The cricket

Today we have another song with no ties to others. It's an Old Italian son called El grillo, i.e. "The cricket". I translated it to English between 14/11/19 and 16/11, though one part is still impossible to sing fast so it should be fixed, but I can't think of a way. Let's see!

El grillo, El grillo è buon cantore, Che tiene longo verso: Dale Beve, Grillo Canta, Dale dale Beve beve, Grillo grillo Canta. (Da capo) El grillo, El grillo è buon cantore, Ma non fa come li altri uccelli: Come li han cantato un poco, Van de fatto in altro loco, Sempre el grillo sta pur saldo. Quando la maggior è 'l caldo, Alhor canta sol per amore. Quando la maggior è 'l caldo, Alhor canta sol per amore. El grillo, El grillo è buon cantore, Che tiene longo verso: Dale Beve, Grillo Canta, Dale dale Beve beve, Grillo grillo Canta. El grillo, El grillo è buon cantore, El grillo, El grillo è buon cantore,

The cricket, The cricket's one fine singer, Who sings on for a long time: Let him Drink some, Cricket Will sing. Let him let him Drink some drink some, Cricket cricket Will sing. (All from start) The cricket, The cricket's one fine singer, But he does not act like other birds do: As soon as they have sung a little, Off to some other place they wander, Always the cricket will hold steadfast. When the summer is at its hottest, Then he will sing on only for love. When the summer is at its hottest, Then he will sing on only for love. The cricket, The cricket’s one fine singer Who sings on for a long time: Let him Drink some, Cricket Will sing. Let him let him Drink some drink some, Cricket cricket Will sing. The cricket, The cricket’s one fine singer. The cricket, The cricket’s one fine singer.

Cinque canzoni siciliane

Oggi abbiamo, come da titolo, 5 canzoni siciliane, tutte senza legami coi post circostanti – d'altronde quelli ormai da un po' di post non si trovano più. Elenchiamole qua sotto e facciamo le necessarie discussioni testuali, e poi vediamo le traduzioni.

1. Vitti na crozza. Qua le varianti abbondano.
   
   • Anzitutto, il testo standard della canzone legge «nu cannuni» al v. 1. E uno dice: "Un teschio su un cannone? Mbah, chissà che ci faceva…". Dopodiché si ritrova colla terza strofa del video che non si trova da nessuna parte, e cerca che ti ricerca comincia a vedere tante traduzioni che traducono "cannuni" con "tower" o "torre". What? Ma da quando in qua "cannuni" non è "cannone" ma "torre"? Dopodiché si imbatte in questo sito, dove si dice che in nessun dialetto della Sicilia "cannuni" vuol dire "torre", e che in realtà ci doveva essere "cantuni", «che, nelle pirrere del trapanese – cioè nelle miniere, nelle cave – è un concio di tufo, di arenaria, ed anche il luogo di lavoro dei minatori», o, come si dice altrove, l'entrata della miniera. E direi che mi sono convinto, e infatti ho adottato questo testo e l'ho tradotto, questo cantuni, come "la porta della miniera", in Cinese.
   • Alla fine della strofa 1, si trova, oltre alla mia versione, anche:
     
     1. … cu ggran duluri: / «Murivi sènza tòccu di campani»;
     2. … cu ggran duluri: / «Muria sènza nu tòccu di campani»;
     3. … cu ggran duluri: / «Iù mòssi sènza tòccu di campani»;
     4. … «Cu ggran duluri / Muriri sènza tòccu di campani».
     L'ultima, a quanto ne so, non gira grammaticalmente, cfr. qui. La prima pare corretta, poiché, testimone il Wikizionario siciliano, il passato remoto di "muriri" / "mòriri" è "murivi, muristi, muriu, murèmu, murìstivu, murèru». Peraltro viene il sospetto che debba essere "mòriri", che sta meglio nel ritmo della musica. Le altre due paiono emendamenti della prima per un passato remoto che pareva strano: l'imperfetto mi pare fuori luogo, e il passato remoto mòssi non so come cercarlo online.
   • Della prima strofa si trova anche la seguente versione, versione ortograficamente emendata da questo sito:
     Vitti na crozza supra nu cantuni
     E cu sta crozza mi misi a parlari.
     Iđđa m’arispunniu cu gran duluri:
     «Iù mossi senza tòccu di campani.
     Intanto notare "cantuni". Il v. 2 pare un cambiamento per ignoranza del significato di "spiari", che qui vale "domandare", e non "spiare".
   • Il video pare avere la seconda strofa come:
     Si nn'èru si nni èru li mè anni
     Si nn'èru si nni èru e ‘n sacciu p’unni
     Òra ca su' arrivatu a uttant’anni
     Chiamu la vita e morti m’arispunni
     Altre versioni hanno "unni". A me però pare di sapere che, in Siciliano come in Spagnolo, si faccia distinzione tra unni/donde, "dove" nel senso di stato, e aúnni/adonde, "dove" nel senso di moto a luogo, e qui è sicuramente un moto, onde il mio testo. Il resto sono solo oscillazioni minori.
   • Sull'ultimo verso abbiamo anche la versione «Chiamu la morti e iđđa m’arispunni», che si presta per alcuni a leggere iđđa come riferito alla crozza, che ovviamente non ha senso a meno di leggere questa strofa come non detta dalla crozza. Io preferisco leggere tutto come detto dalla crozza a partire dall'ultimo verso della prima strofa, ma effettivamente questa è una mia lettura, può essere che chi scrive sia già vecchierello e vede la crozza come segno della morte imminente, oppure l'ha vista come monito, come avvertimento, perché la miniera era rischiosa (e mi viene in mente Il canto del minatore).
   • Da ultimo, la versione alternativa di quel sito di prima:
     Prestu passanu tutti li me anni.
     Passanu e si ni iènu un sacciu unni.
     Ora ca sugnu vecchiu di tant’anni
     Chiamu la crozza e nuđđu m’arispunni.
     Questi presenti sono decisamente inventati, il primo "passanu" manco sta nella musica (l'accento cadrebbe su passànu invece di pàssanu), però in effetti forse "Passaru e si nni jèru"… mah, non forza un'elisione davanti a j, però poi sembra pàssaru, non è che ci guadagniamo molto. In effetti però l'accento strano c'è pure con "si nn'jèru" che musicalmente sembra "sìnnjeru" mentre dovrebbe essere "sinnjèru". Però oramai la traduzione ha le ripetizioni per influsso di quelle di "si nn'jèru", quindi mi tocca tenere "si nn'jèru". Perché mai dovrebbe chiamare la crozza, lo sa solo chi ha scritto questa versione.
   • La terza strofa è reperibile solo dal video che ho linkato all'inizio, e "pinuri", cfr. questa risposta su Quora, pare essere il plurale della parola irrintracciabile "pinura", da pèna + -ura, insomma un trucco per allungare pèni (pene come plurale di pena) di una sillaba – e guadagnarci anche una rima con duluri.
   • La strofa 4 viene dal famoso sito, e forse qualche altro sito che non ricordo.
   • Alla strofa 5 abbiamo il massimo di variazione. Tanto per cominciare, troviamo anche «Cunzàtimi cunzàtimi lu lettu», e io ho preferito metterci i fiori come da sito famoso.
   • Poi del finale si trova anche:
     Si nun lu scuntu ccà lu mè peccatu,
     Lu scuntu all’autřu munnu a sangu řuttu
     dove il finale, "a sangue rotto", mi pare abbia poco senso, e debba essere letto come deformazione di "a chiantu řuttu", "a pianto (di)rotto", o di "assà ‘ndurutu", "assai indurito", idea che ho trovato non so dove. Si trova poi anche, in quello che pare il libretto di un concerto fatto in Germania o in un paese germanofono:
     Si nun li scuttu cca li me piccati | Wenn ich nicht hier meine Sünden verbüße,
     Lavutra vita scuntu lassannu u russu | Lasse ich hier mein Blut und büße im nächsten Leben.
     La traduzione legge «Se non sconto qui i miei peccati, / Lascio qui il mio sangue e [li] sconto nella prossima vita». Al di là del plurale nel primo verso, che non invalida la traduzione perché il Cinese non distingue singolare e plurale, ed è un'oscillazione piccola, e al di là di "scuttu", che sarà un errore di stumpa, il secondo verso è sicuramente deformato. "lassannu u řussu", a parte "rosso" per "sangue" che pare un po' forzato, rompe la metrica rispettando la musica. Infatti questa canzone è in endecasillabi, e le versioni con "a sangu" e "a chiantu" salvano il conto delle sillabe perché fanno sinecfonesi con la parola prima, che sia vita o munnu. La musica però se ne frega, e sfrutta la divisione delle parole per dividere il verso in due frasi, e "lassannu" rispetta questa divisione e altera il conteggio delle sillabe. Quindi "lassannu u řussu" è certamente una corruzione di "a sangu řuttu", che a sua volta ritengo essere una corruzione di "a chiantu řuttu". "Lavutřa", poi, non esiste proprio, quindi la prima metà del verso sarà semmai "All'autřa vita u/i scuntu", o magari proprio il mio testo.
   • Il sito famoso colpisce ancora, e pare restituirci il testo originale della strofa:
     Cunzàtimi cu cciuri lu mè lettu,
     Picchì alla fini jà sugnu ařřiduttu:
     Vinni lu tèmpu di lu me řizzèttu,
     Lassu stu beđđu munnu, e lassu tuttu.
     Dico che pare l'originale perché ha le sue rime alternate, mentre l'altra versione ne manca una, anche se lo schema rimico viene rotto anche in altre strofe. Io ho tenuto l'altra versione perché, vista la terza strofa, il mondo è prima 'ngratu e poi beđđu, mi pareva un po' stonato.
   • La sesta strofa si trova anch'essa online.
   • Ho preferito evitare certe strofe che si trovano online, vuoi per evitare una canzone "più lunga delle litanie", vuoi perché non c'entravano una mazza col resto.
   Questa l'ho tradotta in Cinese l'11/10 tra le 0:37 e l'1:32, tranne per il cambio da 缺乏, "stenti", da "pinurî" plurale di "pinuria", a 担心, "preoccupazioni", dal "pinuri" di cui sopra, cambiamento operato il 13/10 alle 0:19. Poi a 'na certa penso che, siccome il ritornello è třallallalèru colla retroflessa tř, si può rendere con un chā, e la sera del 14/10/19 trovo il carattere giusto mentre mi faccio la pasta, e lo implemento alle 22:02. Abbiamo poi due modifiche più tarde: 矿山的门上有看到头骨啊 -> 矿山的门上我已看头骨啊, 12/7/24 20:56, e 得什么做->该怎么做, 14/7/24 17:23. Solo la prima è arrivata al video.
2. Mi vòtu e mi rivòtu. Anche qui qualche variazione la troviamo.
   
