Your heart

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

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

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

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

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

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

Dammi un pochino di cielo

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

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

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

The cranes

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

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

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

Il pero

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

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

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

On spelling and transliteration

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

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

      Аа

      Бб

      Вв

      Гг

      Дд

      Ее

      Ёё

      Жж

      Зз

      Ии

      Йй

      Кк

      Лл

      Мм

      Нн

      Оо

      Пп

      Рр

      Сс

      Тт

      Aa

      Bb

      Vv

      Gg

      Dd

      Ĵe ĵe

      Ĵo ĵo

      Žž

      Zz

      Ii

      Jj

      Kk

      Ll

      Mm

      Nn

      Oo

      Pp

      Rr

      Ss

      Tt

      
      
      

      Уу

      Фф

      Хх

      Цц

      Чч

      Шш

      Щщ

      Ъъ

      Ыы

      Ьь

      Ээ

      Юю

      Яя

      Uu

      Ff

      Kh kh

      Ts ts

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

      Šš

      Śś

      `

      Yy

      '

      Ee

      Ĵu ĵu

      Ĵa ĵa

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

      ا

      ب

      ت

      ث

      ج

      ح

      خ

      د

      ذ

      ر

      ز

      س

      ش

      ص

      ض

      ط

      ظ

      ع

      غ

      ف

      ق

      ک

      ل

      م

      ن

      ه

      و

      ی

      '/ā

      b

      t

      ṯ

      j

      ḥ

      x

      d

      ḏ

      r

      z

      s

      š

      ṣ

      ḍ

      ṭ

      ẓ

      `

      ğ

      f

      q

      k

      l

      m

      n

      w/ū

      h

      y/ī

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

       ا

       ب

       پ

       ت

       ٹ

       ث

       ج

       چ

       ح

       خ

       د

       ڈ

       ذ

       ر

       ڑ

       ز

       ژ

       س

       ش

       ص

       ض

       ط

       ظ

       ', â

       b

       p

       t

       ṭ

       s̱

       j

       c

       h

       x

       d

       ḍ

       ẕ

       r

       ṛ

       z

       ž

       s

       š

       ṡ

       ẑ

       ṫ

       ż

       'alif

       bê

       pê

       tê

       ṭê

       s̱ê

       jîm

       cê

       baṛî hê huttî hê

       xê

       dâl

       ḍâl

       ẕâl

       rê

       ṛê

       zê

       žê

       sîn

       šîn

       ṡẃâd

       ẑẃâd

       ṫôê

       żôê

       
       
       

       ع

       غ

       ف

       ق

       ک

       گ

       ل

       م

       ن

       ں

       و

       ه

       ھ

       ی

       ے

       ؤ ,ئ ,إ/أ

       `

       ğ

       f

       q

       k

       g

       l

       m

       n

       ṅ, ṇ

       w, û, ô, ô̱, ŭ

       ḥ, ĥ

       ẖ

       y, î, ě, ě̱, ẹ̌, ĭ?

       ê, ê̱

       '', ŷ, ŵ

       `ě̱n

       ğě̱n

       fê

       qâf

       kâf

       gâf

       lâm

       mîm

       nûn

       nûn ğunnaĥ

       wâŵo

       gôl ḥê cḫôṭî ḥê

       dô cašmî ḥê

       cḫôṭî yê

       baṛî yê

       'alif hamzaĥ, yê hamzaĥ, wâŵo hamzaĥ

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

       ا

       ب

       پ

       ت

       ٹ

       ج

       چ

       ح

       خ

       د

       ذ

       ر

       ز

       ژ

       س

       ش

       ص

       ض

       ط

       ظ

       ع

       غ

       ف

       ق

       ک

       گ

       ل

       م

       ن

       و

       ھ

       ی

       '/â

       b

       p

       t

       s̱

       j

       č

       h/ë

       x

       d

       ẕ

       r

       z

       ž

       s

       š

       ṣ

       ẑ

       ṭ

       ẓ

       `

       ğ

       f

       q

       k

       g

       l

       m

       n

       w/û/ô

       ẖ

       y/î/ê

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

       א

       ב

       ג

       ד

       ה

       ו

       ז

       ח

       ט

       י

       כך

       ל

       מם

       נן

       ס

       ע

       פף

       צץ

       ק

       ר

       ש

       ת

       '

