιάς and the tune are just irreconcilable, so we're forced to keep it the way I did, and then we should probably keep it that way in the spoken too because the originals are identical…
    So below I have my original version (after the couple corrections), the version she sent me with the above changes, and the remake;
  5. Then I came back to this, finally, and decided it could hardly be said to fit the tune, and thus needed a remake; after thinking about it a while, I finally did it all in the evening of 8/3/23; the spoken part in the remake is the corrected version, plus maybe some on-the-fly changes from 1:46-1:52 on 9/3/23; I sent it to Kika on 9/3/23, presumably right after editing this post, along with 14 questions whose answers I implemented above; we went back and forth with questions and translation between 10/3 and 12/3, and the "corrected remake" below is the final version from 13/3; well, except for the 23/3/23 23:54 tweak changing Όταν νεαρή νεαρή ήμουν to Ότι ακόμη μικρή μικρή ήμουν in the chorus.
The post title, "Missing support", is presumably from trying to interpret Phù-poi as 扶背 (I think that's the character?), which I took to mean "support" somehow, not sure how. Not sure what ended up in the Min and English translations of this misinterpretation, but the Sicilian "u sò sustegnu" made it even into the blog, in the song, not in the spoken part. I don't think the Greek got this misinterpretation, pretty sure it was fixed before that.
All of this info refers to the song only, or to the Greek version. The spoken intro was translated while drafting this post. I got around to drafting the part of the spoken part + song on Jan 29 2019 at about 17:30. I did the English translation by 12:24 on 30/1/19. The others are yet to be done. By 15:20 the Min version was done, and by 16:22 the Sicilian version was there, and only the romanizations were yet to be made.
The superscripts refer you to tone problems in the spoiler. Speaking of which, problem 34 arose from a correction of the word tap-yàng to tá-piang which caused edits to the translations of the spoken part carried out on Jan 31 at about 19:50.
Let's see them translations!


口白:
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
Λεγόμενο·
Πέρυσι το Μάρτιο
Πάλι ονειρεύτηκα τη γιαγιά μου
Το χρόνο αυτό ήταν ? όταν εγώ ήμουν πολύ νεαρή, πολύ νεαρή
Κάθε μέρα, όταν ο ουρανός ακόμη ήταν σκοτεινός,
Έβγαινα μαζί με τη γιαγιά και πηγαίναμε να πουλάμε λαχα-
Η γιαγιά κουβάλαγε τις γλυκοπατάτες στους όμους    [νικά
Κουβάλαγε σπανάκια του νερού,
Και ακριβώς έτσι από το χωριό Μέϊνονγ
Παρευθής πηγαίναμε στη Δζονγτχάν.
Στο δρόμο, η γιαγιά έλεγε μου έλεγε·
«Τσιικιούν, τα μάτια σου δε βλέπουν
Επομένως ελπίζω να μπορείς να περάσεις στο πανεπιστήμιο
Και μόνο τότε θα μπορώ να είμαι εν ειρήνη».
Εξαιτίας των λόγων της γιαγιάς των αυτών,
Δούλεψα πολύ σκληρά,
Και μπήκα στον Πολιτιστικό Κινεζικό Πανεπιστήμιο.
Οπωσδήποτε μέχρι την ημέραν της τελετής της αποφοίτησης
Ποτέ δε αντίκρυσα την καμπούρα της γιαγιάς.                        [μου,
Και όταν έλαβα τη φωτογραφία,
Δεν ενίωθα ευτυχισμένη,
Επειδή αυτή ήταν για εμένα
Ο πιο σπουδαίος πιο σπουδαίος άνθρωπος,
Και ποτέ δεν είχα τρόπο να βλέπω
Αυτή την καμπούρα.

Μιαν εσπέραν
Ονειρεύτηκα τη γιαγιά μου
Ήταν πολύ καιρο πριν
Όταν νεαρή ήμουν ακόμη
Όταν νεαρή ήμουν ακόμη

Η γιαγιά κάθε μέρα στους ώμους
Κουβάλαγε γλυκοπατάτες και σπανάκια του νερού,
Και μ’ έφερνε να πουλάμε λαχανικά
Απ’ Μέϊνονγ πηγαίναμε σε Δζονγτχάν
Ποίος θέλει να αγοράσει?
Ποίος θέλει να αγοράσει?

