Saturday, 17 February 2024

The Rime of the Ancyent Marinere, in music

So, the point of this post is to narrate the history of, and fix up the details of, a tune I made for the poem in the title.
The starting point is 12/10/11 when, as per my diary, «surgens in mente habui ideam generalem musicæ pro Rime of the Ancyent Marinere» (as I got up, I had in mind the general idea of a tune for the Rime of the Ancyent Marinere). Here is that idea:
There are a couple things from… well, probably late 2011, since by the end of the year we abandoned the Rime in school. It was definitely within high school, which ended in 2012.
The first such thing is a variant for the tune of l. 2 of any stanza, which I give below as associated with l. 6 of the Rime:
So instead of going just up, "next of" goes up then down.
The other thing is I noticed some stanzas had different numbers of lines. In particular, I fixed the tune to accommodate an extra line in the second half (arrow marks stanza beginning):
I finally first wrote this down on 3/12/21, and then noticed some stanzas have extra lines in the first half. For those, I thought I'd just repeat the tune, since I thought it would be 3+2 stanzas. Same day 13:08/09, I thought of what to do with stanzas which had 4 lines in the second half, and came up with this way to repeat the tune (stanza starts at the green vertical playbar):
So so far we have the following kinds of stanzas: 2+2, 2+3, 3+2, 2+4. Now we have to meet the 4+2 stanzas, which I handled at 13:14 of that same 3/12/21 (image starts midway through l. 1 of stanza):
Remember the first of the two other things from probably late 2011? Well, as I wrote this down, at 13:16/17, I thought of integrating it into this thing for l. 3, and at 13:20 I thought of changing its values:
But that, unfortunately, is not all, as I discovered on 1/2/24 when I came back to this to kinda plan the "Poetry after the Classics" episode I plan to do for this tune. Indeed, there is one stanza with 9 lines. For that, I sent myself, at 0:12, the following: «Primo trio con solo variante verso 2, secondo trio con verso 2 "movimentato", terzo trio in tonalità cambiata.». This translates to the following score:
So now the intention is to retrieve the full text from here (I abandoned this link because it didn't match how I remembered stanza 1, with "stoppest" instead of "stopp'st thou" in l. 4), and go through each and every stanza to precisely decide what to do with the tune. For this purpose, I will use the following labels:
  • [1a] [2a] [3a] [4a] for the tune lines of the general idea;
  • [1b] and [2b] for the variants of [1a] and [2a] with the "next of kin" variant from probably late 2011;
  • [1c] and [2c] for the altered-value variants of [1b] and [2b];
  • [1d] for the 4+2 stanzas' l. 2;
  • Any of the above with a ' to warn myself that the line starts with a stressed syllable and the fitting of the words to the tune should be tweaked accordingly;
  • [3b] for the tune of the extra line in X+3 stanzas;
  • [4b] for the altered version of [4a] found in X+4 stanzas;
  • The primed versions of these two, where in particular [3a'] is from 18:08 on 10/2/24 and deletes its first note and turns its second one to two identical quavers.
That should be all. So let's see this text! I hope to eventually side it with this Italian translation, or a modification of it in case this matches the Lyrical Ballads version as opposed to the Sybilline Leaves version reported below, for my non-English-speaking friends. With 142 stanzas, that is going to take quite a while :).
While recording, I applied some tune changes, some willingly, some by mis-singing. I will eventually figure out the latter, but the former, or at least part of them, I noted down in messages to myself:
  1. "A something in the sky" should be 4a not 3a, and the 1s should be 1a, 24/2/24 14:34; these were actually typoes; another one is that «From the sails the dew did drip» should be 2c not 1c;
  2. "Almost upon the western wave", make it a non-prime, 14:37;
  3. "Her locks were yellow as gold" 2c not 2a, 14:49;
  4. "And I heard nor sigh nor groan" 2c not 2b, 14:55;
  5. "I fear thy skinny hand!" 2c not 2a, 14:57;
  6. "I watched the water-snakes" 2c not 2a, 15:07;
  7. "Without or wave or wind" 2a->2b, 12:44, -> 2c, 9/3/24 12:45;
  8. "Had never passed away", 2a->2b, 12:45;
  9. "Doth walk in fear and dread", 2a->2c, 12:45;
  10. "The light-house top I see?", 2a->2c, 12:45;
  11. "Till rising from the same, 2a->2b, 12:46;
  12. "It was a heavenly sight", 2a->2c, 12:48;
  13. "Up to the Moon is cast", 4a->4a', 12:53;
  14. "Nor sound nor motion made", 2c->2a, 12:57;
  15. "No voice did they impart", 2c->2b, 13:04;
  16. "Why, this is strange, I trow", 2a->2c, 10/3/24 17:07;
  17. "And they answered not our cheer", 2a->2c->2b, 17:09;
  18. "Who now doth crazy go", 2a->2c, 17:11;
  19. "Forthwith this frame of mine was wrench'd", 1a->1a', 17:12;
  20. "That agony returns", 2a->2c, 17:12;
  21. "'Tis sweeter far to me", 2a->2c->2b, 17:15;
  22. "And all together pray", 2b->2c, 17:16;
  23. "To thee, thou Wedding-Guest", 2a->2c, 17:17, ->2b, 17:17;
  24. "And is of sense forlorn", 2c->2b, 17:18;
  25. "Which sky and ocean smote", 2a->2c, 17:27;
  26. "I stood on the firm land", 2a->2b, 17:28;
  27. "Alone on a wide wide sea", 2a->2b, 17:31.
  28. Finally, on 16/3/24 at 23:05, I decide that «Turned from the bridegroom's door» should be a prime line.