       v/b

       g

       d

       ḥ

       v/ų/ǫ

       z

       ħ

       ṭ

       j/į/ę

       kh/k

       l

       m

       n

       ṣ

       `

       f/p

       tz

       q

       r

       s/sh

       t

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

Lunga strada

Oramai dei legami non mi preoccupo neanche più. Oggi canzone russa, дорогой длинною | Dorógoj dlínnoĵu, "Su una lunga strada", che è anche l'originale di Those were the days, nel senso che i Cream (band britannica) hanno rubato la musica alla canzone russa e ci hanno cacciato dentro un testo inglese. La russa mi è arrivata dal libretto dei canti del CLU, di cui ho decifrato tutte le canzoni russe (infatti chissà mai che ne arrivi qua qualcun'altra), e poi l'ho tradotta in italiano. Tra 27/7 e 29/7/20 avevo prima strofa e ritornello, e poi l'1/8 ho fatto pressoché tutto il resto, con qualche aggiustamento da fare, fatti un po' quello stesso giorno e un po' il seguente. Poi riascoltandola registrata il 23/8/20 noto che ho perso i legami col ritornello delle strofe 4-5. La 5 si aggiusta in un attimo, e alle 19:31 da «Che da un'eternità non son più qua» prende la forma attuale. La quarta è assai più ostica. Vediamo cosa riesco a fare. Intanto "eti" è "queste", non "quelle", ma questo non risolve il problema. E sono le 19:33. «Anche quelle notti perse abbiam»… «Anche quelle notti abbandoniam» (19:34)? «Notti e notti invano a bruciar […] Anche quelle notti dovranno andar» non mi convince, e ha una nota in più. 19:36. «Notti e notti il fuoco invan consumò […] Ogni notte nostra lontano andò» o «Quelle notte più non hai, non ho» sono pure peggio (19:39), e l'ultima manco risolve il problema. «Notte dopo notte bruciammo invan […] Anche quelle notti lontano van» hmm, 19:41. Boh, nun me viène :). Vediamola!

Е́хали на тро́йке с бубенца́ми, А вдали́ мелька́ли огоньки́. Эх, когда́ бы мне тепе́рь за ва́ми, Ду́ши бы разве́ять от тоски́! Припев: Доро́гой дли́нною, да но́чью лу́нною, Да с пе́сней той, что вдаль лети́т, звеня́, И с той стари́нною, да, семистру́нною, Что по ноча́м так му́чает меня́... Так живя́ без ра́дости, без му́ки, По́мню я уше́дшие года́, И твои́ сере́бряные ру́ки В тро́йке, улете́вшей навсегда́ Припев Дни бегу́т, печа́ли умножа́я, Мне так тру́дно про́шлое забы́ть. Как-нибу́дь одна́жды, дорога́я, Вы меня́ свезёте хорони́ть. Припев Да, выхо́дит, пе́ли мы зада́ром. Понапра́сну ночь за но́чью жгли. Е́сли мы поко́нчили со ста́рым, Так и но́чи эти отошли́! Припев В даль ину́ю — но́выми путя́ми — Ехать нам судьбою суждено! Ехали на тройке с бубенцами, Да тепе́рь прое́хали давно́. Припев Никому́ тепе́рь уж не нужна́ я, И любви́ было́й не вороти́ть, Коль порвётся жизнь моя́ больна́я, Вы меня́ вези́те хорони́ть. Припев Viaggiavano in una trójka con campanelli, Ma in lontananza tremolavano le luci. Ah, quand'io fossi ora con voi, I [nostri] spiriti scaccerei dalla malinconia! Rit.: Su una strada lunga, sì, in una notte di luna, Sì, con questa canzone, che lontano vola, risuonando, E con questa vecchia [chitarra], sì, a sette corde, Che ogni notte così mi tormenta… Così vivendo senza gioia, senza dolore, Penso agli anni passati, E alle tue argentee mani Nella trójka volata via per sempre… Rit. I giorni volano, i dolori moltiplicando, Per me è così difficile del passato dimenticarmi. In qualche modo un giorno, cara, Voi mi porterete a seppellire. Rit. Sì, salta fuori che abbiam cantato per niente. Invano notte dopo notte siam bruciati. Se abbiam chiuso col passato, Allora anche quelle notti sono andate via! Rit. In altre lontananze – su nuove strade – Di andare ci è assegnato dal fato! Viaggiavano in una trójka con campanelli, Sì, ora se ne sono andati da tempo. Rit. A nessuno ora più non sono necessaria io, E l'amor passato non ritornerà, Quando si spezzerà la vita mia malata, Voi portatemi a seppellire. Rit.