Ηλπιζε να μπω στον πανεπιστήμιο
Δε χρειαζόμουν να πουλώ λαχανικά
Πριν απ’ την αυγή πηγαίναμε
Κουβαλώντας έγινε καμπούρα
Κουβαλώντας έγινε καμπούρα

Μιαν εσπέραν
Ονειρεύτηκα τη γιαγιά μου
Ήταν πολύ καιρο πριν
Όταν νεαρή ήμουν ακόμη
Όταν νεαρή ήμουν ακόμη

Η γιαγιά κάθε μέρα στους ώμους
Κουβάλαγε καρπούζια και μελιτζάνες
Και μ’ έφερνε να πουλάμε λαχανικά
Απ’ Μέϊνονγ πηγαίναμε σε Δζονγτχάν
Ποίος θέλει να αγοράσει?
Ποίος θέλει να αγοράσει?

Έπειτα από πολλά χρόνια
Έχω τελειώσει τον πανεπιστήμιο
Την ημέρα της αποφοίτησης
Δε βρηκα της γιαγιάς την καμπούρα
Δεν είδα της γιαγιάς την καμπούρα
Λεγόμενο·
Πέρυσι το Μάρτιο
Πάλι ονειρεύτηκα τη γιαγιά μου
Ήταν στο χρόνο όταν ήμουν πολύ νεαρή, πολύ νεαρή
Κάθε μέρα, όταν στον ουρανό ακόμη δεν ήταν φως,
Έβγαινα μαζί με τη γιαγιά και πηγαίναμε να πουλάμε λαχα-
Η γιαγιά με κοντάρια κουβάλαγε γλυκοπατάτες στους όμους    [νικά
Κουβάλαγε σπανάκια του νερού,
Και ακριβώς έτσι από το χωριό Μέϊνονγ
Παρευθύς πηγαίναμε στο Δζονγτχάν.
Στο δρόμο, η γιαγιά μου έλεγε·
«Τσιικιούν, τα μάτια σου δε βλέπουν
Επομένως ελπίζω να μπορείς να μπεις στο πανεπιστήμιο
Και μόνο τότε θα μπορώ να 'μαι στη γαλήνη».
Εξαιτίας των λόγων της γιαγιάς των αυτών,
Δούλεψα πολύ σκληρά,
Και μπήκα στο Πανεπιστήμιο Πολιτιστικό Κινεζικό.
Οπωσδήποτε μέχρι τη μέρα της τελετής της αποφοίτησης
Ποτέ δεν αντίκρυσα της γιαγιάς την καμπούρα.                        [μου,
Καν όταν έλαβα τη φωτογραφία,
Δεν ενίωθα ευτυχισμένη,
Επειδή αυτή ήταν για εμένα
Το πιο σπουδαίο πιο σπουδαίο πρόσωπο,
Και ποτέ δεν είχα τρόπο να βλέπω
Αυτής την καμπούρα.

Μια σπέρα στ' όνειρα
Πάλι είδα εγώ τη γιαγιά μου
Ήταν τόσο πολύ χρόνο πριν
Όταν νεαρή νεαρή ήμουν
Όταν νεαρή νεαρή ήμουν

Κάθε μέρα με κοντάρια
Γλυκοπατάτες και σπανάκια του νερού
Να τα πουλάμε τά 'φερε
Απ’ Μέϊνογγκ μέχρι του Τζογγκτχάν
Ποίος θέλει ν' αγοράσει?
Ποίος θέλει ν' αγοράσει?

Στο πανεπιστήμι' έλπιζε να μπω
Δεν χρειαζόμουν να πουλώ με την / μ' αυτήν
Και στο σκότος πηγαίναμε
Στα κοντάρια έγινε καμπούρα
Στα κοντάρια έγινε καμπούρα

Μια σπέρα στ' όνειρα
Πάλι είδα εγώ τη γιαγιά μου
Ήταν τόσο πολύ χρόνο πριν
Όταν νεαρή νεαρή ήμουν
Όταν νεαρή νεαρή ήμουν

Κάθε μέρα με κοντάρια
Μελιτζάνες και καρπούζια
Να τα πουλάμε τά 'φερε
Απ’ Μέϊνογγκ μέχρι του Τζογγκτχάν
Ποίος θέλει ν' αγοράσει?
Ποίος θέλει ν' αγοράσει?