   • Una versione scambia 'nteri con notti, e vabbeh.
   • "vaiu" nel v. 3 non ci sta né musicalmente né metricamente.
   • «Pi tia nun pozzu n’ura arripusari» è valida tanto quanto "[…] nun pozzu òra cchiù durmiri", anzi è meglio perché fa rima con lassari.
   • «Lu vo’ sapiri quannu t’aju a lassari» è un'altra storpiatura da cantante come "lassannu u řussu" visto nella canzone precedente.
   • La strofa 2 alternativa la lascio stare, seguo il video. Ecco l'alternativa:
     Ci pènzi quannu nsèmmula abballammu | Ci pensi a quando insieme ballammo
     E 'a siritina c'u sonu tinemmu? | E la seratina col suono (i.e. colla musica) trascorremmo?
     Ntřa l’occhi tutti dui ni talïammu, | Negli occhi tutti e due ci guardammo,
     N’arrussiau la facci e poi ridemmu; | Ci si arrossò la faccia e poi ridemmo;
     ‹E 'nsèmmula› abballannu e suspirannu | ‹E insieme› ballando e sospirando
     Li manu n’affirrammu e ni stringemmu… | Le mani ci afferrammo e ci stringemmo…
     Lu vo’ sapiri quannu t’aju a lassari? | Lo vuoi sapere quando ti lascerò?
     Quannu la vita mia finisci e mori. | Quando la vita mia finisce e muore.
     Questa è la versione Wikitesti attribuita a Rosa Balistrieri, che però in questo video canta:
     Ci pènzi quannu nsèmmula abballammu | Ci pensi a quando insieme ballammo
     Li manu li pigghiammu e li stringemmu… | Le mani le prendemmo e le stringemmo…
     Ntřa l’occhi tutti ṙui ni talïammu, | Negli occhi tutti e due ci guardammo,
     N'arussiau la facci e nni vasammu. | Ci arrossì la faccia e ci baciammo.
     Per poi attaccare la fine della prima strofa, precedentemente omessa. Bah. Quei versi 6-7 sembrano inventati, e un bel pugno in faccia a musica e metrica, da cui la mia integrazione in parentesi angolate. Contrordine: questa, nella versione Balistrieri, la tengo come seconda, e quella del prossimo punto diventa la terza.
   • Quanto alla seconda strofa nel video, "maru maru" sembra voler dire "lungo il mare", e del v. 3 esiste l'alternativa "Quannu ti tiru 'na pinna di st'ali", "quando ti tiro / perché ti tiri una penna da queste ali". Inoltre, a me risulta "palori", ma il video ha "paroli". D'altro canto, "paroli" e "amuri" non fa rima manco morto, "palori" ci si avvicina di più. Ah e poi c'è questo strano "quannu" che sembra voler dire "affinché", cfr. qui – che mi dice che dovrebbe essere "quantu" con valore finale, e non "quannu".
   Ho iniziato alle 14:03 del 16/10/19 coi primi due versi, poi ho finito la prima strofa tranne gli ultimi due versi intorno alle 15, poi a cominciare dalle 2:03 e finendo alle 2:17 della notte seguente ho finito la prima e la seconda, e infine intorno alle 12-12:30 del 18/10 ho fatto la terza.
3. E vui durmiti ancòra, su cui commento solo che "Ci su' ppur'ìu c'aspettu a vvui" è la musica che storpia "Ci sugnu puru ìu c'aspettu a vvui", levandogli due sillabe. Questa in Cinese l'ho tradotta, litigando colle rime per una vita e lasciando qualche quasi-rima alla fine, il 12/10/19 tra le 0:53 e l'1:52, con due micromodifiche la mattina seguente. Il 6/7/24 poi, in sede di registrazione, alle 12:11 modifico il parlato da 是为了你 a 向你唱出, e poi alle 12:18 mi chiedo perché abbia fatto la prima riga di ritornello con una sillaba in meno, e ci aggiungo il secondo qǐng.
4. Stiđđa matutina, che io ormai ho fissato in testa come Stiđđa sirèna, e che, ahimè, su Youtube non c'è. E niente, non c'è da discutere. La traduzione l'ho fatta, sperando che la musica non metta accenti in posti che stonano con essa, tra le 19:08 e le 19:33 del 26/10/19, con una modifica al v. 5 della prima strofa alle 10:21 le mattina seguente.
5. E infine Occhi 'nfatati, di cui non ho un video ma un testo e uno spartito incompleto, quindi ancora, zero discussioni. O quasi: come da questo commento, "cu" nel senso di "chi" è elisione di "cui", e quindi va scritto «cu'» coll'apostrofo, e questa correzione va apportata in due punti nel testo di questa canzone. La traduzione, sperando che la musica non mi metta i bastoni tra le ruote, l'ho iniziata con due pezzettini nel bel mezzo di un concerto, uno alle 20:57, l'altro un po' alle 21:25 e un po' alle 21:27, e l'ho finita il giorno stesso, il 26/10/19, tra le 21:31 e le 23:31. Che dire? Maledette rime che non venivano mai :)… Poi l8/6/24, montando il video, mi son reso conto che 魔力 è un sostantivo, quindi alle 19:17 l'ho sostituito coll'aggettivo 神奇.

E vediamole va'!

Rit.
Třallallallèru llallèru
Llallèru llallèru
Llallèru llallà (2v.)

VittiVidi 'na crozzateschio supra lu cantuni,
Fui curïusu, e cile vòsivolli spiarifare domande.
IđđaLei m'arrispunnìumi rispose: «Chi ggran duluri
Muriri sènza tòccusuono di campani!

Rit.

Si nn’jèruSe ne sono andati, sise nnine jèrusono andati li mèmiei anni,
Si nn’jèruSe ne sono andati, sise nnine jèrusono andati, 'nnon sacciuso aúnnidove.
Òra ca su'sono ařřivatu a l'uttant'anni,
Chiamu la vita, e mòrti m'arispunnimi risponde.

Rit.

Òra ca sugnusono vecchiu, c'haju a ffariche devo fare
Di 'sta mè vita chinapiena ddi pinurîpene?
Haj'aDevo 'stuquesto munnumondo 'ngratuingrato abbannunariabbandonare:
Sulu accussì nun zèntu cchiù dduluri.

Rit.
ChiChe nn'haju a ffarine devo fare cchiù di la mè vita!?
Nun sugnusono bonucapace cchiù pi travagghiarilavorare.
'Sta vita è fatta tutta di duluri,
E d'accussì nun pozzu cchiù campari.

Rit.

CunzàtimiPreparatemi cucon cciurifiori lu mè lettu,
Ca dida li vermi su'sono mmanciatumangiato tuttu.
SiSe nun li scuntu ccàqua li mè piccati,
Li scuntu all'autřa vita a chiantu řuttupianto dirotto.

Rit.

C'è nu giardinu ammèzzu di luin mezzo al mari,
Tuttu ntissutuintessuto di aranci e çiurifiori,
Tutti l'açeđđiuccelli cci vannu a cantari,
Puru ile sireni cci fannu all'amuri.

• Versione del video
• Versione finale

副歌： 嗏啦啦咧噜啦咧噜啦咧噜 啦咧噜啦咧噜 啦咧噜啦啦（两次） 矿山的门上我已看头骨啊 就有好奇心问它个问题啦 它对我来答应：“啊太痛苦啊 没有只铃通告就来逝去啊！ 副歌： 我的多年我的多年都远啊， 都远了都远了，不知在哪儿， 现在，我到八十岁的时间啊 我向生活叫，死亡却回答 副歌 在老时候我什么得做起？ 怎能在担心中来活下去？ 忘恩负义的世界得放弃： 只有这样能离痛苦远去。 副歌 关于我的生活得什么做？ 我一定已不会再来工作。 这种生活由痛苦组成哦， 这样一定不会继续生活 副歌 请用花朵准备我临终床， 因为我被蠕虫已全吞下。 如果我在这儿不赎我的罪， 就在他生赎并泪如雨下。 副歌 在海洋中有美丽的花园， 由橙子和花朵编织起来， 所有的鸟都去那儿来鸣唱， 美人鱼也在那里都做爱。 副歌

Fùgē: Chālālaliělū laliělū laliělū Laliělū laliělū Laliělū lālā (liǎng cì) Kuàngshān de mén shàng wǒ yǐ kàn tóugǔ a Jiù yǒu hào qíxīn wèn tā gè wèntí la Tā duì wǒ lái dāyìng: “A tài tòngkǔ a Méi yǒu zhǐ líng tōnggào jiù lái shìqù a! Fùgē: Wǒ de duōnián wǒ de duōnián dōu yuǎn a, Dōu yuǎnle dōu yuǎnle, bù zhī zài nǎr, Xiànzài, wǒ dào bāshí suì de shíjiān a Wǒ xiàng shēnghuó jiào, sǐwáng què huídá Fùgē Zài lǎo shíhòu wǒ shénme děi zuò qǐ? Zěn néng zài dānxīn zhōng lái huó xiàqù? Wàng'ēnfùyì de shìjiè déi fàngqì: Zhǐyǒu zhèyàng néng lí tòngkǔ yuǎn qù. Fùgē Guānyú wǒ de shēnghuó děi shénnme zuò? Wǒ yīdìng yǐ bù huì zài lái gōngzuò. Zhè zhǒng shēnghuó yóu tòngkǔ zǔchéng ó, Zhèyàng yīdìng bù huì jìxù shēnghuó Fùgē Qǐng yòng huāduǒ zhǔnbèi wǒ línzhōngchuáng, Yīnwèi wǒ bèi rúchóng yǐ quán tūnxià. Rúguǒ wǒ zài zhèr bù shú wǒ de zuì, Jiù zài tāshēng shú bìng lèi rú yǔ xià. Fùgē Zài hǎiyáng zhōng yǒu měilì de huāyuán, Yóu chéngzi hé huāduǒ biānzhī qǐlái, Suǒyǒu de niǎo dōu qù nàr lái míng chàng, Měirényú yě zài nàlǐ dōu zuò'ài. Fùgē

副歌： 嗏啦啦咧噜啦咧噜啦咧噜 啦咧噜啦咧噜 啦咧噜啦啦（两次） 矿山的门上我已看头骨啊 就有好奇心问它个问题啦 它对我来答应：“啊太痛苦啊 没有只铃通告就来逝去啊！ 副歌： 我的多年我的多年都远啊， 都远了都远了，不知在哪儿， 现在，我到八十岁的时间啊 我向生活叫，死亡却回答 副歌 在老时候我什么得做起？ 怎能在担心中来活下去？ 忘恩负义的世界得放弃： 只有这样能离痛苦远去。 副歌 关于我的生活该怎么做？ 我一定已不会再来工作。 这种生活由痛苦组成哦， 这样一定不会继续生活 副歌 请用花朵准备我临终床， 因为我被蠕虫已全吞下。 如果我在这儿不赎我的罪， 就在他生赎并泪如雨下。 副歌 在海洋中有美丽的花园， 由橙子和花朵编织起来， 所有的鸟都去那儿来鸣唱， 美人鱼也在那里都做爱。 副歌

Fùgē: Chālālaliělū laliělū laliělū Laliělū laliělū Laliělū lālā (liǎng cì) Kuàngshān de mén shàng wǒ yǐ kàn tóugǔ a Jiù yǒu hào qíxīn wèn tā gè wèntí la Tā duì wǒ lái dāyìng: “A tài tòngkǔ a Méi yǒu zhǐ líng tōnggào jiù lái shìqù a! Fùgē: Wǒ de duōnián wǒ de duōnián dōu yuǎn a, Dōu yuǎnle dōu yuǎnle, bù zhī zài nǎr, Xiànzài, wǒ dào bāshí suì de shíjiān a Wǒ xiàng shēnghuó jiào, sǐwáng què huídá Fùgē Zài lǎo shíhòu wǒ shénme děi zuò qǐ? Zěn néng zài dānxīn zhōng lái huó xiàqù? Wàng'ēnfùyì de shìjiè déi fàngqì: Zhǐyǒu zhèyàng néng lí tòngkǔ yuǎn qù. Fùgē Guānyú wǒ de shēnghuó gǎi zěnnme zuò? Wǒ yīdìng yǐ bù huì zài lái gōngzuò. Zhè zhǒng shēnghuó yóu tòngkǔ zǔchéng ó, Zhèyàng yīdìng bù huì jìxù shēnghuó Fùgē Qǐng yòng huāduǒ zhǔnbèi wǒ línzhōngchuáng, Yīnwèi wǒ bèi rúchóng yǐ quán tūnxià. Rúguǒ wǒ zài zhèr bù shú wǒ de zuì, Jiù zài tāshēng shú bìng lèi rú yǔ xià. Fùgē Zài hǎiyáng zhōng yǒu měilì de huāyuán, Yóu chéngzi hé huāduǒ biānzhī qǐlái, Suǒyǒu de niǎo dōu qù nàr lái míng chàng, Měirényú yě zài nàlǐ dōu zuò'ài. Fùgē

Mi vòtuvolto e mi rivòtu suspirannu,
Passu li notti 'ntèri sènza sonnu,
E li biđđizzibellezze tòitue iùio cuntimplannucontemplando,
LiLe passu di la notti nzinufino a jòrnugiorno,
*Pi ttiaPer te nun pozzuposso n'ura ařřipusaririposare,
PaçiPace nun haviha cchiùpiù st'afflittu cori.
Lu sai quannu ca iù t'aju a lassariti lascerò?
Quannu la vita mia finiscifinisce e morimuore.