Ĵékhali na trójkĵe s bubĵentsámi, A vdalí mĵel'káli ogon'kí. Ekh, kogdá by mnĵe tĵepĵér' za vámi, Dúši by razvĵéĵat' ot toskí! Pripĵév: Dorógoj dlínnoĵu, da nóćĵu lúnnoĵu, Da s pĵésnĵej toj, čto vdal' lĵetít, zvĵenĵá, I s toj starínnoĵu, da, sĵemistrúnnoĵu, Čto po noćám tak múćaĵet mĵenĵá Tak živĵá bĵez rádosti, bĵez múki, Pómnĵu ĵa ušédšiĵe godá, I tvoí sĵerĵébrĵanyĵe rúki V trójkĵe, ulĵetĵévšĵej navsĵegdá… Pripĵév Dni bĵegút, pĵećáli umnožáĵa, Mnĵe tak trúdno próšloĵe zabýt'. Kak-nibúd' odnáždy, dorogáĵa, Vy mĵenĵá svĵezĵótĵe khoronít'. Pripĵév Da, vykhódit, pĵéli my zadádom. Ponaprásnu noć' za nóćĵu žgli. Ĵésli my pokónćili so stárom, Tak i nóći éti otošlí! Pripĵév V dal' inúĵu – nóvymi putĵámi – Ĵékhat' nam sud'bóĵu suždĵenó! Ĵékhali na trójkĵe s bubĵentsámi, Da tĵepĵér' proĵékhali davnó. Pripĵév Nikomú tĵepĵér' už nĵe nužná ĵa, I lĵubví bylój nĵe vorotít', Kol' porvĵótsĵa žizn' moĵá bol'náĵa, Vy mĵenĵá vĵezítĵe khoronít'. Pripĵév In carrozza stavano viaggiando, Le luci si vedevan tremolar, Ah, se or vi stessi accompagnando, Ci saprei di certo rallegrar Rit. Su strada lunga assai. Tu o luna luce fai, E il canto mio lontan risuonerà, E con me sulla via c'è la chitarra mia, Che un gran tormento a me ogni notte dà. Così, senza gioie né dolori, Penso a tutto il tempo che passò, Alle tue mani, argentee nei colori… La carrozza tua lontan volò… Rit. Ogni giorno aumenta il mio dolore M'è così difficile scordar... Certo un dì, amata del mio cuore, Voi mi porterete a sotterrar! Rit. Sì, alla fin per niente abbiamo cantato, Notti e notti invan bruciati siam, Se noi abbiamo chiuso col passato, Anche quelle notti abbandoniam! Rit. Nuova lontananza e nuove strade: Il nostro destino è questo qua! In carrozza andavano, ed accade Che sono andati da un'eternità! Rit. Da nessuno più son ricercata, E l'amor non può più ritornar… Finita questa vita mia malata, Portatemi, deh, voi a sotterrar! Rit.