Χρόνο το χρόνο / Χρόνια και χρόνια σπούδασα,
Το πανεπιστήμιο, να, τέλειωσα.
Μα όταν αποφοίτησα,
Δε βρηκα αυτής την καμπούρα
Δεν είδα αυτής την καμπούρα
Λεγόμενο·
Πέρυσι το Μάρτιο
Πάλι ονειρεύτηκα τη γιαγιά μου
Ήταν στο καιρό όταν ήμουν πολύ μικρή, πολύ μικρή
Κάθε μέρα, όταν στον ουρανό ακόμη δεν έφεγγε,
Μαζί με τη γιαγιά έβγαινα και πηγαίναμε να πουλάμε λαχα-
Η γιαγιά με κοντάρια κουβάλαγε γλυκοπατάτες στους ώμους    [νικά
Κουβάλαγε σπανάκια του νερού,
Και ακριβώς έτσι από το χωριό Μέϊνογγκ
Παρευθύς πηγαίναμε στη Τζογγκτχάν.
Στο δρόμο, η γιαγιά μου έλεγε·
«Τσιικιούν, τα μάτια σου δε βλέπουν
Επομένως ελπίζω να μπορείς να μπεις στο πανεπιστήμιο
Και μόνο τότε θα μπορώ να 'μαι γαλήνια».
Εξαιτίας αυτών των λόγων της γιαγιάς,
Δούλεψα πολύ σκληρά,
Και μπήκα στο Πολιτιστικό Κινεζικό Πανεπιστήμιο.
Οπωσδήποτε μέχρι τη μέρα της τελετής της αποφοίτησης
Ποτέ δεν αντίκρυσα της γιαγιάς την καμπούρα.                        [μου,
Και όταν έλαβα τη φωτογραφία,
Δεν ενίωθα ευτυχισμένη,
Επειδή αυτή ήταν για εμένα
Το πιο σπουδαίο πιο σπουδαίο πρόσωπο,
Και ποτέ δεν είχα τρόπο να βλέπω
Την καμπούρα της.

Μια νύχτα στ' όνειρα
Πάλι είδα εγώ τη γιαγιά μου
Ήταν τόσο πολλά χρόνια πριν
Ότι ακόμη μικρή μικρή ήμουν
Ότι ακόμη μικρή μικρή ήμουν

Κάθε μέρα με κοντάρια
Γλυκοπατάτες και σπανάκια του νερού
Να τα πουλάμε τά 'φερνε
Απ’ τη Μέϊνογγκ μέχρι της Τζογγκτχάν
Ποίος θέλει ν' αγοράσει?
Ποίος θέλει ν' αγοράσει?

Στο πανεπιστήμιο έλπιζε να μπω
Δεν χρειαζόταν να πουλώ μ' αυτήν
Και στο σκότος πηγαίναμε
Κουβαλώντας έγιν' η καμπούρα
Κουβαλώντας έγιν' η καμπούρα

Μια νύχτα στ' όνειρα
Πάλι είδα εγώ τη γιαγιά μου
Ήταν τόσο πολλά χρόνια πριν
Ότι ακόμη μικρή μικρή ήμουν
Ότι ακόμη μικρή μικρή ήμουν

Κάθε μέρα με κοντάρια
Μελιτζάνες και καρπούζια
Να τα πουλάμε τά 'φερνε
Απ’ τη Μέϊνογγκ μέχρι της Τζογγκτχάν
Ποίος θέλει ν' αγοράσει?
Ποίος θέλει ν' αγοράσει?