Ci pènzi quannu nsèmmulainsieme abballammuballammo
Li manumani nici pigghiammuprendemmo e nici stringemmu,
NtřaIn l’occhi tutti ṙuidue nici talïammuguardammo,
N'arussiauCi arrossì la faccifaccia e nnici vasammubaciammo?
*

PalummaPiccione ca camini maru marua mare a mare
Ferma quantuaffinché ti dicu du' paloriparole
QuantuAffinché ti ṙicudica 'idi na pinnapenna pristariprestare
QuantuAffinché fazzufaccia/scriva na littřalettera allu miu amuri
Li littřilettere ti ni mannumando a tři a dui
Risposta ccàqua dida tiate nun haiuho mai
O chi si persi la carta pi vvuiper voi
OppuramèntiOppure scriviri nun sai

在床上一再滚动并叹息 这样难以入眠度过夜间 而并多沉思你的多美丽 从夜到天有它们在眼前 *为你一小时都不会睡啊 这颗悲痛的心再没平和 我何时离开你，你知道吗？ 是我的人生去世的时刻 还记得吗？我两一起跳舞， 把相互的双手拿去而牵 把互相的眼睛也来看入， 互相亲一亲吻带着红脸 * 在海边走一走步的鸽子 请停止让我对你说些话 让我借根羽毛能来写事 让我给我的爱人写信啊 我向你来写三封两封信 但这里总都没你的回答 或许那些张纸为你失去 或许只是你不会写字啊

Zài chuángshàng yīzài gǔndòng bìng tànxí Zhèyàng nányǐ rùmián dùguò yèjiān Ér bìng duō chénsī nǐ de duō měilì Cóng yè dào tiān yǒu tāmen zài yǎnqián *Wèi nǐ yī xiǎoshí dōu bù huì shuì a Zhè kē bēitòng de xīn zài méi pínghé Wǒ héshí líkāi nǐ, nǐ zhīdào ma? Shì wǒ de rénshēng qùshì de shíkè Hái jìdé ma? Wǒliǎng yīqǐ tiàowǔ, Bǎ xiānghù de shuāngshǒu ná qù ér qiān Bǎ hùxiàng de yǎnjīng yě lái kàn rù, Hùxiāng qīn yī qīnwěn dàizhe hóngliǎn * Zài hǎibiān zǒu yī zǒubù de gēzi Qǐng tíngzhǐ ràng wǒ duì nǐ shuō xiē huà Ràng wǒ jiè gēn yǔmáo néng lái xiě shì Ràng wǒ gěi wǒ de àirén xiě xìn a Wǒ xiàng nǐ lái xiě sān fēng liǎng fēng xìn Dàn zhèlǐ zǒng dōu méi nǐ de huídá Huòxǔ nà xiē zhāng zhǐ wèi nǐ shīqù Huòxǔ zhǐshì nǐ bù huì xiě zì a

PařřatuParlato:
RisbigghiatiRisvegliati, bbeđđabella:
'Sta canzuni
È pi ttiaper te

Lu suli è jàgià spuntatu dida lu mari,
E vuivoi, biđđuzzaoh bella mia durmiti ancòra.
L'açeddiuccelli sunnusono stanchi di cantari:
AffriđđateđđiInfreddoliti aspettanu ccàqua fòrafuori;
Supra 'ssu'sto baṛcuneđđubalconetto sùsono pusati,
E aspettanu quann'è ca v'affacciati.

Rit.
LassatiLasciate stari, nun durmiti cchiùipiù,
Ca 'nzemiinsieme a iđđiloro ṙintřain 'sta vaneđđastradina
Ci su'sono ppur'ìupure io c'aspettu a vui
Pi vìṙirivedere 'ssa'sta faccifaccia accussì beđđabella:
Passu ccà fòra tutti li nuttati,
E aspettu sulu quannu v'affacciati.

Li çiurifiori senza 'idi vuivoi nun vònnuvogliono stari:
Su tutti cu li testiteste a ppinnulunipenzoloni,
Ognunu d'iđđidi loro nun volivuole sbucciarisbocciare
Se prima nun zi rapisi apre 'ssu'sto baṛcunibalcone.
IntřaDentro li buttuneđđiboccioletti sùsono ammucciatinascosti,
E aspettanu quann'è ca v'affacciati.

Rit.
Passu ccà fòra tutti li nuttati,
E aspettu sulu quannu v'affacciati.

口白： 请打醒，美女： 这首歌 向你唱出 太阳从海洋之中已升起啊 而你，美丽宝贝，还在睡觉。 而小鸟都厌倦了鸣下去啊 感觉冷这里外面在等待 小阳台上栖所啊来等候： 都等到你出现的那时候 副歌： 请不管睡觉，请别再睡眠啊， 因跟它们在这条小路上 也有我自己等你出现啊 想看到这么美丽的脸庞 这儿在外面度过每个夜间啊 只希望能够看到你出现啊 花不想留在没你的状态 它们的头在风中都摇晃着 每一朵都一定不想盛开 小阳台不开放就继续关着 在小芽的里面都躲藏哦， 都等到你出现的那时候 副歌 这儿在外面度过每个夜间啊 只希望能够看到你出现啊

Kǒubái: Qǐng dǎxǐng, měinǚ: Zhè shǒu gē Xiàng nǐ chàng chū Tàiyáng cóng hǎiyáng zhī zhōng yǐ shēngqǐ a Ér nǐ, měilì bǎobèi, hái zài shuìjiào. Ér xiǎoniǎo dōu yànjuànle míng xiàqù a Gǎnjué lěng zhèlǐ wàimiàn zài děngdài Xiǎo yángtái shàng qīsuǒ a lái děnghòu: Dōu děng dào nǐ chūxiàn de nà shíhòu Fùgē: Qǐng bùguǎn shuìjiào, qǐng bié zài shuìmián a, Yīn gēn tāmen zài zhè tiáo xiǎolù shàng Yě yǒu wǒ zìjǐ děng nǐ chūxiàn a Xiǎng kàn dào zhème měilì de liǎnpáng Zhèr zài wàimiàn dùguò měi gè yèjiān a Zhǐ xīwàng nénggòu kàn dào nǐ chūxiàn a Huā bu xiǎng liú zài méi nǐ de zhuàngtài Tāmen de tóu zài fēng zhōng dōu yáohuàngzhe Měi yī duǒ dōu yīdìng bù xiǎng shèngkāi Xiǎo yángtái bù kāifàng jiù jìxù guānzhe Zài xiǎoyá de lǐmiàn dōu duǒcáng ó, Dōu děng dào nǐ chūxiàn dì nà shíhòu Fùgē Zhèr zài wàimiàn dùguò měi gè yèjiān a Zhǐ xīwàng nénggòu kàn dào nǐ chūxiàn a

Lu suli è jàgià spuntatu
E vui ancora durmiti,
Na stiđđastella: di lu çièlu
Vui la cchiù bbèđđapiù bella sitisiete.
Sòna, aoh chitarra mia,
E dammi bona vuçi:
FaçitiFate arruspigghiaririsvegliare
Lu mè curuzzucuoruccio ṙuçidolce

Rit.
StiđđaStella, sirèna di li còri amanti,
Iù ccàqua ti fazzufaccio li sòni e li canti:
'Ffacciati alla finestřa, scutaascolta, e ssènti.

O beđđabella třa li beđđibelle,
O fìmminadonna adurata,
Puru la luna in cièlu
Di tiate s'è 'nnamurata.
Lu suli, cantřariatu,
Tuttu si ggilusìaingelosisce,
E nun pò stari un jòrnugiorno
Luntanu sènza tiate

Rit.

太阳已经出现了 而你还睡觉啊 啊小星：在天空里 你的美丽最大 我的吉他，请弹啊 请你让我好听 我的甜蜜的心灵 请让它来觉醒 副歌 小星，爱河里的心的妖女 我在这里给你唱首歌曲 请在窗口出现来听到我 哦美女中最美的 哦很亲爱的女 连天空里的月亮 也现在爱上你 那个讨厌的太阳 来变得很吃醋 而一个天没有你 就真的太痛苦 副歌

Tàiyáng yǐjīng chūxiànle Ér nǐ hái shuìjiào a A xiǎoxīng: Zài tiānkōng lǐ Nǐ de měilì zuì dà Wǒ de jítā, qǐng tán a Qǐng nǐ ràng wǒ hǎotīng Wǒ de tiánmì de xīnlíng Qǐng ràng tā lái juéxǐng Fùgē Xiǎoxīng, àihé lǐ de xīn de yāonǚ Wǒ zài zhèlǐ gěi nǐ chàng shǒu gēqǔ Qǐng zài chuāngkǒu chūxiàn lái tīng dào wǒ Ó měinǚ zhōng zuìměi de Ó hěn qīn'ài de nǚ Lián tiānkōng lǐ de yuèliàng Yě xiànzài àishàng nǐ Nà gè tǎoyàn de tàiyáng Lái biàndé hěn chīcù Ér yī gè tiān méi yǒu nǐ Jiù zhēnde tài tòngkǔ Fùgē

Quannu dida 'ssa'sta finestra v'affacciati,
SitiSiete la vèra stiđđastella matutina:
È tantu lu sbṛinnurisplendore ca mannati
C'ammaluçitiilluminate a cu'chi si ccici si avviçina!
Cu'Chi passa e vi talìaguarda, l'affatturatiammaliate*:
Chi Luna e Suli, chi luçi Divina!
Nun mi guardati, no, nun mi guardati:
S''Stiocchi 'nfatatifatati sùsono la mè řuinarovina!...

NtřaIn 'ssa'sta vaneđđastradina cchiù nun mi viditi,
PriPer li pinsèri nun mi frasturnari:
SùSono tanti li maliimagie ca mi façitifate
Ca mancu 'na Sirèna di lu mari!
HajuHo lu cori chinupieno di firitiferite,
E li me labbra 'ntussicati e amari!
Nun mi guardati, no, si còri aviti:
S''Stiocchi 'nfatatifatati fannu dilirari!

*Ma pensa te, "affatturare" pure in Italiano
vuol dire "ammaliare, stregare".

• Versione video
• Versione finale

当你在那个窗口里出现， 你真是那颗早晨的明星 你照亮人当人离你好近： 你真的太明亮了，啊明星 你迷住人，人看你的时间： 啊太阳，月亮，啊神圣光明！ 不要出现，千万不要出现： 魔力双眼摧毁我的心灵 你在这条小路不再看我 为了不再让我思想困惑 你给我做的咒语真正多： 海的妖女不认识这么多！ 全充满伤口啦，我的内心， 我苦涩的嘴唇充满毒药！ 不要出现，如果你有颗心： 魔力双眼使我神魂颠倒！

Dāng nǐ zài nà gè chuāngkǒu lǐ chūxiàn, Nǐ zhēn shì nà kē zǎochén de míngxīng Nǐ zhàoliàng rén dāng rén lí nǐ hǎo jìn: Nǐ zhēnde tài míngliàngle, a míngxīng Nǐ mízhù rén, rén kàn nǐ de shíjiān: A tàiyáng, yuèliàng, a shénshèng guāngmíng! Bùyào chūxiàn, qiānwàn bùyào chūxiàn: Mólì shuāngyǎn cuīhuǐ wǒ de xīnlíng Nǐ zài zhè tiáo xiǎolù bù zài kàn wǒ Wèile bù zài ràng wǒ sīxiǎng kùnhuò Nǐ gěi wǒ zuò de zhòuyǔ zhēnzhèng duō: Hǎi de yāonǚ bù rènshì zhème duō! Quán chōngmǎn shāngkǒu la, wǒ de nèixīn, Wǒ kǔsè de zuǐchún chōngmǎn dúyào! Bùyào chūxiàn, rúguǒ nǐ yǒu kē xīn: Mólì shuāngyǎn shǐ wǒ shénhún diāndǎo!