Quando sei sola, a chi penserai?

Oggi una bellissima canzone cinese, 当你孤单你会想起谁 | Dāng nǐ gūdān nǐ huì xiǎngqǐ shéi, che dà il titolo al post. Anno 9 canzone 22, beccata su Youtube il 20/2/20, mi è piaciuta subito, l'ho "salvata" in memoria come candidata alla traduzione, e finalmente il 26/4/20 di sera l'ho tradotta in italiano e francese. E niente, il 30/5/20 alle 19:31, poco dopo aver registrato, cantando l'italiano mi viene in mente di cambiare «Come compagno chi cercherai?» nella sua forma attuale. Un minuto prima, e lo registravo. Vabbeh :). Poi il 20/10/21 alle 0:47, memore dell'analoga correzione suggerita su Lyricstranslate per la versione francese qui, aggiusto «ton côtés» pluralizzandolo (hah! endecasillabo!). Vediamola!

你的心情总在飞 什么事都想去追 想抓住一点安慰 你总是喜欢 在人群中徘徊 你最害怕 孤单的滋味 你的心那么脆 一碰就会碎 经不起一点风吹 你的身边总是要 许多人陪 你最害怕 每天的天黑 但是天总会黑 人总要离别 谁也不能 永远陪谁 而孤单的滋味 谁都要面对 不只是你我 会感觉到疲惫 *当你孤单你会想起谁？ 你想不想找个人来陪？ #你的快乐伤悲 只有我能体会 让我再陪你走一回 所有从开始 * # # Il tuo cuor volando va, Ogni cosa inseguirà, Si vuol solo un po' confortar... Ti piace sempre Tra la folla vagar, Hai il terror Di stare sola. Ma che fragile cuor: Si rompe a sfiorar, La brezza sopportar non può. Insieme a te vuoi sempre Tanti portar E del tramonto Hai terrore. Ma il tramonto verrà, La gente via va, Nessun per sempre Con qualcuno sta Tutti noi affrontiam Da soli di star Non siam sol noi due Che ce ne stanchiamo... *Quando sei sola, a chi penserai? Vuoi un compagno? Chi cercherai? #Gioie e dolori tuoi Puoi darmi, se lo vuoi: Star con te ancora mi farai? Tutto da capo * # #

Nǐ de xīnqíng zǒng zài fēi Shénme shì dōu xiǎng qù zhuī Xiǎng zhuā zhù yī diǎn ānwèi Nǐ zǒngshì xǐhuān Zài rénqún zhōng páihuí Nǐ zuì hàipà Gūdān de zīwèi Nǐ de xīn nàme cuì Yī pèng jiù huì suì Jīng bù qǐ yī diǎn fēng chuī Nǐ de shēnbiān zǒngshì yào Xǔduō rén péi Nǐ zuì hàipà Měi tiān de tiānhēi Dànshì tiān zǒng huì hēi Rén zǒng yào líbié Shéi yě bù néng Yǒngyuǎn péi shéi Ér gūdān de zīwèi Shéi dōu yào miànduì Bù zhǐ shì nǐ wǒ Huì gǎnjué dào píbèi *Dāng nǐ gūdān nǐ huì xiǎngqǐ shéi? Nǐ xiǎng bù xiǎng zhǎo gè rén lái péi? #Nǐ de kuàilè shāngbēi Zhǐyǒu wǒ néng tǐhuì Ràng wǒ zài péi nǐ zǒu yī huí Suǒyǒu cóng kāishǐ * # # Toujours en train de courir, Ton cœur tout c'qu'y a suivit Pour se faire un peu consoler, Tu veux toujours Parmi la foule vaguer, Tu crains beaucoup De seule te rester. Ton cœur, fragile ainsi, Par très peu blessé, Le vent peut pas l'effleurer, Tu veux toujours beaucoup d'gens À tes côtés Tu crains beaucoup Chaque coucher d'soleil Mais le soleil va s'coucher, Les gens vont s'en aller, Personne peut toujours Avec quelqu'un rester L'on doit tous affronter Tous seuls de rester, C'est pas seul nous deux Que ça va fatiguer... *Quand t'es seule, à qui vas-tu penser? Quelqu'un qui t'accompagne veux-tu chercher? #Ta joie et ton souffrir Moi seul j'peux soutenir, Laisse-moi encore avec toi m'en aller. Tout du commencement * # #