Χρόνια και χρόνια σπούδασα,
Το πανεπιστήμιο, να, τέλειωσα.
Μα όταν αποφοίτησα,
Δεν της αντίκρισα την καμπούρα
Δεν της είδα την καμπούρα
Héu-phȧk:
Thî khiu-ngiàn1 e sâm ngiȧt-fun
Ngài2 yu mung tó ngài2 e â-ma3
Te ha-é he ngài2 koy sei koy sei e sìi-tsiet
Mî ngit5 thiên mò6 kông
Lu thèn-nún7 â-ma3 khiung-ha tshut-mùn hi mai tshoy
Â-ma3 yung tam-kôn khan9-nún7 fân-su8 fân-sù-yȧp10
Khan9-nún7 fung-tshoy
Lu án-nê11 tshùng Mî-nûng12 tsông
Yit lu hàng hàng to Tsûng-mùn
Thî lu hong â-ma3 î13 woy kạ ày2 kóng
Tsîi-kü̂n14 n̂g19 e ngián-tsû khon m̀15 tó ê
Ko-só17-yì17 ngâ hî-mong18 n̂g19 khó20-yì17 khâu21 sông
Ngâ nang piong et lȯk22 sîm                                  [thay-hȯk
Yîn-vi â-ma3 yá ki fa
Ngài2 keoi tá-piang34
Leòi khâu21 tó Tsûng-kyeot Vùn-fa Thai-hȯk
A25-m̀15-ko to ngày2 pit-ngiȧp tián-lî te pîn27-ngit
Ngâ31 lu28 tshìm mò6 tó â-ma3 î13 e phù-poi
Hip-siong e te ha-é
Ngâ 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 a gobba sò
Man nun vidi a gobba sò



Khóo-pėh:
Tī khì-nî--ê sann guėh-hūn
Guá iū bāng tiȯh guá--ê a-má
Hit ē-á sī guá tsin siáu tsin siáu--ê sî-tsūn
Múi lıt thinn bô kong
Tiȯh tuè-tiȯh a-má tàu-tīn tshut-mn̂g khì buē tshài
A-má iōng pín-tann thê/thio-tiȯh han-tsû-iȧp
Thê/thio-tiȯh èng-tshài
Tiȯh án-ne tshîng Bi-long tsong
Tsıt lōo kiânn kiânn kàu Tiōng-thân
Tī lōo tíng a-má i ē kā guá kóng
Tsir-kun lí--ê bȧk-tsiu khuànn buē tiȯh--leh
Kòo-sóo-í guá hi-bāng lí khó-í khó siōng tāi-hȧk
Guá tsiah pàng-ē-lȯh sim
In-uī a-má tsé kì uē
Guá tsin phah-piànn
Lâi khó tiȯh Tiōng-kok Bûn-huà Tāi-hȧk
Á-m̄-kò kàu guá pit-giȧp tián-lé hit lıt
Guá lóng tshé bô kàu a-má i--ê tô-puè
Hip-siòng--ê hit ē-á
Guá mā bô tsıt tsióng huann-hí--ê kám-siū
In-uī tuì guá lâi kóng
Siōng tiōng-iàu siōng tiōng-iàu--ê lâng
Guá tsài bô pān-huat khuànn-tiȯh
I--ê tô-puè

Ū tsıt ê àm-thâu-á
Gún huat-bāng bāng tiȯh gún--ê a-má
Hit sī tsin kú tsin kú--ah í-tsîng
Guá iû tsin siáu tsin siáu--ê sî-tsūn
Guá iû tsin siáu tsin siáu--ê sî-tsūn

A-má múi lıt iōng pín-tann
Thê/thio-tiȯh han-tsû-iȧp thê/thio èng-tshài
Tshuā guá tàu-tīn khì buē tshài
Tshîng Bi-long kiânn kàu Tiōng-thân
Ū siánn-lâng beh bué--bô?
Ū siánn-lâng beh bué--bô?

A-má hi-bāng guá thȯk tāi-hȧk
M̄-bián tshiūnn i ài khì buē tshài
Múi lıt thinn bô kong tiȯh ài kiânn
Thê/thio tshài thê/thio--ah piàn tô-puè
Thê/thio tshài thê/thio--ah piàn tô-puè

Ū tsıt ê àm-thâu-á
Gún huat-bāng bāng tiȯh gún--ê a-má
Hit sī tsin kú tsin kú--ah í-tsîng
Guá iû tsin siáu tsin siáu--ê sî-tsūn
Guá iû tsin siáu tsin siáu--ê sî-tsūn

A-má múi lıt iōng pín-tann
Thê/thio-tiȯh kue-á thê/thio âng-tshài
Tshuā guá tàu-tīn khì buē tshài
Tshîng Bi-long kiânn kàu Tiōng-thân
Ū siánn-lâng beh bué--bô?
Ū siánn-lâng beh bué--bô?