Part the first

    
[1a] It is an ancient Mariner,
[2a] And he stoppeth one of three.
[3a] "By thy long beard and glittering eye,
[4a] Now wherefore stopp'st thou me?
    
[1a] The Bridegroom's doors are opened wide,
[2b] And I am next of kin;
[3a] The guests are met, the feast is set:
[4a] May'st hear the merry din."
    
[1a] He holds him with his skinny hand,
[2a] "There was a ship," quoth he.
[3a] "Hold off! unhand me, grey-beard loon!"
[4a] Eftsoons his hand dropt he.
    
[1a] He holds him with his glittering eye—
[2c] The Wedding-Guest stood still,
[3a] And listens like a three years child:
[4a] The Mariner hath his will.
    
[1a] The Wedding-Guest sat on a stone:
[2b] He cannot choose but hear;
[3a] And thus spake on that ancient man,
[4a] The bright-eyed mariner.
    
[1a] The ship was cheer'd, the harbour clear'd,
[2a'] Merrily did we drop
[3a] Below the kirk, below the hill,
[4a] Below the lighthouse top.
    
[1a] The Sun came up upon the left,
[2a'] Out of the sea came he;
[3a] And he shone bright, and on the right
[4a] Went down into the sea.
    
[1a'] Higher and higher every day,
[2c] Till over the mast at noon—
[3a] The Wedding-Guest here beat his breast,
[4a] For he heard the loud bassoon.
    
[1a] The bride hath paced into the hall,
[2b'] Red as a rose is she;
[3a'] Nodding their heads before her goes
[4a] The merry minstrelsy.
    
[1a] The Wedding-Guest he beat his breast,
[2b] Yet he cannot choose but hear;
[3a] And thus spake on that ancient man,
[4a] The bright-eyed Mariner.
    
[1a] And now the storm-blast came, and he
[2c] Was tyrannous and strong:
[3a] He struck with his o'ertaking wings,
[4a] And chased us south along.
    
[1a] With sloping masts and dipping prow,
[1d] As who pursued with yell and blow
[1c] Still treads the shadow of his foe
[2a] And forward bends his head,
[3a] The ship drove fast, loud roar'd the blast,
[4a] The southward aye we fled.
    
[1a] And now there came both mist and snow,
[2c] And it grew wonderous cold:
[3a] And ice, mast-high, came floating by,
[4a] As green as emerald.
    
[1a] And through the drifts the snowy clift
[2b] Did send a dismal sheen:
[3a] Nor shapes of men nor beasts we ken—
[4a] The ice was all between.
    
[1a] The ice was here, the ice was there,
[2a] The ice was all around:
[3a] It cracked and growled, and roar'd and howl'd,
[4a] Like noises in a swound!
    
[1a] At length did cross an Albatross:
[2c'] Thorough the fog it came;
[3a] As if it had been a Christian soul,
[4a] We hailed it in God's name.
    
[1a] It ate the food it ne'er had eat,
[2a] And round and round it flew.
[3a] The ice did split with a thunder-fit;
[4a] The helmsman steer'd us through!
    
[1a] And a good south wind sprung up behind;
[2a] The Albatross did follow,
[3c] And every day, for food or play,
[4a] Came to the Mariner's hollo!
    
[1a] In mist or cloud, on mast or shroud,
[2a] It perch'd for vespers nine;
[3a] Whiles all the night, through fog-smoke white,
[4a'] Glimmered the white Moon-shine.
    
[1a] "God save thee, ancient Mariner!
[2b] From the fiends, that plague thee thus!—
[3a] Why look'st thou so?"—With my cross-bow
[4a] I shot the Albatross!