当你在那个窗口里出现， 你真是那颗早晨的明星 你照亮人当人离你好近： 你真的太明亮了，啊明星 你迷住人，人看你的时间： 啊太阳，月亮，啊神圣光明！ 不要出现，千万不要出现： 神奇双眼摧毁我的心灵 你在这条小路不再看我 为了不再让我思想困惑 你给我做的咒语真正多： 海的妖女不认识这么多！ 全充满伤口啦，我的内心， 我苦涩的嘴唇充满毒药！ 不要出现，如果你有颗心： 神奇双眼使我神魂颠倒！

Dāng nǐ zài nà gè chuāngkǒu lǐ chūxiàn, Nǐ zhēn shì nà kē zǎochén de míngxīng Nǐ zhàoliàng rén dāng rén lí nǐ hǎo jìn: Nǐ zhēnde tài míngliàngle, a míngxīng Nǐ mízhù rén, rén kàn nǐ de shíjiān: A tàiyáng, yuèliàng, a shénshèng guāngmíng! Bùyào chūxiàn, qiānwàn bùyào chūxiàn: Shénqí shuāngyǎn cuīhuǐ wǒ de xīnlíng Nǐ zài zhè tiáo xiǎolù bù zài kàn wǒ Wèile bù zài ràng wǒ sīxiǎng kùnhuò Nǐ gěi wǒ zuò de zhòuyǔ zhēnzhèng duō: Hǎi de yāonǚ bù rènshì zhème duō! Quán chōngmǎn shāngkǒu la, wǒ de nèixīn, Wǒ kǔsè de zuǐchún chōngmǎn dúyào! Bùyào chūxiàn, rúguǒ nǐ yǒu kē xīn: Shénqí shuāngyǎn shǐ wǒ shénhún diāndǎo!

I have truly loved you

Today we have another song with no links to others. I found it as a post to approve for Hakka:Verse (Facebook group) on 21/9/19. It's a cover of this song, and will appear as a year 8 song. It's 涯系真是爱过汝 | Ngâi hè cin-shıt òi-kwò nyî, and gives this post its title. I translated it into English on 8/10/19 between like 16:35 and 16:46. Then at 23:47 I finally straighten a mistake and change "And I don't know how I can blame thee" to its present form. Here it is!

为了么个什么汝你爱要离开涯我 为了么个什么汝你毋不爱要再爱涯我 涯我一条心来去爱汝你 汝你爱要变心 涯我也毋不晓知道仰般形如何解谄汝你 * 爱人希望汝你爱要晓能分明 爱人希望汝你爱要晓能知吾我（的）个的心 从来毋识不曾激过若你的心 为了爱汝你在吾我的心里 永远恁很惜汝你 # 从今日起涯我对若你的情 涯我毋不爱要再痛心 因为若你的心净只系是有佢她 从今下个的日子 涯我毋不爱要再想汝你 毋不爱要再来爱汝你 @ 哦… 无没有汝你在吾我的身边里这里 涯我试着晓得也过欢喜 虽然恁很难过 无没有汝你陪涯我过哩这个些日子 哦… 想起两侪两人个的过去 每日每夜恁很欢喜 想爱想要讲说汝你知在吾我的心里 涯我系是真实爱过汝你 * # @ @

Vùi-liáu mak-kài nyî òi lî-khoi ngâi Vùi-liáu mak-kài nyî m mòi tsài òi ngâi Ngâi yit thiâu sim lôi hì òi nyî Nyî òi pièn-sim Ngâi ya m hiáu nyòng-pen-hîn kái nyî * Òi-nyîn hi-mòng nyî òi hiáu fun-mîn Òi-nyîn hi-mòng nyî òi hiáu ti nga kài sim Tshiûng-lôi m-shit kit-kwò nyia sim Vùi-liáu òi nyî tshoi nga sim lí Yún-yén án siak nyî # Tshiûng kin-nyit hí ngâi tùi nyia tshîn Ngâi m mòi tsài thùng-sim Yin-vùi nyia sim tshiàng hè yìu kî Tshiûng kin-hà kài nyit-tsíi Ngâi m mòi tsài sióng nyî M mòi tsài lôi òi nyî @ Woooo… Mô nyî tshoi nga shin-pien lî Ngâi chì-tó ya kwò fon-hí Sui-yên án nân-kwò Mô nyî phûi ngâi kwò lia kàin nyit-tsíi Woooo… Sióng-hí lióng-sâ kài kwò-hì Mui nyit mui yà án fon-hí Sióng-òi kóng nyî ti tshoi nga sim lí Ngâi hè cin-shıt òi-kwò nyî * # @ @

Why do you now want to lēave me?
Why do you no longer want to love me?
With my whole heart I have loved thee,
You betrayed me
And I didn't know how to cajole thee

* I hope you can understānd me
I hope that my heart can be known to thee
I haven't ever moved your heart
Since I loved you, in my heart I
Have always cherished thee

# From this day on, that you don't love me
Won't keep me in grief
'Cause in your heart there is just her
All my days from now on
I will not think of thee
I'll no longer love thee

@ Woooo…
Even though you're not with me
I can still quite happy be
Though it's pretty hard
To get through these my days without thee
Woooo…
I remember well how we
Day and night used to happy be
Want to let you know that in my heart
I have truly lovèd thee

*

#

@

@

Winter girl

Today we have no link with the previous post, because I couldn't find any link between this song and another one, and so I just stuck it at the end – well, almost, there is still "My brothers", which was designated as the ender of the regular posts since the first blog post plan. OK, so one day, precisely on Sep 22 2019, the day after I'd come back to l'Aquila, I went to print something at the hotel's Open Space, and there was a score in the printer, titled "Co Be Mua Dong". I guessed it had to be a Vietnamese song from the spelling, YouTubed it, and found Cô-bé mùa-đông, today's song, which gives this post its title. A few days later, on Oct 2 (or was it Oct 1? Depends on whether midnight had passed or not, probably not yet, but it passed before I started translating), I looked up every possible word in the song in the Wiktionary, both English and Vietnamese, and understood the song.

1. It was then natural to go into Chinese, and modulo a part I hadn't quite understood which was translated at 1:52 and a tweak the following morning, I had a ready translation within 1:08. I originally left vô-tình in the keyboard, but on 10/10/19 (and probably earlier in my thoughts) I changed 轻轻吹 to the present version (l. 2). Oh, and 我还在这里 isn't really literal, changed it on 10/10/19 15:49 to 这儿还剩我 and then to 这儿剩下我 at 15:51.
2. Then I turned to English, which I'd been thinking of ever since meeting the song, and I was done within 1:17, modulo the same part as the Chinese which I did by 1:54, and a couple tweaks the following morning. Also, on 11/10/21 at 11:55, the line «There will be just me next to you» takes its present form.
3. Then on 1/11/19 in the afternoon I translated the first half of the first part into Romagnol, that night shortly before 1:15 I got to the second part, and I finished the job around 23:30 on 2/11, leaving an open question: what do I fill the column with?
4. And I answer this at 23:15: French, which I start at 23:16 directly in this draft, and do all in one go, ending at 23:28, with only three changes, namely pas->plus in l. 2 of part 3 at 23:26, âge->aise in 6 of that part at 23:27 (âge was Italian "agio" tricking me), and De->Dans in l. 9 of that part at 23:27 or 23:28.

According to the video title, the singers are Đăng Khôi (male) and Thủy Tiên, so I'll use Đ for the male and T for the female. So, let's see this!

T: Từng cơn gió, Khẽ vô-tình Chiếc lá lìa cành, Buông xuống lòng-đường Đ: Ngồi nhặt chiếc lá Tôi nhớ về Cô-bé đáng-yêu của tôi T: Mùa-đông đến Em vẫn cười, Em ước mình là Bông-tuyết ngoài-trời Để được bay mãi Lên thiên-đường, Một thiên-đường tuyết rơi... Đ: Tuyết chẳng có đâu em ơi, Chỉ có tôi bên-cạnh em thôi T: Mùa-đông đến gió khiến em se lạnh Đ: Đừng lo vì còn tôi đây Đ: Bước cùng với-nhau Dưới cơn mưa-phùn rất lâu Tôi nhìn em, Em đỏ-mặt, Em không nói Khiến_cho lòng tôi bồi-hồi Trong ngần-mắt em Thấy long lanh Muôn ngàn tuyết rơi Một mùa-đông Em đứng đó, T: Một mùa-đông êm-đềm. 女：每阵风 轻轻无意 片叶离枝 落下路去 男：坐拿取叶 我想到 我可爱的小女 女：冬天来 我还微笑 我只愿做 外面雪花 为了能飞 上天堂 下雪的天堂。。。 男：宝贝，没有了雪 只有我在你旁边了 女：冬天来风让我好冷 男：别怕：这儿剩下我 男：一起走步 淋着好长阵小雨 我看你 你脸红 你静静 就让我心不安 在你眼里 的千阵下雪 快迷失 有个冬天 你站在那儿 女：安静的冬天。。。 T: Cun 'e vẽt Ch''e sòppia piã, 'E chësca al fòi Ch'al va int la strê. Đ: Mè in tòi sò òna, E a pẽs A la mi burdlitìna. T: 'E vẽ l' invéran, Incôra a rid, A vòi sôl rèss'r Un fiòch ad név, Par vulêṙ sò Infẽn 'e ẓil, Un ẓil tòtt pĩ 'd név Đ: Chêra, s' la-n-ji fòss la név, A-i s'rèbb sôl mè ‘vṣẽn a tè. T: S' 'e vẽ l' invéran, e a-i ò frèdd 't 'e vẽt... Đ: Tranquèlla: a-i sò 'què mè. Đ: Andẽn insẽ Sòtt’a ‘st’aquarina longa, Me a-t guérd, Tè t dvẽt ròssa, T-a-n dì gnit E t-a-m fé priocupêṙ Int i tu ócc Mè a-m pérd ‘T ‘e mëz ‘d la név, Un invéran T staṣìva alè. T: Un invêran tranquèll…

T: With each gentle Gust of wind, A leaf falls down Unto the road Đ: I pick it up And think of My lovely little girl T: Winter comes I still smile Just want to be A snowflake outdoors That I may fly Up to the sky A sky full of snow… Đ: Babe, should there be no snow, I'll be alone here next to you. T: Come the winter, if wind makes me feel cold… Đ: Fear not: I’ll still be here Đ: I walk with you In this drizzle that lasts long I look at you And you blush You don’t speak And make my heart uneasy. In your silv’ry eyes I get lost In falling snow One winter you Were standing there T: Such a peaceful time… Nǚ: Měi zhèn fēng Qīngqīng wúyì Piàn yè lízhī Luò xià lù qù Nán: Zuò ná qǔ yè Wǒ xiǎng dào Wǒ kě'ài de xiǎonǚ Nǚ: Dōngtiān lái Wǒ hái wéixiào Wǒ zhǐ yuàn zuò Wàimiàn xuěhuā Wèile néng fēi Shàng tiāntáng Xià xuě de tiāntáng... Nán: Bǎobèi, méiyǒule xuě Zhǐ yǒu wǒ zài nǐ pángbiānle Nǚ: Dōngtiān lái fēng ràng wǒ hǎo lěng Nán: Bié pà: zhèr shèngxià wǒ Nán: Yīqǐ zǒu bù Línzhe hǎo cháng zhèn xiǎoyǔ Wǒ kàn nǐ Nǐ liǎnhóng Nǐ jìngjìng Jiù ràng wǒ xīn bù'ān Zài nǐ yǎn lǐ De qiān zhèn xiàxuě Kuài míshī Yǒu gè dōngtiān Nǐ zhàn zài nàr Nǚ: Ānjìng de dōngtiān... T: Avec chaque Coup d' vent fin, Il tombe une feuille Sur la rue. Đ: En recuillant-la, Je pense A ma fille adorable. T: Il vient l'hiver, J'souris encore, J'voudrais seul être Un flocon d'neige, Et pouvoir m'envoler Au ciel, Un ciel plein de neige… Đ: Chère, s'y avait pas de neige, Y aurait seulment moi avec toi. T: S'il vient l'hiver, et j'ai froid dans le vent... Đ: Ne crains: je suis ici. Đ: On ve ensemble Sous une bruine qui n'finit plus, J'te regarde, Tu rougis, Tu n'dis rien Et mon cœur n'est pas à son aise Moi, je me perds Dans la neige Dans tes yeux, Un hiver T'étais là. T: Un hiver tranquil…

Venez!