Tsıt nî tsıt nî kuè tsıt nî
Guá tshîng tāi-hȧk ài tshut siā-huē
Pit-giȧp tián-lé hit ê lıt
Tshé bô a-má--ê tô-puè
Khuànn bô a-má--ê tô-puè
Legómeno:
Pérysi to Mártio
Páli onëréfti̱ka ti̱ gjagjá moy
To khróno aftó í̱tan ótan egó̱ í̱moyn polý nearí̱, polý nearí̱
Káthe méra, ótan akómi̱ o oyranós í̱tan skoýros,
Mazí me ti̱ gjagjá évgäna kä pi̱gä́name na poyláme lakhaniká.
I̱ gjagjá me "póloys ómoy" koyválage glykopatátes,
Koyválage spanákia toý neroý,
Kä akrivó̱s étsi apó to kho̱rió Méïnong
Parefthí̱s pi̱gä́name se Dzongtkhán
Sto drómo, i̱ gjagjá élege pros eména:
«Tsiikjoýn, ta mátia soy de vlépoyn,
Epoméno̱s elpízo̱ na mporë́s na mpä́nës ston panepistí̱mio,
Kä móno tóte tha mporó̱ na ë́mä en ërí̛ni̱».
Exätías to̱n lógo̱n ti̱s gjagjás to̱n aftó̱n,
Doýlepsa polý skli̱rá
Kä mpí̱ka ston Panepistí̱mio Politistikó Kinezikó.
Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy,
Poté de vríka ti̱s gjagjás ti̱n kampoýra.
Kan ótan pí̱ra ti̱n fo̱tografía,
Den enío̱tha eftykhisméni̱,
Epëdí̱ aftí̱ í̱tan gja eména
O pio spoydäo pio spoydä́o próso̱po,
Kä poté den ë́kha trópos na vlépo̱
Aftí̱s ti̱n kampoýra

Se mian espéran
Onëréfti̱ka ti̱ gjagjá moy
Í̱tan polý polý khróno prin
Ótan nearí̱ nearí̱ í̱moyn
Ótan nearí̱ nearí̱ í̱moyn

Gjagjá káthe méra me "pó̱loys ómoy"
Koyválage glykopatátes kä spanákia toý neroý,
Kä m'éferne na poyláme lakhaniká
Ap' Méïnong pi̱gä́name se Dzongtkhán
Pö́os thélë na agorázë?
Pö́os thélë na agorázë?

Élpize na mpä́no̱ ston panepistí̱mio
De khrëazómoyn na poyló̱ lakhaniká
Prin ap' ti̱n avgí̱ pi̱gä́name
Koyvaló̱ntas égine kampoýra
Koyvaló̱ntas égine kampoýra

Se mian espéran
Onëréfti̱ka ti̱ gjagjá moy
Í̱tan polý polý khróno prin
Ótan nearí̱ nearí̱ í̱moyn
Ótan nearí̱ nearí̱ í̱moyn

Gjagjá káthe méra me "pó̱loys ómoy"
Koyválage karpoýzia kä melitzánes
Kä m'éferne na poyláme lakhaniká
Ap' Méïnong pi̱gä́name se Dzongtkhán
Pö́os thélë na agorázë?
Pö́os thélë na agorázë?

Khrónia pollá épëta
Ékho̱ telëó̱së ton panepistí̱mio
Sti̱n i̱méra ti̱s apofö́ti̱si̱s
De vrí̱ka ti̱s gjagjás ti̱n kampoýra
Den ë́da ti̱s gjagjás ti̱n kampoýra
Legómeno:
Pérysi to Mártio
Páli onëréfti̱ka ti̱ gjagjá moy
To khróno aftó í̱tan ? ótan egó̱ í̱moyn polý nearí̱, polý nearí̱
Káthe méra, ótan o oyranós akómi̱ í̱tan skotënós,
Évgäna mazí me ti̱ gjagjá kä pi̱gä́name na poyláme lakhaniká.
I̱ gjagjá tis glykopatátes stoys ómoys    [νικά
Koyválage spanákia toý neroý,
Kä akrivó̱s étsi apó to kho̱rió Méïnong
Parefthí̱s pi̱gä́name sti̱ Dzongtkhán
Sto drómo, i̱ gjagjá élege moy élege:
«Tsiikjoýn, ta mátia soy de vlépoyn,
Epoméno̱s elpízo̱ na mporë́s na perásës sto panepistí̱mio,
Kä móno tóte tha mporó̱ na ë́mä en ërí̛ni̱».
Exätías to̱n lógo̱n ti̱s gjagjás to̱n aftó̱n,
Doýlepsa polý skli̱rá
Kä mpí̱ka ston Politistikó Kinezikó Panepistí̱mio.
Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy,
Poté de antíkrysa ti̱s gjagjás ti̱n kampoýra.
Kä ótan élava ti̱n fo̱tografía,
Den enío̱tha eftykhisméni̱,
Epëdí̱ aftí̱ í̱tan gja eména
O pio spoydäos pio spoydä́os ánthro̱pos,
Kä poté den ë́kha trópo na vlépo̱
Aftí̱ ti̱n kampoýra