Part the second

    
[1a] The Sun now rose upon the right:
[2a'] Out of the sea came he,
[3a] Still hid in mist, and on the left
[4a] Went down into the sea.
    
[1a] And the good south wind still blew behind,
[2c] But no sweet bird did follow,
[3a] Nor any day for food or play
[4a] Came to the mariners' hollo!
    
[1a] And I had done an hellish thing,
[2a] And it would work 'em woe:
[3a] For all averred, I had killed the bird
[4b] That made the breeze to blow.
[3a] Ah wretch! said they, the bird to slay,
[4a] That made the breeze to blow!
    
[1a] Nor dim nor red, like God's own head,
[2a] The glorious Sun uprist:
[3a] Then all averred, I had killed the bird
[4b] That brought the fog and mist.
[3b] 'Twas right, said they, such birds to slay,
[4a] That bring the fog and mist.
    
[1a] The fair breeze blew, the white foam flew,
[2a] The furrow stream'd off free:
[3a] We were the first that ever burst
[4a] Into that silent sea.
    
[1a] Down dropt the breeze, the sails dropt down,
[2a] 'Twas sad as sad could be;
[3a] And we did speak only to break
[4a] The silence of the sea!
    
[1a] All in a hot and copper sky,
[2a] The bloody Sun, at noon,
[3a] Right up above the mast did stand,
[4a] No bigger than the Moon.
    
[1a'] Day after day, day after day,
[2c] We stuck, nor breath nor motion,
[3a] As idle as a painted ship
[4a] Upon a painted ocean.
    
[1a] Water, water, every where,
[2b] And all the boards did shrink;
[3a] Water, water, every where,
[4a] Nor any drop to drink.
    
[1a] The very deep did rot: O Christ!
[2c] That ever this should be!
[3a] Yea, slimy things did crawl with legs
[4a] Upon the slimy sea.
    
[1a] About, about, in reel and rout
[2a] The death-fires danced at night;
[3a] The water, like a witch's oils,
[4a] Burnt green, and blue and white.
    
[1a] And some in dreams assurèd were
[2a] Of the spirit that plagued us so:
[3a] Nine fathom deep he had followed us
[4a] From the land of mist and snow.
    
[1a] And every tongue, through utter drought,
[2c] Was wither'd at the root;
[3a] We could not speak, no more than if
[4a] We had been choak'd with soot.
    
[1a] Ah! well a-day! what evil looks
[2a] Had I from old and young!
[3a] Instead of the cross, the Albatross
[4a] About my neck was hung.

Part the third

    
[1a] There passed a weary time. Each throat
[2a] Was parched, and glazed each eye.
[3a] A weary time! a weary time!
[4b] How glazed each weary eye!
[3a] When looking westward, I beheld
[4a] A something in the sky.
    
[1a] At first it seem'd a little speck,
[2a] And then it seem'd a mist;
[3a] It moved and moved, and took at last
[4a] A certain shape, I wist.
    
[1a] A speck, a mist, a shape, I wist!
[2c] And still it neared and neared:
[3a] As if it dodged a water-sprite,
[4a] It plunged and tack'd and veer'd.
    
[1a] With throat unslack'd, with black lips baked,
[2a] We could nor laugh nor wail;
[3a] Through utter drought all dumb we stood!
[3b] I bit my arm, I sucked the blood,
[4a] And cried, A sail! a sail!
    
[1a] With throats unslacked, with black lips baked,
[2b] Agape they heard me call:
[3a] Gramercy! they for joy did grin,
[3b] And all at once their breath drew in,
[4a] As they were drinking all.
    
[1a] See! see! (I cried) she tacks no more!
[2c'] Hither to work us weal;
[3a] Without a breeze, without a tide,
[4a] She steddies with upright keel!
    
[1a] The western wave was all a-flame.
[2a] The day was well nigh done!
[3a] Almost upon the western wave
[4b'] Rested the broad bright Sun;
[3a] When that strange shape drove suddenly
[4a] Betwixt us and the Sun.
    
[1a] And straight the Sun was flecked with bars,
[2a] (Heaven's Mother send us grace!)
[3a] As if through a dungeon-grate he peer'd,
[4a] With broad and burning face.
    
[1a] Alas! (thought I, and my heart beat loud)
[2a] How fast she nears and nears!
[3a] Are those her sails that glance in the Sun,
[4a] Like restless gossameres!
    
[1a] Are those her ribs through which the Sun
[2a] Did peer, as through a grate?
[3a] And is that Woman all her crew?
[3b] Is that a Death? and are there two?
[4a] Is Death that woman's mate?
    
[1a] Her lips were red, her looks were free,
[2c] Her locks were yellow as gold:
[3a] Her skin was as white as leprosy,
[3b] The Night-Mair Life-in-death was she,
[4a] Who thicks man's blood with cold.
    