O bella ciao

Hi everyone! What? You expected this to be in Italian? But how could I translate this song's title in the post's title :)? Yes, today we have Bella ciao.

• The Chinese version was started 13/9/18, abandoned because of the Wikipedia version, taken up again 6/7/20 12:45, and completed partly (first 3 verses) around that time, and partly in the evening around 22; let me mention that the original rendition of the chorus was «我今天早上 / 一来觉醒了 / 阿美女好， / 美女好， / 美女好，好，好， / 我今天早上 / 一来觉醒了 / 就找到了侵略者。».
• The English version was started 3/7/20 17:49, then completed on 6/7/20, in under 10 minutes just before 22.
• Then in the afternoon of 9/7/21, with tweaks and Flora 40 fixes in the evening and the following morning, I translate both this and the peasantly version (to be posted 13/7/21) into Greek; a few tweaks were done up till 11/7; now, there is one last thing: what to use for "to die" in verses 2/3 in Greek?
  
  • Ψοφώ/ψοφήσω is definitely a nope, just see Wiktionary – should have done that before using the word;
  • We have πεθαίνω, which is hard to fit into the tune, or ξεψυχώ;
  • Now, if we take this as referring to a death by the hand of the invader, then ξεψυχώ, which is more like "pass away", is probably not a good idea;
  • However, I believe this is more of a death by grief: the invader has come to my homeland, so I'm dying – I feel I'm dying, or even I don't want to live anymore; if that is the take, then I believe «Γιατί νομἰζω πως ξεψυχώ» to end verse 2 and «Κι αν ξεψυχάω» to start verse 3 should be fine;
  • To be more non-take-specific, we could go with «Ο θάνατος κοντά μου 'ναι!» and «Κι αν θα πεθαίνω»; I fiddled with "to feel", making variants of the last line of verse 2 such as «πως θα πεθαίνω, τ' αισθάνομαι!», «Τώρα πεθαίνω, τ' αισθάνομαι!», and eventually the one found below, which dates to 15:50 on 11/7;
  I have to note that there is a version «Una mattina / Mi son svegliato» floating around, which I guess was the version on LT, and which I rendered in Greek as «Ένα πρωί, όπως έχω ξυπνήσει» (originally «Ένα πρωί 'γω / Έχω ξυπνήσει,» alias «Ένα πρωί, πως / Έχω ξυπνήσει,»; there is also the question of when I decided to avoid the prodelision in the line that was originally «Να με θάψεις πρέπει 'σύ.»; that seems to have happened somewhere between putting the complete version together on 10/7/21 at 12:18, and drafting/posting the post at 13:20 the same day; finally, there was a change to Όλοι οι λαοί που / Θα 'δω περάσουν» which was lost in the blog, but since the tune has one note less on that line in the originally, I'll keep what I have now; I'm not sure, as I write on 17/12/21 at 17:50 approx, whether the alternation between Στο πρωί τούτο and Στην μέρα τούτη in the first chorus was an accident or intentional, but I'm leaving it in anyway; honestly, I don't want to dig into the translation note to figure out what happened.

Let's see it!