Mian espéran
Onëréfti̱ka ti̱ gjagjá moy
Í̱tan polý käro prin
Ótan nearí̱ í̱moyn akómi̱
Ótan nearí̱ í̱moyn akómi̱

I̱ gjagjá káthe méra stoys ṓmoys
Koyválage glykopatátes kä spanákia toý neroý,
Kä m'éferne na poyláme lakhaniká
Ap' Méïnong pi̱gä́name se Dzongtkhán
Pö́os thélë na agorásë?
Pö́os thélë na agorásë?

I̱lpize na mpo̱ ston panepistí̱mio
De khrëazómoyn na poyló̱ lakhaniká
Prin ap' ti̱n avgí̱ pi̱gä́name
Koyvaló̱ntas égine kampoýra
Koyvaló̱ntas égine kampoýra

Mian espéran
Onëréfti̱ka ti̱ gjagjá moy
Í̱tan polý käro prin
Ótan nearí̱ í̱moyn akómi̱
Ótan nearí̱ í̱moyn akómi̱

I̱ gjagjá káthe méra stoys ṓmoys
Koyválage karpoýzia kä melitzánes
Kä m'éferne na poyláme lakhaniká
Ap' Méïnong pi̱gä́name se Dzongtkhán
Pö́os thélë na agorásë?
Pö́os thélë na agorásë?

Épëta apó pollá khrónia
Ékho̱ telëó̱së ton panepistí̱mio
Ti̱n i̱méra ti̱s apofö́ti̱si̱s
De vrí̱ka ti̱s gjagjás ti̱n kampoýra
Den ë́da ti̱s gjagjás ti̱n kampoýra
Legómeno:
Pérysi to Mártio
Páli onëréfti̱ka ti̱ gjagjá moy
Í̱tan sto khróno ótan í̱moyn polý nearí̱, polý nearí̱
Káthe méra, ótan ston oyranó akómi̱ den í̱tan fōs,
Évgäna mazí me ti̱ gjagjá kä pi̱gä́name na poyláme lakhaniká.
I̱ gjagjá me kontária koyválage glykopatátes stoys ómoys
Koyválage spanákia toý neroý,
Kä akrivó̱s étsi apó to kho̱rió Méïnong
Parefthýs pi̱gä́name sto Dzongtkhán
Sto drómo, i̱ gjagjá moy élege:
«Tsiikjoýn, ta mátia soy de vlépoyn,
Epoméno̱s elpízo̱ na mporë́s na mpës ston panepistí̱mio,
Kä móno tóte tha mporó̱ na 'mä sti̱ galí̱ni̱».
Exätías to̱n lógo̱n ti̱s gjagjás to̱n aftó̱n,
Doýlepsa polý skli̱rá
Kä mpí̱ka sto Panepistí̱mio Politistikó Kinezikó.
Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy,
Poté de antíkrysa ti̱s gjagjás ti̱n kampoýra.
Kan ótan élava ti̱n fo̱tografía,
Den enío̱tha eftykhisméni̱,
Epëdí̱ aftí̱ í̱tan gja eména
To pio spoydäo pio spoydä́o próso̱po,
Kä poté den ë́kha trópos na vlépo̱
Aftí̱s ti̱n kampoýra

Mia spéra st' ónëra
Páli ë́da egṓ ti̱ gjagjá moy
Í̱tan tóso polý khróno prin
Ótan nearí̱ nearí̱ í̱moyn
Ótan nearí̱ nearí̱ í̱moyn

Káthe méra me kontária
Glykopatátes kä spanákia toý neroý
Na ta poyláme ta 'fere
Ap' Méïnoggk mékhri toy Tzoggktkhán
Pö́os thélë n' agorásë?
Pö́os thélë n' agorásë?