Mais non! Un autre? Oh la la, mais bien sûr! Un autre post en Français! Aujourd'hui j'ai une chanson en Mende, une langue de la Sierra Leone, qui s'appelle Nunga wa o, ou peut-être "Nunga wu wa o", c'est à dire "Venez, gens". Y a des sérieux problèmes avec cette chanson, parce que le texte qui m'est arrivé, et que vous pouvez retrouver ici au début, paraît être une déformation au niveau d'un pétit garçon qui essaie de chanter dans une langue dont il ne comprend un mot. En effet, il y a, pour ce que je peux comprendre, trois sortes de déformations: 1) Transcription italophone des sons, c'est à dire que l'orthographie est improvisée sur la base des règles orthographiques italiennes (par example, gn se lit /ɲ/, comme une ñ espagnole, et non pas comme une g suivie par une n), 2) Espaces mis au hasard, c'est à dire parfois justes, parfois en place où ils ne devraient pas être, et parfois me pas mis où il en faudrait un, et 3) Corruptions de sons. Je vais pas décrire précisement mon long travail de déchiffrement de cette chanson avec cette grammaire, ce dictionnaire, et Glosbe, mais vous pouvez en lire l'histoire ici, et en voire le résumé ici, où il y a aussi une liste de problèmes avec cette réconstruction. «Si vous connaissez quelqu'un de la Sierra Leone où de la Liberia, je vous prie de me mettre en contacte avec cette personne, car je voudrais vraiment savoir si le texte que j'ai réconstruit et traduit est correcte et si je l'ai bien compris», mais comme je l'ai trouvée, une personne ainsi, cette phrase est obsolète.
Bon donc, la traduction. Naturellement, c'est en Français.
Je l'ai faite le soir du 26/10/19, entre 20 heures et 20:08, exception faite pour «C'est Jésus, c'est nôtre Sauveur» qui est de 11:42 du même jour, et pour deux pétites modifications de 10:11 et 15:41 du jour suivant, le soir duquel j'ai écrit le prémier ébauche de ce post. La traduction peut-être devra être changée, car même la partition qui m'a étée envoyée paraît corrupte – especialement parce que "Venez, gens" serait "Nunga wa o" mais la partition divide le "wa" en "u-a", dont le titre alternatif "wu wa", où "wu" c'est "vous" –, et je dois encore essayer d'adapter les valeurs des notes de cette partition à mon texte réconstruit, ce qui poudrait me forcer à changer la traduction, qui est faite pour la version de la mélodie que j'ai en mémoire maintenant.
En ouvrant mon troisième blog, j'ai fait un post sur cette chansson, où j'ai révisité mon analyse et le texte. Je vous donne les deux versions. Cette révision m'a fait changer «Prenons le monde, / Posons-le dans Ses bras» è sa forme actuelle le 7/12/20 à 11h19.
Je veux aussi nôter les variantes «V’nez, implorons Dieu donc» et «V'nez donc, implorons Dieu» de la deuxième ligne.
Je veux aussi dire que la traduction a été faite un peu incorrecte par la version Italienne qui m'aidait à reconstruir l'analyse, et donc je vais y travailler encore, mais pas maintenent. C'est bien pour ça que, le 18/12/21 à 0:05 (donc la nuit entre le 17 et le 18), je vais essayer de la corriger, et je vais vous donner les deux versions, ou bien les trois versions: la "version originale", qui était ci-dessous, la "version du vidéo", et la "version corrigée". Voilà enfin la liste des changements de la version du vidéo à la corrigée:

1. «Tu l'fais toujours à un homme» est une ligne créée à 0:16, et changée ensuite en «Tu ne l'fais qu'à un homme» à 0:18;
2. «Quoi vas-tu donc dire à Dieu?», 0:19;
3. «Prenons le monde dong, / Posons-le dans Ses bras», 0:20.

Mais voyons-la donc!

Original Révisité Refrain Nūnga (wu?) wa ɔ̄, A wa, mu Ngɛ̄wɔ veli Ndunyii nyāmu gā, A wa mu wā ṅgi gɔ̄hũ Ta mīa mu Bāɔ̄mo, Njīanga t’yɛ̄ n’a ndunyii a Yesu mīa, Mu Bāɔ̄mo a ṅgiɛ̄. «Hūma bi pie nā, Le bi pie ma nū lɔ, Sɔ ndɛ̄ ma mbī gbama, Le bi pie ma nū lɔ»: Ji kūa ba hā, Jiā gbī’ay’a Ngɛ̄wɔ? Yesu mīa, Mu Bāɔ̄mo a ṅgiɛ̄. Refrain Mu geni/yɛ̄ni ti ya wɔ̄, Ti ya wɔ̄ ti ndunyii^ lɔ̄ a Mu geni ti ya wɔ̄, Ti ya wɔ̄ ti ndunyii^ lɔ̄ a Mu dunyii mbūmbu a, Mu ṅgiɛ̄ gbɛ̄ yāka hũ Yesu mīa, Mu Bāɔ̄mo a ṅgiɛ̄. Refrain Refrain Nūŋgā (wu?) wa ɔ̄, A wa, mu Ŋgēwɔ vɛli. Ndunyii nyāmu gā, A wa mu wa a ŋgi gɔ̄hũ. Ta mīa mu Bāɔ̄moi/Bāɔ̄, Njīanga t’yɛ̄ n’a ndunyii a. Yesu^ mīa, Mu Bāɔ̄moi a ŋgiɛ̄. Hūma bi piema, Bɛ bi piem'a nū lɔ. Sɔ nde a mbī gbāma, Bɛ bi piem'a nū lɔ. Ji kūna ba hā, Jiā gbī’ay’a Ngēwɔ? Yesu^ mīa, Mu Bāɔ̄moi a ŋgiɛ̄. Refrain Mu gɛni/yēni ti ya wɔ̄, Ti ya wɔ̄ ti ndunyii lɔ̄ṅga. Mu gɛni ti ya wɔ̄, Ti ya wɔ̄ ti ndunyii lɔ̄ṅga. Mu ndunyii būmbua, Mu kpēŋga yake hũ. Yesu^ mīa, Mu Bāɔ̄moi a ŋgiɛ̄. Refrain

Version originale Version du vidéo Version corrigée Refrain Venez, mes gens, V'nez et priez le Seigneur Le monde se fait mauvais: Venez, faisons-le heureux C'est nôtre Sauveur, Y aura plus de guerres: C’est Jésus, C’est nôtre Sauveur. «Si tu voles quelqu'un, Tu le fais à un homme, Si tu dis l'nom en vain, Tu le fais à un homme»: Quand tu vas mourir, Diras-tu ainsi à Dieu? C’est Jésus, C’est nôtre Sauveur. Refrain Nos pères/mères, ils/elles s’en sont allé(e)s, Ils ont laissé ce monde-ci Nos pères, ils s’en sont allés, Ils ont laissé ce monde-ci On a pris le monde, On l'a posé dans Ses bras. C’est Jésus, C’est nôtre Sauveur. Refrain Refrain Venez, les gens, Venez, priez le Seigneur Le monde se fait mauvais: Venez, faisons-Le heureux C'est nôtre Salut, Y aura plus de guerres: C’est Jésus, C’est nôtre Sauveur. «Si tu voles quelqu'un, Tu le fais à un homme, Si tu dis l'nom en vain, Tu le fais à un homme»: Quand tu vas mourir, Diras-tu ainsi à Dieu? C’est Jésus, C’est nôtre Sauveur. Refrain Nos pères, ils s’en sont allés, Ils ont laissé ce monde-ci Nos pères, ils s’en sont allés, Ils ont laissé ce monde-ci On a pris le monde, On l'a posé dans Ses bras. C’est Jésus, C’est nôtre Sauveur. Refrain Refrain Venez, les gens, Venez, priez le Seigneur Le monde se fait mauvais: Venez, faisons-Le heureux C'est nôtre Salut, Y aura plus de guerres: C’est Jésus, C’est nôtre Sauveur. «Si tu voles quelqu'un, Tu ne l'fais qu'à un homme, Si tu dis l'nom en vain, Tu ne l'fais qu'à un homme»: Quand tu vas mourir, Quoi vas-tu donc dire à Dieu? C’est Jésus, C’est nôtre Sauveur. Refrain Nos pères, ils s’en sont allés, Ils ont laissé ce monde-ci Nos pères, ils s’en sont allés, Ils ont laissé ce monde-ci Prenons le monde dong, Posons-le dans Ses bras. C’est Jésus, C’est nôtre Sauveur. Refrain

Work for the Lord

Last time we had a religious song, this time we have basically a spiritual, only it's not in English, but in Lingala, a language nobody I know seems to know (certainly not any of those who put the lyrics online or in CL songbooks). How did I meet this song? Well, it's pretty well-known among members of Communion and Liberation, a Catholic movement born in Italy and spread over the whole world.
I learnt a deformed version of it as basically Gibberish (except the recognizable words from religion) in my childhood… and then one day I decided I'd try figuring out the meaning – which for a language freak like me CLEARLY didn't just mean go online and trust the first translation I found. And BOY did I find a mess of deformation and incredibly creative translations! You have no idea.
But first, the song. The title is "Salelaka Mokonzi", "Keep working for the Lord". Now, what video do I give y'all? I will certainly give you this one, which, despite being a bit slow for my taste, basically has the text completely right – just a Kristu instead of Kristo, and another difference from my text which is perfectly valid and I will comment on below.
But, that only has two verses, and my childhood featured hearing a version with three. For that, I give you this one. Oh, there's actually 6 verses to this song – SIX. That was a surprise.
OK, so now I definitely have to analyze the text I reconstructed. Indeed, there was not a single completely correct text online, so, after a first analysis with this half-translated originally-French Lingala dictionary and Glosbe's Lingala reference, and a Quora help request, and asking a Stack Exchange question about Lingala subject prefixes, I used this chat room, which I'd created to discuss the song without asking an Off-Topic question, to make a huge critical note comparing all versions and reconstructing a sensible text. Huge critical note that probably was turned into this monster of a video, with a follow-up in this baby monster.
So let's jump into the analysis. Feel free to skip the bulleted list and go straight to the dating info and the song. For the analysis, I will let the tone marks, ɛs, and ɔs slide. In the actual text, I tried to gather as much info on those as possible. Lingala is a tone language with 7 vowels, a e i o u ɛ ɔ, but the pairs e/ɛ and o/ɔ are often not differentiated in writing, and the tone marks are often omitted. The spoiler button hides/reveals the word-by-word analysis, so that those not interested can hide it and skip to the lyrics and translations.