Questa mattina Mi son svegliato, O bella ciao, Bella ciao, Bella ciao ciao ciao! Questa mattina Mi son svegliato E ho trovato l'invasor. O partigiano Portami via, O bella ciao, Bella ciao, Bella ciao ciao ciao! O partigiano Portami via, Che mi sento di morir. E se io muoio Da partigiano, O bella ciao, Bella ciao, Bella ciao ciao ciao! E se io muoio Da partigiano, Tu mi devi seppellir. Seppellire Lassù in montagna, O bella ciao, Bella ciao, Bella ciao ciao ciao! Seppellire Lassù in montagna, Sotto l'ombra di un bel fior. E le genti Che passeranno, O bella ciao, Bella ciao, Bella ciao ciao ciao! E le genti Che passeranno, Mi diranno «che bel fior.» Questo è il fiore Del partigiano, o bella ciao, Bella ciao, Bella ciao ciao ciao! Questo è il fiore Del partigiano, Morto per la libertà 我今天早上 一从梦醒来 美女再见啦， 再见啦， 再见，再见， 我今天早上 一从梦醒来 就看到有侵略者 哦游击队员， 请带我走啊 美女再见啦， 再见啦， 再见，再见， 哦游击队员， 请带我走啊 因我觉得快要死。 像游击队员 来死亡的话 美女再见啦， 再见啦， 再见，再见， 像游击队员 来死亡的话 你就必须埋葬我。 你得埋葬我 葬入山土里 美女再见啦， 再见啦， 再见，再见， 你得埋葬我 葬入山土里 在好花的影子下 而在将来 过路的人们 美女再见啦， 再见啦， 再见，再见， 而在将来 过路的人们 来跟我说：«太美啦！» 这是游击 队员的花朵 美女再见啦， 再见啦， 再见，再见， 这是游击 队员的花朵 他为自由而死亡。 Στο πρωί τούτο Έχω ξυπνήσει, Κοπέλα αντίο, bella ciao, Μπέλα αντίο, καλή, Στην μέρα τούτη Έχω ξυπνήσει, Κι ο επιδρομέας ήταν εκεί. Ω παρτιζάνε, Μακριά ας με πάρεις, Κοπέλα αντίο, bella ciao, Μπέλα αντίο, καλή, Ω παρτιζάνε, Μακριά ας με πάρεις· Αχ, πεθαίνω, τ' αισθἀνομαι! Κι αν θα πεθάνω Σαν παρτιζάνος, Κοπέλα αντίο, bella ciao, Μπέλα αντίο, καλή, Κι αν θα πεθάνω Σαν παρτιζάνος, Να με θάψεις πρέπει εσύ. Να με θάψεις Στα όρη πάνω, Κοπέλα αντίο, bella ciao, Μπέλα αντίο, καλή, Να με θάψεις Στα όρη πάνω Λουλουδιού καλού στην σκιά. Κι οι λαοί που Θα 'δω περάσουν Κοπέλα αντίο, bella ciao, Μπέλα αντίο, καλή, Κι οι λαοί που Θα 'δω περάσουν Θα μου λένε· «Che bel fior.» Αυτό 'ναι τ' άνθος Του παρτιζάνου Κοπέλα αντίο, bella ciao, Μπέλα αντίο, καλή, Αυτό 'ναι τ' άνθος Του παρτιζάνου Που πέθανε για τη λεφτεριά! Αυτό 'ναι τ' άνθος Του παρτιζάνου Που πέθανε για τη λεφτεριά!