[1a] The naked hulk alongside came,
[2c] And the twain were casting dice;
[3a] 'The game is done! I've won! I've won!'
[4a] Quoth she, and whistles thrice.
    
[1a] The Sun’s rim dips; the stars rush out:
[2a] At one stride comes the dark;
[3a] With far-heard whisper, o’er the sea,
[4a] Off shot the spectre-bark.
    
[1a] We listen'd and looked sideways up!
[1c] Fear at my heart, as at a cup,
[2a] My life-blood seem'd to sip!
[1a] The stars were dim, and thick the night,
[1d] The steerman's face by his lamp gleam'd white;
[2c] From the sails the dew did drip—
[3a] Till clombe above the eastern bar
[2b] The horned Moon, with one bright star
[4a] Within the nether tip.
    
[1b'] One after one, by the star-dogg'd Moon,
[2a] Too quick for groan or sigh,
[3a] Each turn'd his face with a ghastly pang,
[4a] And curs'd me with his eye.
    
[1a] Four times fifty living men,
[2c] (And I heard nor sigh nor groan)
[3a] With heavy thump, a lifeless lump,
[4a] They dropped down one by one.
    
[1a] The souls did from their bodies fly,—
[2a] They fled to bliss or woe!
[3a] And every soul, it passed me by,
[4a] Like the whizz of my cross-bow!

Part the fourth

    
[1a] "I fear thee, ancient Mariner!
[2c] I fear thy skinny hand!
[3a] And thou art long, and lank, and brown,
[4a] As is the ribbed sea-sand.
    
[1a] I fear thee and thy glittering eye,
[2b] And thy skinny hand, so brown."—
[3a] Fear not, fear not, thou Wedding-Guest!
[4a] This body dropt not down.
    
[1a] Alone, alone, all, all alone,
[2a] Alone on a wide wide sea!
[3a] And never a saint took pity on
[4a] My soul in agony.
    
[1a] The many men, so beautiful!
[2a] And they all dead did lie:
[3a] And a thousand thousand slimy things
[4a] Liv'd on; and so did I.
    
[1a] I look'd upon the rotting sea,
[2a] And drew my eyes away;
[3a] I look'd upon the rotting deck,
[4a] And there the dead men lay.
    
[1a] I look'd to heaven, and tried to pray;
[2a] But or ever a prayer had gusht,
[3a] A wicked whisper came, and made
[4a] My heart as dry as dust.
    
[1a] I closed my lids, and kept them close,
[2a] And the balls like pulses beat;
[3a] For the sky and the sea, and the sea and the sky
[3b] Lay like a load on my weary eye,
[4a] And the dead were at my feet.
    
[1a] The cold sweat melted from their limbs,
[2a] Nor rot nor reek did they:
[3a] The look with which they look'd on me
[4a] Had never pass'd away.
    
[1a] An orphan's curse would drag to hell
[2a] A spirit from on high;
[3a] But oh! more horrible than that
[4b] Is the curse in a dead man's eye!
[3a] Seven days, seven nights, I saw that curse,
[4a] And yet I could not die.
    
[1a] The moving Moon went up the sky,
[2a] And no where did abide:
[3a'] Softly she was going up,
[4a] And a star or two beside—
    
[1a] Her beams bemock'd the sultry main,
[2a] Like April hoar-frost spread;
[3a] But where the ship's huge shadow lay,
[3b] The charmèd water burnt alway
[4a] A still and awful red.
    
[1a] Beyond the shadow of the ship,
[2c] I watched the water-snakes:
[3a] They moved in tracks of shining white,
[3b] And when they reared, the elfish light
[4a] Fell off in hoary flakes.
    
[1a] Within the shadow of the ship
[2a] I watched their rich attire:
[3a] Blue, glossy green, and velvet black,
[3b] They coiled and swam; and every track
[4a] Was a flash of golden fire.
    
[1a] O happy living things! no tongue
[2c] Their beauty might declare:
[3a] A spring of love gushed from my heart,
[4b] And I blessed them unaware!
[3a] Sure my kind saint took pity on me,
[4a] And I blessed them unaware.
    
[1a] The self-same moment I could pray;
[2b] And from my neck so free
[3a] The Albatross fell off, and sank
[4a] Like lead into the sea.

Part the fifth

    
[1a] Oh sleep! it is a gentle thing,
[2a] Belov'd from pole to pole!
[3a] To Mary Queen the praise be given!
[3b] She sent the gentle sleep from Heaven,
[4a] That slid into my soul.
    
[1a] The silly buckets on the deck,
[2a] That had so long remained,
[3a] I dreamt that they were filled with dew;
[4a] And when I awoke, it rained.
    