• Verse 1:
  
  1. Line 1:
     
     • Bolingo, which everyone got right, means "love";
     • bwa is a possessive particle; I'm not entirely sure if this should take the class of the possessee (in this case bolingo, making bwa the right form) or of the possessor (Nzambe here, which would make it wa); I suspect it's the former, otherwise "Lolaka l'anjelu" would have to be "Lolaka w'anjelu", and even the most correct of online versions gives "l'anjelu" there; in any case, it means "of";
     • Nzambe means God;
     • Boleki (sometimes deformed to boneki) is the present or present perfect of koleka, to exceed, surpass, and agrees in subject prefix with bolingo;
     • Bonene is a noun for greatness.
     So "The love of God surpasses greatness" is what this line says.
  2. Line 2:
     
     • Wana means He;
     • Atindeli (sometimes tindeli, or more deformed) is the present or present perfect of kotindela, to send … for, derived from kotinda, to send, with the applicative infix -el-, and is in third person singular with a (s)he subject;
     • Biso (sometimes briso) means "us", and goes with the "for" of the applicative -el-;
     • Yesu definitely doesn't need a translation :);
     • Mobikisi (sometimes ntobikisi) is a noun for Saviour.
     So "He sent Jesus the Saviour for us".
• Chorus:
  
  1. Line 1:
     
     • Salelaka is sal- + -el- + -aka, sal- being the root of kosala, to work, -el- being again the applicative infix, and -aka being the recurrent present suffix; no subject prefix, so imperative;
     • Mokonzi means Lord, or chief, commander.
     So "Keep working for the Lord".
  2. Line 2:
     
     • Okoyoka is from the verb koyoka, to feel/smell/hear/understand/listen, with the subject prefix o- for second person singular, and the -ko- infix marking future tense;
     • Esengo means joy;
     • Now, between the previous two words, my childhood's version had ndel, which fit the music badly, as I noticed early on; it should actually be ndel', elided from ndele, "eternally, forever"; some versions have it, some don't, some just have nd'; I went for the last option, as a nice compromise between my childhood version and fitting the music; so we have nde, elided to nd', which means "indeed", basically just an emphatic particle that can be dropped in at will.
     So "You will indeed feel joy".
• Verse 2:
  
  1. Line 1:
     
     • Lolaka means voice;
     • L' is la, the possessive particle agreeing with lolaka (cfr. item for bwa in l. 1 of verse 1 for more on this);
     • Anjelu, or Anzelu, clearly means angel; "la ngelu" and similar have wrong word division, and the g is wrong because, in Lingala, g is always hard; I bet the g arose as an Italian spello and just spread; indeed, there are versions where anjelu is ourtight replaced with the Italian word anjelo… oh sorry, I mean angelo; la could be lwa, as one version reads, but I prefer avoiding that consonant cluster lw.
     • Loye is the present or present perfect of koya, to come, agreeing with lolaka;
     • Maria presumably needs no translation.
     There is a textual controversy here, so I'll postpone translating this line to the end of the verse's discussion.
  2. Line 2:
     
     • Nd' is nde again (cfr. relevant item in the chorus);
     • Oboti is the present / present perfect (henceforth PPF) of kobota, to birth, agreeing with "you" (o- prefix);
     • Emmanuele means Emmanuel, God with us, one of the names of Jesus; note that, if Glosbe's translations are to be trusted, Emmanuele is used for the name of Jesus, whereas Emmanuel, which many have in the song instead of Emmanuele, is used for names of people; also, one m only, I believe; oh, and Emmanuele being the original explains the deformations Emmanueli, Emmanuel y, and Manuele;
     • Kristo means… well, Christ, of course;
     • Mosikoli means Redeemer.
  OK, so we're at the end of the verse. What is this textual controversy? Well, looking at l. 1 as is, you'd guess it means "The voice of the angel came to Mary". And here's the problem: where is that "to"? If you look at usage examples of koya, the only destination that doesn't use a preposition is a word translating to "(t)here", so it seems Lingala uses na exactly where English would use "to", when using koya=come. So where is it? Can it be omitted? Also, what are those versions with loyali? Maybe loyeli, so the voice "came for Mary"? Doesn't sound too right… also, in l. 2, you see nd'aboti, which would refer to Mary, but also… loboti? Like, the voice birthed the Emmanuel? Are you serious? Nah, say I. Ultimately, I had the idea that Maria was actually supposed to be a vocative, and l. 2 had to begin with oboti. So "The voice of the angel came [to you], oh Mary, / Indeed you birthed the Emmanuel, Christ, the Redeemer" is what my text of this verse says. Of course, if we find out "na" can be omitted (and I'm waiting for Stack Exchange user Draconis to ask his Lingala native informant about that and write about it in the chat room), nd'aboti is perfectly valid. But, seeing the variation in versions, nd'oboti seems the best solution: it avoids assuming an omitted preposition, and explains both nd'aboti and loboti as easy corruptions.
• Verse 3: the delirium
  
  1. Line 1:
     
     • Mosaleli means worker;
     • wa is the same old possessive particle (see note about bwa in verse 1);
     • Nzambe means God;
     • Nandimeli (deformed in various ways) is the PPF of kondimela in first person singular, kondimela being from kondima, believe, + -el-;
     • Yo means you.
     So "Worker of God, I believe in you".
  2. Line 2 is impossible to conclusively reconstruct, since the variations are incredibly wild, and fixing the grammar goes far from each. So I give you 5 different versions, starting from the one I eventually chose, and explain why I chose it at verse end.
     
     1. Version 1: "Mpo manso maloba yo mayela ngai".
        
        • Mpo… is a problem; basically, it would seem to mean "so that" or "for" or "because"; however, it is commonly seen followed by na; but more on that at the end;
        • Manso means everything;
        • Maloba means word(s), and agrees with manso; the prefix ma- makes it plural, the singular being liloba;
        • Yo means you, but in this case it is used as a possessive adjective, i.e. with an implied possessive particle; so "your";
        • Mayela is the far past perfect or subjunctive of koyela, from koya, to come, plus applicative -el-;
        • Ngai or nga means I.
        So "So that all your words may come for me", or perhaps mpo can also be used to introduce a wish in the subjunctive, like che in Italian or que in Spanish, and then this would be "May all your words come for me", which sounds like the Angelus;
     2. Version 2: "Mpo manso maloba yo nde".
        
        • Mpo… cfr. above and below;
        • Manso cfr. above;
        • Maloba cfr. above;
        • Yo cfr. above;
        • Nde we know about.
        So "For all your words indeed". This shorter version came from speculating that the different tune had a shorter text for this part than the other verses, and then someone tried to misguidedly complete it and generated a slew of wrong completions, but then… cfr. below for why I discarded this. Spoiler: it has to do with mpo.
     3. Version 3: "Mpo manso malobi yo nd'oyeli ngai".
        
        • Mpo cfr. above and below;
        • Manso cfr. above;
        • Malobi is the PPF of koloba, to speak, agreeing with manso;
        • Yo means you;
        • Nd' is our dear nde;
        • Oyeli is the PPF of koyela, agreeing with you;
        • Ngai cfr. above;
        So "Because everything speaks (i.e. says) [that] you have indeed come for me", where "that" can be omitted as per examples found either on Glosbe or on the Dictionary.
     4. Version 4: "Mpo manso olobi oyo nd'eyeli ngai" or "Mpo manso olobi mayo mayeli ngai".
        
        • Mpo cfr. above and below;
        • Manso cfr. above;
        • Olobi is the PPF of koloba, to speak, with subject you;
        • Oyo is the relative pronoun; here I have doubt on relatives: if any antecedent can work with oyo, and oyo is always regarded as class e- in the clause, then the text I analyse works, otherwise you replace oyo with mayo(?), class prefix + -yo, or whatever the correct form is, and eyeli with mayeli or whatever the class of the relative pronoun's antecedent in the clause becomes; I guess ma- because the antecedent is manso;
        • Nd' is again our dear nde;
        • Eyeli is the PPF of koyela, which should agree with the class the relative's antecedent takes in the clause;
        • Ngai or nga cfr. above.
        So "You speak of everything that has indeed come for me".
     5. Version 5: "Mpo manso olobi oyo nd'elingi" or "Mpo manso olobi mayo malingi".
        
        • Mpo cfr. above and below;
        • Manso cfr. above;
        • Olobi cfr. above;
        • Oyo cfr. above, with the grammar uncertainty again;
        • Nd' is our dear nde;
        • Elingi is the PPF of kolinga, to love, agreeing with the class of the relative (so perhaps it should agree with manso, but again, grammar uncertainty on relatives).
        So "You speak for everything that indeed loves".
     6. Version 6: "Mpo manso maloba yo mayeli ngai".
        
        • Mpo cfr. above and below;
        • Manso cfr. above;
        • Maloba cfr. version 1;
        • Yo ditto;
        • Mayeli is the PPF of koyela, come for;
        • Ngai cfr. above.
        So "Because all your words have come for me".
     Now, from usage examples, it would seem that "mpo" actually means "so that", whereas "for, because" both are "mpo na", which is why I chose version 1, besides the resonance with the Angelus. OK, let me go a bit more in depth and upturn my previous conclusion. First of all, the examples. Note that mpo has po as an alternate form, which is used in several of these examples. The bold parts are my emphasis.
     
     1. ... po na kozonga. ... po azonga. ... po azali kozonga.
        ... to come back. ... so that he would come back. ... because he's coming back.
     2. bazui singa po babenda mutuka
        They took the rope to pull the car.
     3. tata, mama, ndeko, tofuta mpaku ya mabele, po totonga ville ya kinshasa
        papa, mama, cousin, let's pay the ground tax, so that we build the city of Kinshasa
     4. ezali te po tomelaka na nganda moko, nde tokomi baninga
        It's not because we used to drink at the same café, that we became friends
     5. bangotobobo bakima ntshik po nua eleki na bongo
        The idiots have fled school because there's too much weed [lit. because weed is exceeding] in the brain
     6. yaka po tokende kotala yaya na yo ya mwasi
        Come so we go see your big sister
     7. naye po tosolola likambo wana
        I came so that we discuss that problem
     8. tata naza na posa ya mbongo po nasomba bilamba
        Father, I need money to buy [lit. so that I buy] clothes.
     9. nazozela supu na ngai ebela po nalia
        I'm waiting for my soup to be ready for me to eat [lit. so that I eat].
     10. sukola kikalungu po eza(li) salite
         Wash that pan because it is dirty.
     11. kobela te po lobi tokobina
         Don't be sick because tomorrow we will dance.
     12. ebongi obima na mwana na yo po azua mopepe
         You should step out with your child so he can take some air.
     13. yela ngai mwa ndambo ya loso po nalia
         Bring me a small portion of rice so that I eat.
     14. sala nyonso olingi po nakuta ye awa te !
         Do everything you want so that I don't find her here.
     15. Mwana oyo libota naye basundola ye po akoma bulawayo.
         That child, her family abandoned her because she became a prostitute.
     16. Nalembi koliya bazoka oyo po epesi nga mbanga pasi I'm tired of eating this chewing gum, 'cause it makes my jaw hurt [lit. because it gives my jaw pain].
     Now, examples i-iii, vi-ix, and xii-xiv clearly show mpo + -a tense = so that, so that my original translation of the text of version 1 is definitely correct. Note that tokende is basically a variant form of tokenda, AFAICT. However, the remaining examples, namely iv-v, x-xi, and xv-xvi clearly show mpo with a variety of tenses meaning "because" – also, note how xv could be read as "abandonde her so that she became a prostitute", as if they wanted that to happen… such ambiguities…. Note that iv is not among the -a verbs because it's an -aka form, a far past perfect. Anyways, all those examples of mpo = because rehabilitate versions 3 and 6, whereas 2 and 4-5 seem to be lacking a na. Oh btw versions 4-5 were right in the second form for High Lingala, which the song is written in, according to Draconis (see chat room). Anyway, based only on linguistic and comparative considerations, since version 3 is apparently grammatically sound, can mean what I translated it to, and is closest to the many variations found online, we would conclude version 3 is the way. However, we have a comparandum: the Angelus. And also, we have several translations:
     