Early this morning, I was awoken, Oh beauty bye, Beauty bye, Beauty bye, bye bye, Early this morning, I was awoken By invasors in my land Oh partigiano, Bring me away now, Oh beauty bye, Beauty bye, Beauty bye, bye bye, Oh partigiano, Bring me away now, For I feel I’m about to die! And if I die as A partigiano, Oh beauty bye, Beauty bye, Beauty bye, bye bye, And if I die as A partigiano, Then you have to bury me. Bury me up there Atop the mountains, Oh beauty bye, Beauty bye, Beauty bye, bye bye, Bury me up there Atop the mountains, ‘Neath a pretty flower’s shade. And the people That will pass by me, Oh beauty bye, Beauty bye, Beauty bye, bye bye, And the people That will pass by me, Will all tell me «che bel fior.» This is the flow’r of The partigiano, Oh beauty bye, Beauty bye, Beauty bye, bye bye, This is the flow’r of The partigiano, Who for freedom passed away. Wǒ jīntiān zǎoshang Yī cóng mèng xǐng lái Měinǚ zàijiàn la, Zàijiàn la, Zàijiàn, zàijiàn, Wǒ jīntiān zǎoshang Yī cóng mèng xǐng lái Jiù kàn dào yǒu qīnlüèzhě Ó yóují duìyuán, Qǐng dài wǒ zǒu a Měinǚ zàijiàn la, Zàijiàn la, Zàijiàn, zàijiàn, Ó yóují duìyuán, Qǐng dài wǒ zǒu a Yīn wǒ juédé kuàiyào sǐ. Xiàng yóují duìyuán Lái sǐwáng de huà Měinǚ zàijiàn la, Zàijiàn la, Zàijiàn, zàijiàn, Xiàng yóují duìyuán Lái sǐwáng de huà Nǐ jiù bìxū máizàng wǒ. Nǐ děi máizàng wǒ Zàng rù shān tǔ lǐ Měinǚ zàijiàn la, Zàijiàn la, Zàijiàn, zàijiàn, Nǐ děi máizàng wǒ Zàng rù shān tǔ lǐ Zài hǎohuā de yǐngzi xià Ér zài jiānglái Guòlù de rénmen Měinǚ zàijiàn la, Zàijiàn la, Zàijiàn, zàijiàn, Ér zài jiānglái Guòlù de rénmen Lái gēn wǒ shuō: «Tài měi la!» Zhè shì yóují Duìyuán de huāduǒ Měinǚ zàijiàn la, Zàijiàn la, Zàijiàn, zàijiàn, Zhè shì yóují Duìyuán de huāduǒ Tā wèi zìyóu ér sǐwáng. Sto prōí toýto Ékhō xypní̱së, Kopéla antío, bella ciao, Mpéla antío, kalí̱, Sti̱n méra toýti̱ Ékhō xypní̱së, Ki o epidroméas í̱tan ekë́. Ō partizáne, Makriá as me párës, Kopéla antío, bella ciao, Mpéla antío, kalí̱, Ō partizáne, Makriá as me párës, Akh, pethä́nō, t' ästhánomä! Ki an tha pethánō San partizános, Kopéla antío, bella ciao, Mpéla antío, kalí̱, Ki an tha pethánō San partizános, Na me thápsës prépë esý. Na me thápsës Sta óri̱ pánō, Kopéla antío, bella ciao, Mpéla antío, kalí̱, Na me thápsës Sta óri̱ pánō, Koyloydioý kaloý sti̱n skiá. Ki ö laö́ poy Tha 'dṓ perásoyn Kopéla antío, bella ciao, Mpéla antío, kalí̱, Ki ö laö́ poy Tha 'dṓ perásoyn Tha moy léne: «Che bel fior.» Af̆tó 'nä t' ánthos Toy partizánoy Kopéla antío, bella ciao, Mpéla antío, kalí̱, Af̆tó 'nä t' ánthos Toy partizánoy Poy péthane gia ti̱ lefteriá! Af̆tó 'nä t' ánthos Toy partizánoy Poy péthane gia ti̱ lefteriá!