Sto panepistí̱mi' élpize na mpō
De khrëazómoyn na poyló̱ me ti̱n / m' af̆tí̱n
Kä sto skótos pi̱gä́name
Sta kontária égine kampoýra
Sta kontária égine kampoýra

Mia spéra st' ónëra
Páli ë́da egṓ ti̱ gjagjá moy
Í̱tan tóso polý khróno prin
Ótan nearí̱ nearí̱ í̱moyn
Ótan nearí̱ nearí̱ í̱moyn

Káthe méra me kontária
Melitzánes kä karpoýzia
Na ta poyláme ta 'fere
Ap' Méïnoggk mékhri toy Tzoggktkhán
Pö́os thélë n' agorásë?
Pö́os thélë n' agorásë?

Khróno to khróno / Khrónia kä khrónia spoýdasa,
To panepistí̱mio, na, télëōsa.
Ma ótan apofö́ti̱sa,
De vrí̱ka af̆tí̱s ti̱n kampoýra
Den ë́da af̆tí̱s ti̱n kampoýra
Legómeno:
Pérysi to Mártio
Páli onëréfti̱ka ti̱ gjagjá moy
Í̱tan sto käró ótan í̱moyn polý mikrí̱, polý mikrí̱
Káthe méra, ótan ston oyranó akómi̱ den éfegge,
Mazí me ti̱ gjagjá évgäna kä pi̱gä́name na poyláme lakhaniká.
I̱ gjagjá me kontária koyválage glykopatátes stoys ṓmoys
Koyválage spanákia toý neroý,
Kä akrivó̱s étsi apó to kho̱rió Méïnoggk
Parefthýs pi̱gä́name sti̱ Tzoggktkhán
Sto drómo, i̱ gjagjá moy élege:
«Tsiikjoýn, ta mátia soy de vlépoyn,
Epoméno̱s elpízo̱ na mporë́s na mpës sto panepistí̱mio,
Kä móno tóte tha mporó̱ na 'mä galí̱nia».
Exätías af̆tṓn to̱n lógo̱n ti̱s gjagjás,
Doýlepsa polý skli̱rá
Kä mpí̱ka sto Politistikó Kinezikó Panepistí̱mio.
Opo̱sdí̱pote mékhri ti̱n i̱méran ti̱s teletí̱s tis apofö́ti̱si̱s moy,
Poté de antíkrysa ti̱s gjagjás ti̱n kampoýra.
Kä ótan élava ti̱n fo̱tografía,
Den enío̱tha eftykhisméni̱,
Epëdí̱ aftí̱ í̱tan gja eména
To pio spoydäo pio spoydä́o próso̱po,
Kä poté den ë́kha trópo na vlépo̱
Ti̱n kampoýra ti̱s

Mia nýkhta st' ónëra
Páli ë́da egṓ ti̱ gjagjá moy
Í̱tan tóso pollá khrónia prin
Óti akómi̱ mikrí̱ mikrí̱ í̱moyn
Óti akómi̱ mikrí̱ mikrí̱ í̱moyn

Káthe méra me kontária
Glykopatátes kä spanákia toý neroý
Na ta poyláme ta 'ferne
Ap' ti̱ Méïnoggk mékhri ti̱s Tzoggktkhán
Pö́os thélë n' agorásë?
Pö́os thélë n' agorásë?

Sto panepistí̱mio élpize na mpō
De khrëazótan na poyló̱ m' af̆tí̱n
Kä sto skótos pi̱gä́name
Koyvalōntas égin' i̱ kampoýra
Koyvalōntas égin' i̱ kampoýra

Mia nýkhta st' ónëra
Páli ë́da egṓ ti̱ gjagjá moy
Í̱tan tóso pollá khrónia prin
Óti akómi̱ mikrí̱ mikrí̱ í̱moyn
Óti akómi̱ mikrí̱ mikrí̱ í̱moyn

Káthe méra me kontária
Melitzánes kä karpoýzia
Na ta poyláme ta 'ferne
Ap' ti̱ Méïnoggk mékhri ti̱s Tzoggktkhán
Pö́os thélë n' agorásë?
Pö́os thélë n' agorásë?

Khrónia kä khrónia spoýdasa,
To panepistí̱mio, na, télëōsa.
Ma ótan apofö́ti̱sa,
Den ti̱s antíkrisa ti̱n kampoýra
Den ti̱s ë́da ti̱n kampoýra

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