[1a] My lips were wet, my throat was cold,
[2c] My garments all were dank;
[3a] Sure I had drunken in my dreams,
[4a] And still my body drank.
    
[1a] I moved, and could not feel my limbs:
[2a] I was so light—almost
[3a] I thought that I had died in sleep,
[4a] And was a blessed ghost.
    
[1a] And soon I heard a roaring wind:
[2a] It did not come anear;
[3a] But with its sound it shook the sails,
[4a] That were so thin and sere.
    
[1a] The upper air burst into life!
[2c] And a hundred fire-flags sheen,
[3a] To and fro they were hurried about;
[3b] And to and fro, and in and out,
[4a] The wan stars danced between.
    
[1a] And the coming wind did roar more loud,
[2a] And the sails did sigh like sedge;
[3a] And the rain poured down from one black cloud;
[4a] The Moon was at its edge.
    
[1a] The thick black cloud was cleft, and still
[2c] The Moon was at its side:
[3a] Like waters shot from some high crag,
[3b] The lightning fell with never a jag,
[4a] A river steep and wide.
    
[1a] The loud wind never reached the ship,
[2a] Yet now the ship moved on!
[3a] Beneath the lightning and the Moon
[4a] The dead men gave a groan.
    
[1a] They groan'd, they stirr'd, they all uprose,
[2c] Nor spake, nor moved their eyes;
[3a] It had been strange, even in a dream,
[4a] To have seen those dead men rise.
    
[1a] The helmsman steered, the ship moved on;
[2a] Yet never a breeze up blew;
[3a] The mariners all 'gan work the ropes,
[4b] Where they were wont to do;
[3a] They raised their limbs like lifeless tools—
[4a] We were a ghastly crew.
    
[1a] The body of my brother's son
[2a] Stood by me, knee to knee:
[3a] The body and I pulled at one rope,
[4a] But he said nought to me.
    
[1a] "I fear thee, ancient Mariner!"
[2a] Be calm, thou Wedding-Guest!
[3a] 'Twas not those souls that fled in pain,
[3b] Which to their corses came again,
[4a] But a troop of spirits blest:
    
[1a] For when it dawned—they dropped their arms,
[2b] And clustered round the mast;
[3a] Sweet sounds rose slowly through their mouths,
[4a] And from their bodies passed.
    
[1a] Around, around, flew each sweet sound,
[2c] Then darted to the Sun;
[3a'] Slowly the sounds came back again,
[4a] Now mixed, now one by one.
    
[1a] Sometimes a-dropping from the sky
[2a] I heard the sky-lark sing;
[3a] Sometimes all little birds that are,
[3b] How they seem'd to fill the sea and air
[4a] With their sweet jargoning!
    
[1a] And now 'twas like all instruments,
[2b] Now like a lonely flute;
[3a] And now it is an angel's song,
[4a] That makes the Heavens be mute.
    
[1a] It ceased; yet still the sails made on
[2a] A pleasant noise till noon,
[3a] A noise like of a hidden brook
[4b] In the leafy month of June,
[3a] That to the sleeping woods all night
[4a'] Singeth a quiet tune.
    
[1a] Till noon we quietly sailed on,
[2c] Yet never a breeze did breathe:
[3a'] Slowly and smoothly went the ship,
[4a] Moved onward from beneath.
    
[1a'] Under the keel nine fathom deep,
[2a] From the land of mist and snow,
[3a] The spirit slid: and it was he
[4b] That made the ship to go.
[3a] The sails at noon left off their tune,
[4a] And the ship stood still also.
    
[1a] The Sun, right up above the mast,
[2a] Had fixed her to the ocean;
[3a] But in a minute she 'gan stir,
[4b] With a short uneasy motion—
[3a'] Backwards and forwards half her length,
[4a] With a short uneasy motion.
    
[1a] Then like a pawing horse let go,
[2a] She made a sudden bound:
[3a] It flung the blood into my head,
[4a] And I fell down in a swound.
    
[1a] How long in that same fit I lay,
[2a] I have not to declare;
[3a] But ere my living life returned,
[3b] I heard and in my soul discerned
[4a] Two voices in the air.
    
[1a] "Is it he?" quoth one, "Is this the man?
[2a] By him who died on cross,
[3a] With his cruel bow he laid full low,
[4a] The harmless Albatross.
    
[1a] The spirit who bideth by himself
[2a] In the land of mist and snow,
[3a] He loved the bird that loved the man
[4a] Who shot him with his bow."
    
[1a] The other was a softer voice,
[2a] As soft as honey-dew:
[3a] Quoth he, "The man hath penance done,
[4a] And penance more will do."