     1. Il servitore del Signore | The server of the Lord
        accetta tutto ciò che lui dice e lo ama | Accepts all He says and loves Him.
        IT1;
     2. Angelo di Dio, credo alle tue parola: avvenga di me secondo la tua parola.
        Angel of God, I believe your word: may it be done to me according to your word.
        IT2;
     3. Ho dato ascolto all’angelo | I gave heed to the angel
        Per questo la promessa si è realizzata | Therefore the promise has been realised
        IT3;
     4. I am the handmaid of the Lord, May it be done to me according to your word
        ET1;
     5. Angel of the Lord I believe your words,
        be done to me according your words
        ET2.
     Now IT1 is just plain BS, sorry aleteia but you're waaaay off mark. The only "accept" is possibly nandimeli, but that is first person singular, not third person singular. b and e are virtually identical, and probably both from songbooks, meaning they could have influenced each other. c is off mark, because mpo means because or so that, not therefore. Indeed, c seems like taking version 6 above and switching cause and effect. And d is probably straight-up a version of part of the Angelus. So my conclusion is that, since the Angelus is so well-known among CL people (and perhaps christians in general) and Lingala is hardly known at all (whence the BS translations), the text probably was version 3, and got corrupted in various ways, and the translation was tampered with, either consciously or not, to match the Angelus better, because "this song is the Angelus", as I was told myself. So it's time to translate version 3. I wonder if the original was perhaps "mpo manso malobi ye nd'ayeli ngai", meaning God is the one who came instead of the angel (aka worker of God) as in version 3. It's 23:32 on 4/10/19, and I will translate both of those, to then put them as tabs below. Note that the tabs in the two columns are independent, so changing the Lingala text won't change the translation and viceversa. You have to change both tabs to have matching text and translation.
• Verse 4:
  
  1. Line 1:
     
     • O means oh;
     • Lisumu means sin;
     • Lya (sometimes deformed into nonexistent iya) is the possessive particle for lisumu;
     • Eva needs no translation;
     • Liwa means death;
     • Liye is the PPF of koya agreeing with liwa;
     • Ee means indeed or oh.
     So "Oh the sin of Eve! Death indeed has come". The reason for the ee is that it fits the tune better (or rather excuses a weird drawing out of the e of liye over a certain group of notes). It's entirely optional, which is why some of the three versions I found of this verse don't have it. I originally had amended this to "Mpo lisumu", "Because of the sin", but after seeing the usage example (cfr. discussion at the end of verse 3) I reverted to the "O" of online versions (which sometimes stick it to lisumu).
  2. Line 2:
     
     • Boyambi isn't reported by the dictionary, but translations at Glosbe suggest it means "faith"; the only way to avoid the assumptions those translations are reliable is to fix this to "Moyambi wa Maria mozwi libiki", "The believer of Mary gets salvation", as I had originally done (see below for original translations); however, all versions have "boyambi", changing tozwi to bozwi (as this fix entails) or to mozwi (as the moyambi fix would) is a change anyway, and the moyambi fix would imply "wa", which is different from all versions, which have "bwa" as we will need;
     • bwa is the possessive particle agreeing with boyambi;
     • Maria needs no translation;
     • Mozwi is the PPF of kozwa, to get, to obtain, agreeing with moyambi;
     • Libiki means salvation; the libikisi of one version doesn't seem to exist.
     So "The faith of Mary has obtained (our) salvation".
     UPDATE: Like "O lisumu", we could take "Boyambi" to be a vocative or an exclamation, and then "tozwi" would be OK as a first person plural. «O the faith of Mary! We have obtained salvation». Man these exclamations are outright weird though…
• Verse 5:
  
  1. Line 1:
     
     • Paradízu needs no translation;
     • ya is the possessive particle for Paradizu;
     • Adamu needs no translation;
     • Nzel' is nzela, road, as we will find again in this verse's end;
     • ezipamí is the PPF of kozipama, passive of kozipa, block off, agreeing with nzela.
     So "Oh Paradise of Adam, the road [to you] is blocked off". "ezipani", the form found in online versions, while existing, would mean "block each other off", so it would have no business being here or having a singular subject. I suspect it should be "ezipama", the far past perfect, with Christ today countering the blocking, but that is not strictly necessary so I leave it as a PPF, since a PPF is what is found online.
  2. Line 2:
     
     • Lelo means today;
     • Kristo needs no translation;
     • bomɔi means life;
     • Apese is the the PPF of kopesa, to give, to provide;
     • nzela means way, road, as seen above.
     So "Today Christ, the life, gives the way".
• Verse 6:
  
  1. Line 1:
     
     • Mutu means person;
     • nyoso means each, agreeing with mutu;
     • sepela is the imperative of kosepela, to rejoice, which does not have an applicative -el-;
     • Kumisa is the imperative of kokumisa, to sanctify;
     • Nzámbe means God.
     So "Oh every person, rejoice, sanctify God".
  2. Line 2:
     
     • Yembela is the imperative of koyembela, from koyemba, sing, plus applicative -el-;
     • nde we know;
     • ye means He;
     • Mpé means and;
     • tonda is the imperative of kotonda, thank;
     • ye see above.
     So "Sing indeed for Him, and thank Him".
  Honestly, I'd like all those imperatives to be subjunctives, but a) I don't know for sure that this subjunctive can be used to express wishes ("May every person rejoice, [etc]"), and b) Both online versions have imperatives. I gotta say though, the subjunctives would fit the tune better in line 2, though they'd have one syllable too many in l. 1.

Oh by the way, I instinctively used the versions' linebreaking, but the text and translation below split every line from above into two lines.

1. [ENGLISH] I started the translation on 26/9/19, doing two verses and the chorus. Then I translated version 5 of verse 3 as «Oh you worker of the Lord, I believe in you: / You speak for everything which truly doth love» around midnight on 29/9, together with verse 4. Then came the "nd'oboti" version of verse 2, which meant that, at 19:10 on 30/9, verse 2 was changed from «The voice of the Angel to Mary did come, / She birthed the Emmanuel, redeemer Jesus Christ». The next day, at 17:50, I fixed verse 3 as well. Finally, at 17:54 I did verse 6, and at 17:55 I had verse 5 as well, completing the translation.
   But wait: there's more. For the moment, we just have the change from "But he who believes in Mary | His salvation gets» to the present version, 1:18 8/10/19, cfr. the boyambi vs. moyambi debate in verse 4, and the same change in the Italian, from "Ma chi crede in Maria | La salvezza ha», same day same time.
2. [ITALIAN] Did I mention I translated it to Italian? Well, I did. I started on 7/10/19 at 19:14 and had it done by 19:19, modulo the fix I just mentioned. I also want another translation as a column-filler, probably French, but we'll see. Oh, the Italian only translates the default version of verse 3. It gives two versions of the chorus, the first one for "Okoyoka nd'esengo", the second one for "Okoyoka esengo".
3. [FRENCH] Welp, 8/10/19 15:02-15:10, the whole French was done, with just a rue->route at the end of verse 5 and a discarding of "En sanctifiant Dieu" before even writing it in verse 6.
4. [MULTILINGUAL UPDATE 1] Preparing for the analysis video, I figured out that:
   
   • «Mpo manso maloba yo nd'oyeli ngai» could be «So that everything may say you indeed have come for me», and adopted it since one version is essentially this text; this means an extra tab for Lingala and English, and that the Italian «Tutto mi dice che / Sei venuto per me» and the French «Car tout me dit que tu / Es venu pour moi» need fixing. New English version 30/10/19 23:56. New Italian version same day 23:57. New French version same day 23:58.
   • The "musumuki" could be "mosumuki", "sinner", which I prefer to "mutu nyoso" because the translation is less clunky :), which means that «Rejoice oh people all», «Che gioisca ogni uomo», and «Que chaque homme se réjouisse» need fixing. English 30/10/19 0:01, Italian (includes fixing all verbs) 0:02, French (includes fixing «Et le remercie» at the end) 0:02.
   Also, at 0:05 I finally do away with the problem of "today" stressed by the music on the o in verse 5's «But today Christ the life»[, presumably by moving "today" to the end of the line].
5. [MULTILINGUAL UPDATE 2] Update of 31/5/20, day of recording the English, and perhaps also the other, translations:
   
   • Why the heck do I have mutu nyoso in verse 6 when I opted for mosumuki? Fix! Also, «Yembela nde Ye» is missing an ɛ́ɛ́.
   • Between today and last sunday (24/5), probably no sooner than thursday (28/5), new options came up for the Italian chorus, «Gioia certo tu ne avrai» and «Gioia vera/invero tu ne avra», but I still opted for the one below, getting rid of «Certo gioia sentirai».
   • What in the world possessed me to translate verse 2 as «The voice of the angel, Mary, came to you», which fits the tune as much a swarm of flies at a bar mitzvah? (Thanks Lemony Snicket for that simile :).) Thought up the fix below around 12:55:30 as I recorded the bottom voice for the English version.
   • The below follows the bottom voice (I refrain from transcribing the lyrics of every voice, the captions in the video will do that), putting the non-parallel voice of the chorus and the bottom voice's "pseudo-chorus" that's after each of verses 3-6 in braces. However, even the bottom voice has changed quite a bit as, between 16/4 and 17/4, I fit the words to the tune. More specifically, the changed parts were:
     
     • «Oh Paradise of Adam, / Your road has been blocked, / But Christ, the life, today / Opens up the way», aka verse 5 in English;
     • «Come, sanctify God» in the English verse 6;
     • «Il peccato original / La morte portò» in Italian verse 4;
     • «Dio santifica» in Italian verse 6;
     • «Ainsi qu'tout me dise que tu» in French verse 3;
     • «O le péché de Ève! / La mort est venue. / Mais la foi de Marie / Nous a sauvés» aka French verse 4;
     • Adding «maintenant» in l. 2 of French verse 5.
   • Around 13:02 today, right after recording the English bottom voice, I thought up the English non-parallel voice. I'm not sure I remember that now, but it's time to add a version to all languages, starting 14:02:30, finishing 14:05:30.
6. [FRENCH UPDATE] For the French video, recorded on 14/6/20 (first 4 voices) and 21/6/20 (non-parallel one), I made a couple of changes to the text, which concerned the following lines, below in their original form:
   1. Il nous a mandé son Fils;
   2. Travaille: tu s'ras heureux, which oscillated between séras and sėras;
   3. Ta route est férmée maintenant.
7. [CHINESE] But that is not the end, because at 10:30-10:41 on 31/1/21 I translate two verses and the chorus into Chinese, with a tweak at 17:31.
   Then this sits incomplete on my computer until, on 24/4/21, I take it back up and do verse 3 in 1/4h before 22, and verse 4 in the 1/4h right after midnight. Then I finally get around to the other two verses on 9/5/21, 18:07-18:28. Then, after a chorus tweak at 18:30, I add it in here at last.
   At some point I debated whether 快乐 or 幸福 is best here. I'm still not sure, I'll have to ask a native, perhaps the Chinese priest I have among my contacts. Will do at some point.
   In the meantime though…
   
   1. Original chorus: «请为了天主工作 / 你会感到真快乐»;
   2. On 12/4/22 between 16 and 16:30, I change the chorus from the original to «你就感到真快乐»…
   3. …then «你就感到大快乐»;
   4. Then on 18/10/22 I think back to this and consider «你就变得真快乐»…
   5. …and «你一定就变快乐»…
   6. …and «你就一定变快乐»…
   7. …to finally land on «就变得真地快乐» at 16:15 on 22/10, still with the doubt as to whether to use 快乐 or 幸福; leaving the former for now, and off I go to replace the current «你就感到大快乐»;
   8. And on 22/11/22 at 13:47 I think of taking that version back to having zhēn instead of dà [so 你就感到真快乐], and honestly, I will not implement this 22/11 version;
   9. 19/2/23 9:04 Turkish time I think of 你就觉得真快乐, but mentioning it here I think the current… 就变得真地快乐? Wasn't it supposed to be 你就感到真快乐? I guess it's even better than what I thought was current then, and it uses the juede of the new version;
   10. Then on 10/6/23 at 18:47 I think back to the multiplicity of choruses in Chinese and I establish a more literal version to be adopted as final and replace the current one (which I just found out to be 就变得真地快乐): 就拥有真的幸福;
   11. And as I type this at 23:51 on 13/6/23, I think of using 真正 in there, which eventually ends up turning 你就感到真的快乐 to 你就拥有真正的幸福.

Let's jump into it, shall we?