Ask the evening wind

Yesterday translated to French, today to English, but the language and singer stay the same. Today, another German song by Françoise Hardy, namely Frag den Abendwind, which gives the post its title. Translated to English starting around 11 on 14/3/20 with the chorus, continuing in the evening with 6/8 lines of verse 1 ~20:20, almost completing the verse around 3:30 on 16/3, completing it ~10:30, and finishing the translation that evening ~23:15. As I record it on 18/12/21, I change «He who the rainbow did find» to its current form before 12:12, I'd say around 12, and «Which stood high above the sky» to its current form at 12:23. While captioning the video, I realized that "blind" here means, indeed, "blind", and not "cloudy". It's 23:00 on that day now, and «All the stars, cloud up they do» needs to be fixed… but how to keep that rhyme? I guess just change "cloud up" to either "get blind" or "turn blind" (23:01 both), or, even better, "go blind" (still 23:01). Let's see it!

*Frag' den Abendwind Wo das Glück beginnt, Aber frage nicht Woran es manchmal zerbricht. Frag' den Silbermond Wo die Liebe wohnt, Doch wann sie zerbricht, Das frage nicht. Märchen sind so wunderschön Weil die Kinder sie versteh'n, Und der Prinz am Ende doch Den bösen Drachen stets besiegt. Wer den Regenbogen fand Der am hohen Himmel stand, Der allein weiß wo der schönste Schatz der Welt begraben liegt. * Immer bricht der Sommerwind Blüten, wie ein kleines Kind Das mit seinem schönsten Spielzeug Nichts mehr anzufangen weiß. Alle Straßen sind so grau, Doch die Welt dreht sich im Kreis, Immer werden Sterne blind Wenn neu ein junger Tag beginnt. *

*Ask the evening wind Where happiness begins, But the question drown About why it sometimes breaks down. Ask the moon to tell Where true love doth dwell, But this question drown: "When does it break down?". Fairytales are wonderful 'Cause the children understand, And the prince eventually The evil dragon will sure defeat. He who did the rainbow find Which lay high above the sky, He alone knows where to unearth The treasure that every beauty beats. * Always in the summertime The wind breaks blossoms, like a child Who no longer knōws what To do with the best of his toys. Every road here is so gray, But the world still spins around, All the stars, go blind they do Each time a young day starts anew. *

Rêves

Comment? Un autre post en Français? Eh oui. Aujourd'hui on a une chanson allemande traduite en Français. Il s'agit de Träume, "Rêves". Je l'ai traduite un peu le 10/2/20 et un peu la jour suivant. À 12:17 le 12/2/20 j'ai changé "Car où qu'ils une fois s'attardent" à sa forme actuelle pour raisons musicales. 12/4/20 1:00 "avec autres" -> "avec d'autres". Voyons-la!

Träume, die bei Nacht entstehen Und am Tag vergehen Sind meistens garnicht wahr, Weil sie unter den Millionen Unsrer Illusionen Geboren sind Träume sind wie ferne Wolken Denen andre folgen Solang es Leben gibt. Sag mir, sag wohin sie treiben: Wo sie einmal bleiben Weiss nur der Wind Wie ein Wunder ist die Welt, Jeder Baum und jedes Feld. Wie ein Wunder ist die Welt! Träume, die uns nichts bedeuten, Sollte man beizeiten Mit andern Augen sehn, Weil sie oftmals unser Denken Auf die Wege lenken Die wir dann gehn.

Rêves, dans la nuit ils naissent, Le jour ils nos laissent, La plupart n'est point vraie, Car c’est entre les millions De nos illusions Qu’ils viennent au monde. Rêves, ils sont comme loins nuages Qui avec des autres voyagent Pourvu qu’y a d’la vie. Dis-moi, dis: où est-ce qu'ils voyagent? Où qu’ils une fois s’attardent Seul le vent le sait. O! Le monde est comme une merveille! Chaque arbre et chaque champ au soleil! O! Le monde est comme une merveille! Rêves, ils ne veulent rien dire, On devrait les voire Avec d'autres yeux bientôt Parce que nos pensées ils guient Souvent sur les rues Que nous suivons.