Part the sixth

    
[1a] But tell me, tell me! speak again,
[2a] Thy soft response renewing—
[3a] What makes that ship drive on so fast?
[4a] What is the ocean doing?
    
[1a'] Still as a slave before his lord,
[2a] The ocean hath no blast;
[3a] His great bright eye most silently
[4a'] Up to the Moon is cast—
    
[1a] If he may know which way to go;
[2a] For she guides him smooth or grim.
[3a] See, brother, see! how graciously
[4a] She looketh down on him.
    
[1a] But why drives on that ship so fast,
[2c] Without or wave or wind?
[3a] The air is cut away before,
[3a] And closes from behind.
    
[1a] Fly, brother, fly! more high, more high!
[2a] Or we shall be belated:
[3a] For slow and slow that ship will go,
[4a] When the Mariner's trance is abated."
    
[1a] I woke, and we were sailing on
[2a] As in a gentle weather:
[3a] 'Twas night, calm night, the moon was high;
[4a] The dead men stood together.
    
[1a] All stood together on the deck,
[2a] For a charnel-dungeon fitter:
[3a] All fixed on me their stony eyes,
[4a] That in the Moon did glitter.
    
[1a] The pang, the curse, with which they died,
[2b] Had never passed away:
[3a] I could not draw my eyes from theirs,
[4a] Nor turn them up to pray.
    
[1a] And now this spell was snapt: once more
[2a] I viewed the ocean green,
[3a] And looked far forth, yet little saw
[4a] Of what had else been seen—
    
[1a] Like one, that on a lonesome road
[2c] Doth walk in fear and dread,
[3a] And having once turn'd round, walks on,
[4b] And turns no more his head;
[3a] Because he knows, a frightful fiend
[4a] Doth close behind him tread.
    
[1a] But soon there breathed a wind on me,
[2a] Nor sound nor motion made:
[3a] Its path was not upon the sea,
[4a] In ripple or in shade.
    
[1a] It raised my hair, it fanned my cheek
[2a] Like a meadow-gale of spring—
[3a] It mingled strangely with my fears,
[4a] Yet it felt like a welcoming.
    
[1a'] Swiftly, swiftly flew the ship,
[2a] Yet she sailed softly too:
[3a'] Sweetly, sweetly blew the breeze—
[4a] On me alone it blew.
    
[1a] Oh! dream of joy! is this indeed
[2c] The light-house top I see?
[3a] Is this the hill? is this the kirk?
[4a] Is this mine own countree?
    
[1a] We drifted o'er the harbour-bar,
[2c] And I with sobs did pray—
[3a] O let me be awake, my God!
[4a] Or let me sleep alway.
    
[1a] The harbour-bay was clear as glass,
[2a] So smoothly it was strewn!
[3a] And on the bay the moonlight lay,
[4a] And the shadow of the Moon.
    
[1a] The rock shone bright, the kirk no less,
[2c] That stands above the rock:
[3a] The moonlight steeped in silentness
[4a] The steady weathercock.
    
[1a] And the bay was white with silent light,
[2b] Till rising from the same,
[3a] Full many shapes, that shadows were,
[4a] In crimson colours came.
    
[1a] A little distance from the prow
[2c] Those crimson shadows were:
[3a] I turned my eyes upon the deck—
[4a] Oh, Christ! what saw I there!
    
[1a] Each corse lay flat, lifeless and flat,
[2a] And, by the holy rood!
[3a] A man all light, a seraph-man,
[4a] On every corse there stood.
    
[1a] This seraph-band, each waved his hand:
[2b] It was a heavenly sight!
[3a] They stood as signals to the land,
[4a] Each one a lovely light:
    
[1a] This seraph-band, each waved his hand,
[2b] No voice did they impart—
[3a] No voice; but oh! the silence sank
[4a] Like music on my heart.
    
[1a] But soon I heard the dash of oars,
[2a] I heard the Pilot's cheer;
[3a] My head was turned perforce away,
[4a] And I saw a boat appear.
    
[1a] The Pilot, and the Pilot's boy,
[2c] I heard them coming fast:
[3a] Dear Lord in Heaven! it was a joy
[4a] The dead men could not blast.
    
[1a] I saw a third—I heard his voice:
[2a] It is the Hermit good!
[3a] He singeth loud his godly hymns
[4b] That he makes in the wood.
[3a] He'll shrieve my soul, he'll wash away
[4a] The Albatross's blood.

Part the seventh

    
[1a] This Hermit good lives in that wood
[2a] Which slopes down to the sea.
[3a] How loudly his sweet voice he rears!
[3b] He loves to talk with marineres
[4a] That come from a far countree.
    