Bolingo bwa Nzámbe Bolekí bonɛ́ne Wan'atindelí bísó Yésu Mobíkisi Chorus Sáleláká Mokonzi Okoyoka nd'esengo {Sálelá Mokonzi, iya ee Sálelá Mokonzi, iya ee Mokó Mokonzi, Mokó Mokonzi, Mokó Mokonzi, Mokó Mokonzi, Sálelá Mokonzi, iya ee Sálelá Mokonzi, iya ee} Lolaka l'anjelu Loye, Maria, Nd'obotí Emanuele Krísto Mosikoli Chorus 1 3 3b 4 Mosáleli wa Nzámbe Nandimelí yɔ̌ Mpó manso maloba yɔ̌ Mayelá ngai {Sálelá Mokonzi, Okoyoka nd'esengo!} Mosáleli wa Nzámbe Nandimelí yɔ̌ Mpó manso malobí Yɔ̌ nd'oyelí ngai {Sálelá Mokonzi, Okoyoka nd'esengo!} Mosáleli wa Nzámbe Nandimelí yɔ̌ Mpó manso malobí Ye nd'ayelí ngai {Sálelá Mokonzi, Okoyoka nd'esengo!} Mosáleli wa Nzámbe Nandimelí yɔ̌ Mpó manso maloba Yɔ̌ nd'oyelí ngai {Sálelá Mokonzi, Okoyoka nd'esengo!} Chorus O lisúmu lya Eva, Liwá liye ɛ́ɛ́, Boyambi bwa Maria Tozwí libiki. {Sálelá Mokonzi, Okoyoka nd'esengo!} Chorus Paradízu ya Adamu, Nzel'ezipamí, Lɛlɔ Kristo bomɔi Apɛ́sé nzelá. {Sálelá Mokonzi, Okoyoka nd'esengo!} Chorus Mosumuki sepelá Kumisá Nzámbe, Yembelá nde Ye ɛ́ɛ́, Mpé tɔ́ndá Ye {Sálelá Mokonzi, Okoyoka nd'esengo!} Chorus L'amor di Dio per noi Supera ogni misura: Per noi Lui mandato ha Gesù il Salvator. Rit. Lavora per il Signor, Felice ti sentirai {Sì, lavorā per il Signor! Sì, lavorā per il Signor! Un solo Signor, Un solo Signor, Un solo Signor, Un solo Signor, Sì, lavorā per il Signor! Sì, lavorā per il Signor!} La voce dell'angelo Giunse a te, o Maria, E nacque l'Emmanuele Cristo Redentor Rit. Servitore del Signor, Ïo credo in te: Perché tutto dica che Sei venuto per me {Lavora per il Signor, Sarai felīce!} Rit. Fu la colpa di Eva che La morte ci portò, Per la fede di Maria La salvezza abbiam {Lavora per il Signor, Sarai felīce!} Rit. Paradiso di Adamo, Chiusa è la via per te; Oggi Cristo, vita nostra, Apre a noi la via. {Lavora per il Signor, Sarai felīce!} Rit. Peccator, rallegrati, Santifica il Signor: Canta inni a Lui E ringrazialo. {Lavora per il Signor, Sarai felīce!} Rit. 天主的那段爱 意想不到地大 他曾经把救世主 耶稣送给我们 合唱： 请为了天主工作 就拥有真的幸福 【请继续为天主来工作 请继续为天主来工作 有一位天主 只一位天主 有一位天主 只一位啊 请继续为天主来工作 请继续为天主来工作】 天使的声音来 玛利亚的耳朵 她生了厄玛奴耳 基督那赎当者 合唱 哦天主的仆人啊， 我相信于你 为了万物说 你为我而来 （请位天主工作 你就拥有真正的幸福） 合唱 为了夏娃的原罪 死亡就有来 玛丽亚的信仰 将我们拯救 （请位天主工作 你就拥有真正的幸福） 合唱 亚当的天堂啊 道路阻塞了 基督就是生活 他也开道路 （请位天主工作 你就拥有真正的幸福） 合唱 啊罪人情开心 请将天主圣化 给他唱赞歌 给他感谢 （请位天主工作 你就拥有真正的幸福） 合唱

The love of God for us Is exceedingly great, So great that he sent his son, Our Saviour, Jesus Christ Chorus: Keep on working for the Lord: You certainly will feel joy {Oh keep on with your work for the Lord! Oh keep on with your work for the Lord! The one only Lord, The one only Lord, The one only Lord, The only Lord, Oh keep on with your work for the Lord! Oh keep on with your work for the Lord!} The angel of the Lord, Mary, spoke to you, You birthed the Emmanuel, Redeemer Jesus Christ. Chorus 1 3 3b 4 Oh you worker of the Lord I believe in you: May all the words you say Happen for me {Oh work thou for the Lord, You will indeed feel joy!} Oh you worker of the Lord I believe in you: For ev'rything doth say You have come for me {Oh work thou for the Lord, You will indeed feel joy!} Oh you worker of the Lord I believe in you: For ev'rything doth say He has come for me {Oh work thou for the Lord, You will indeed feel joy!} Oh you worker of the Lord I believe in you: So ev'rything may say You have come for me {Oh work thou for the Lord, You will indeed feel joy!} Chorus Because of the sin of Eve, Death has come for us. It was the faith of Mary That saved us all {Oh work thou for the Lord, You will indeed feel joy!} Chorus Paradise of Adam's time, Blocked is the road to you, But Christ, the life, today He leads the way. {Oh work thou for the Lord, You will indeed feel joy!} Chorus Oh sinner, you rejoice, Sanctify God, Sing songs of praise for Him And thank Him {Oh work thou for the Lord, You will indeed feel joy!} Chorus L'amour de Dieu pour nous Est vraiment infini: Il nous a envoyé son Fils, Jésus, nôtre Sauveur. Ref. Travaille pour le Seigneur, Tu séras vraiment heureux. {Oui, travaille donc pour le Seigneur! Oui, travaille donc pour le Seigneur! Y a seul un Seigneur, Y a seul un Seigneur, Y a seul un Seigneur, Y a seul un Seigneur, Oui, travaille donc pour le Seigneur! Oui, travaille donc pour le Seigneur!} La voix de l'ange de Dieu Vint à toi, ô Marie, T'as enfanté l'Emmanuel, le Christ, le Rédempteur. Ref. Ô serviteur du Seigneur, Moi je crois en toi, Ainsi que tout dise que tu Es venu pour moi. {Travaille pour le Seigneur, Travaille: tu s'ras heureux!} Ref. Il fut le péché de Ève Qui nous porta la mort, Mais la foi de Marie Nous a tous sauvés. {Travaille pour le Seigneur, Travaille: tu séras heureux!} Ref. Ô Paradis d'Adam, Ta route est férmée! Aujourd'hui Christ, la vie, Nous ouvre la route. {Travaille pour le Seigneur, Travaille: tu séras heureux!} Ref. O! Réjouis-toi donc, pécheur, Et sanctifie Dieu, Chante des hymnes pour Lui Et remercie-Le. {Travaille pour le Seigneur, Travaille: tu séras heureux!} Ref. Tiānzhǔ de nà duàn ài Yìxiǎngbùdào de dà Tā céngjīng bǎ Jiùshìzhǔ Yēsū sòng gěi wǒmen Héchàng: Qǐng wèile Tiānzhǔ gōngzuò Jiù yǒngyǒu zhēn de xìngfú [Qǐng jìxù wéi Tiānzhǔ lái gōngzuò Qǐng jìxù wéi Tiānzhǔ lái gōngzuò Yǒu yī wèi Tiānzhǔ Zhǐ yī wèi Tiānzhǔ Yǒu yī wèi Tiānzhǔ Zhǐ yī wèi a Qǐng jìxù wéi Tiānzhǔ lái gōngzuò Qǐng jìxù wéi Tiānzhǔ lái gōngzuò] Tiānshǐ de shēngyīn lái Mǎlìyǎ de ěrduǒ Tā shēngle Èmănúěr Jīdū nà Shúdàngzhě Héchàng Ó Tiānzhǔ de púrén a, Wǒ xiāngxìn yú nǐ Wèile wànwù shuō Nǐ wèi wǒ ér lái (Qǐng wèi Tiānzhǔ gōngzuò Nǐ jiù yǒngyǒu zhēnzhèng de xìngfú) Héchàng Wèile Xiàwá de yuánzuì Sǐwáng jiù yǒu lái Mǎlìyà de xìnyǎng Jiāng wǒmen zhěngjiù (Qǐng wèi Tiānzhǔ gōngzuò Nǐ jiù yǒngyǒu zhēnzhèng de xìngfú) Héchàng Yàdāng de tiāntáng a Dàolù zǔsèle Jīdū jiùshì shēnghuó Tā yě kāi dàolù (Qǐng wèi Tiānzhǔ gōngzuò Nǐ jiù yǒngyǒu zhēnzhèng de xìngfú) Héchàng A zuìrén qíng kāixīn Qǐng jiāng Tiānzhǔ shènghuà Gěi tā chàng zàngē Gěi tā gǎnxiè (Qǐng wèi Tiānzhǔ gōngzuò Nǐ jiù yǒngyǒu zhēnzhèng de xìngfú) Héchàng

Hoy arriesgaré

En el último post hemos visto a una canción en Chino en que se hablaba de tenir coraje y afrontar todo, sin jamás darse vuelta. Hoy vemos una otra canción de coraje, para así decir, que se llama Hoy arriesgaré, como ese post. La he traducida al Chino entre el 12 y el 13/6/19. ¡Vémola!

El drama de la existencia
Busca encontrar su verdad,
Quiere ocultar su Presencia
Su Encarnación olvidar.
Mi voluntad luchará
Por mantener su justicia
Mi vida es su pertenencia,
Nada me lo impedirá.

Estribillo:
Hoy cantaré,
Cantaré mi vida o mi muerte.
Hoy arriesgaré,
Arriesgaré toda mi suerte.
Hoy cantaré,
Cantaré mi vida o mi muerte.
Hoy annunciaré,
Annunciaré que El sigue presente.

He conocido la fuente
Que salva al hombre del mal,
En mi carne es grito fuerte
Y en mi sangre tempestad.
Mi nueva ley es la historia,
Que me ha tocato seguir,
Grande es su misericordia
Aunque non lo merecí.

Estribillo

生存的那喜剧性事 想找到自己的真理 想要隐藏牠的出席 道成肉身想忘记 我的意志将斗争 为了保持祂的正义 我生活是祂的资产 阻碍我无事可能 合唱： 今天就来唱 就来唱我生活，我死亡 今天就来冒险 就来冒险我所有的命运 今天就来唱 就来唱我生活，我死亡 今天就来宣布 就来宣布祂继续出席啊 我已认识那个喷泉， 从万恶救人的源头， 我的肉里有大叫喊， 我血里风暴雨骤。 我新的法律，它就是 已得跟随的故事， 祂的怜悯很伟大了， 虽然我没有等值。1 合唱 1或者“虽大于我的正直”。

Shēngcún de nà xǐjùxìng shì Xiǎng zhǎodào zìjǐ de zhēnlǐ Xiǎngyào yǐncáng tā de chūxí Dàochéng Ròushēn xiǎng wàngjì Wǒ de yìzhì jiāng dòuzhēng Wèile bǎochí tā de zhèngyì Wǒ shēnghuó shì tā de zīchǎn Zǔ'ài wǒ wú shì kěnéng Héchàng: Jīntiān jiù lái chàng Jiù lái chàng wǒ shēnghuó, wǒ sǐwáng Jīntiān jiù lái màoxiǎn Jiù lái màoxiǎn wǒ suǒyǒu de mìngyùn Jīntiān jiù lái chàng Jiù lái chàng wǒ shēnghuó, wǒ sǐwáng Jīntiān jiù lái xuānbù Jiù lái xuānbù tā jìxù chūxí a Wǒ yǐ rènshì nà gè pēnquán, Cóng wàn'è jiù rén de yuántóu, Wǒ de ròu li yǒu dà jiàohǎn, Wǒ xuè lǐ fēng bào yǔ zhòu. Wǒ xīn de fǎlǜ, tā jiù shì Yǐ děi gēnsuí de gùshì, Tā de liánmǐn hěn wěidàle, Suīrán wǒ méiyǒu děngzhí.1 Héchàng 1Huòzhě “suī dà yú wǒ de zhèngzhí”.