[1a] He kneels at morn, and noon, and eve—
[2a] He hath a cushion plump:
[3a] It is the moss that wholly hides
[4a] The rotted old oak-stump.
    
[1a] The skiff-boat near'd: I heard them talk,
[2c] "Why, this is strange, I trow!
[3a] Where are those lights so many and fair,
[4a] That signal made but now?"
    
[1a] "Strange, by my faith!" the Hermit said—
[2b] "And they answered not our cheer!
[3a] The planks looked warped! and see those sails,
[4b] How thin they are and sere!
[3a] I never saw aught like to them,
[4a] Unless perchance it were
    
[1a] Brown skeletons of leaves that lag
[2a] My forest-brook along:
[3a] When the ivy-tod is heavy with snow,
[3b] And the owlet whoops to the wolf below,
[4a] That eats the she-wolf's young."
    
[1a] 'Dear Lord! it hath a fiendish look—
[2a] (The Pilot made reply)
[3a] I am a-feared—Push on, push on!
[4a] Said the Hermit cheerily.
    
[1a] The boat came closer to the ship,
[2a] But I nor spake nor stirred;
[3a] The boat came close beneath the ship,
[4a] And straight a sound was heard.
    
[1a'] Under the water it rumbled on,
[2c] Still louder and more dread:
[3a] It reached the ship, it split the bay;
[4a] The ship went down like lead.
    
[1a'] Stunned by that loud and dreadful sound,
[2c] Which sky and ocean smote,
[3a] Like one that hath been seven days drown'd
[4b] My body lay afloat;
[3a] But swift as dreams, myself I found
[4a] Within the Pilot's boat.
    
[1a] Upon the whirl, where sank the ship,
[2c] The boat spun round and round;
[3a] And all was still, save that the hill
[4a] Was telling of the sound.
    
[1a] I moved my lips—the Pilot shrieked
[2a] And fell down in a fit;
[3a] The holy Hermit raised his eyes,
[4a] And prayed where he did sit.
    
[1a] I took the oars: the Pilot's boy,
[2c] Who now doth crazy go,
[3a] Laughed loud and long, and all the while
[4b] His eyes went to and fro.
[3a] "Ha! ha!" quoth he, "full plain I see,
[4a] The Devil knows how to row."
    
[1a] And now, all in my own countree,
[2b] I stood on the firm land!
[3a] The Hermit stepped forth from the boat,
[4a] And scarcely he could stand.
    
[1a] "O shrieve me, shrieve me, holy man!"
[2a] The Hermit crossed his brow.
[3a] "Say quick," quoth he, "I bid thee say—
[4a] What manner of man art thou?'
    
[1a'] Forthwith this frame of mine was wrench'd
[2a] With a woeful agony,
[3a] Which forced me to begin my tale;
[4a] And then it left me free.
    
[1a] Since then, at an uncertain hour,
[2c] That agony returns:
[3a] And till my ghastly tale is told,
[4a] This heart within me burns.
    
[1a] I pass, like night, from land to land;
[2a] I have strange power of speech;
[3a] That moment that his face I see,
[3b] I know the man that must hear me:
[4a] To him my tale I teach.
    
[1a] What loud uproar bursts from that door!
[2a] The wedding-guests are there;
[3a] But in the garden-bower the bride
[4b] And bride-maids singing are;
[3a] And hark the little vesper bell,
[4a] Which biddeth me to prayer!
    
[1a] O Wedding-Guest! this soul hath been
[2b] Alone on a wide wide sea:
[3a] So lonely 'twas, that God himself
[4a] Scarce seemèd there to be.
    
[1a] O sweeter than the marriage-feast,
[2b] 'Tis sweeter far to me,
[3a] To walk together to the kirk
[4b] With a goodly company!—
    
[1a] To walk together to the kirk,
[2c] And all together pray,
[3a] While each to his great Father bends,
[3b] Old men, and babes, and loving friends,
[4a] And youths and maidens gay!
    
[1a] Farewell, farewell! but this I tell
[2b] To thee, thou Wedding-Guest!
[3a] He prayeth well, who loveth well
[4a] Both man and bird and beast.
    
[1a] He prayeth best, who loveth best
[2c] All things both great and small;
[3a] For the dear God who loveth us,
[4a] He made and loveth all.
    
[1a] The Mariner, whose eye is bright,
[2a] Whose beard with age is hoar,
[3a] Is gone: and now the Wedding-Guest
[4a'] Turned from the bridegroom's door.
    
[1a] He went like one that hath been stunned,
[2b] And is of sense forlorn:
[3a] A sadder and a wiser man,
[4a] He rose the morrow morn.

Tuesday, 30 January 2024

A cover for Sappho translations

This is the script of my next video, to be uploaded this weekend. This is also the update to the situation of the fragments cover found at Hymn to Aphrodite, a bit like this post was an update to this one for the Iliad opening, and to all of this one. So let me get into the script!


Hi everyone! Ciao a tutti!

So today's video is gonna be a bunch of text interspersed with singing.
Allora, il video di oggi sarà un sacco di testo inframmezzato da canto.

Its star is the Sapphic stanza I composed and translated to use as a cover for my file of Sappho translations, which I then also adapted as part of the opening for my Sappho series on this channel.
La sua star è la strofa saffica che ho composto e tradotto per usarla come copertina del mio file di traduzioni di Saffo, e che poi ho anche adattato come parte della sigla per la mia serie su Saffo su questo canale.

The majority of the story will be told through on-screen text, with the history of the tune being sung. I am then going to sing the older versions of Greek and translations, from the latest high school Sappho file, as well as their recent updates.
La maggior parte della sua storia sarà raccontata con testo sullo schermo, con la storia della melodia che viene cantata. Canterò poi le versioni più vecchie di greco e traduzioni, che vengono dal file più recente dei tempi del liceo, e poi anche gli aggiornamenti recenti.

So make yourselves comfortable and enjoy the ride!
Quindi mettetevi comodi e buon viaggio!

Diarius, 9/8/10:

Film terminato in lect. Ibi cogito titulo fragmentorum Sapphus uti versu Alcæi Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι, addens ad eum finem strophæ
Having finished the film [I go] to bed. There I think of using the Alcaeus line Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι as a title for the Sappho fragments, adding to it the end of a stanza
Finito il film [vado] a letto. Lì penso di usare il verso di Alceo Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι come titolo per i frammenti di Saffo, aggiungendovi la fine di una strofa

Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι
Ἄμμι ἐν ποήμασι σοῖσι ὄττι
Γράψαι ἤθελες, γ' ἐθέλω λαβέσθαι
<Νῦν ἔγ' ἐμαύτῳ.>

Vertere conans nil concludo.
Trying to translate [it] I conclude nothing.
Tentando di tradur[la] non concludo niente.


Diarius, 14/8/10:

Inde destor […] ~9:41, cum composuerim:
Then I am awoken […] around 9:41am, after I composed:
Poi vengo svegliato […] alle 9:41 circa, dopo aver composto:

Violet-haired, pure, honey-smiling Sappho,
What in your fragments/poems you wanted to write
To us, I want to understand, o Sappho,
And translate right.

et originalem ab hac traductione mutarim:
and changed the original from this translation:
e cambiato l'originale a partire da questa traduzione:

…Γράψαι ἤθελες, γ' ἐθέλω λάβων ὄρ-
θῶς μετατρέψαι.

Scribens antea poemata scribo me antea cogitasse ponere, pro μετατρέψαι, μετάγεσθαι, et tunc demum, meminens me vidisse in Βικιθήκη "μετάφραση Βενιζέλου" et "μετάφραση Αλεξάνδρου Πάλλη", velle μεταφράζην ponere.
Writing [my] poems earlier, I write that, at first, I thought of putting μετάγεσθαι in the place of μετατρέψαι, and then finally, remembering I saw "μετάφραση Βενιζέλου" and "μετάφραση Αλεξάνδρου Πάλλη" on Greek Wikisource, I want to put μεταφράζην.
Scrivendo prima [le mie] poesie, scrivo che dapprima ho pensato di mettere, invece di μετατρέψαι, μετάγεσθαι, e allora infine, ricordando di aver visto "μετάφραση Βενιζέλου" e "μετάφραση Αλεξάνδρου Πάλλη" sul Wikisource Greco, voglio metterci μεταφράζην.

That change gets lost to the diary, and only resurfaces on 5/6/22 in the Hymn to Aphrodite post.
Quel cambiamento si perde nel diario, e riaffiora solo il 5/6/22 nel post dell'Inno ad Afrodite.

Corpus Poematum Meorum, volumne 7, 28/9/10 17:44 modificatum, 19/9/10 11:47 creatum:

Die inde Septembri XVII copertinam paro fragmentorum, et Italice verto
Then on Sep 17 I prepare the cover of the fragments, and translate [it] to Italian
Poi il 17/9 preparo la copertina dei frammenti, e [la] traduco in Italiano

Viole 'n la chioma, miele nel sorriso,
O pura Saffo, quello c'hai inteso
Nei tuoi poemi scriver, vo' capire
E ben ridire.


Manuscriptum:

Inque risu mel, violasque comā,
Pura Sappho, quæ caner' advolebas -> Pūră Sāpph', hăbēs, cănĕr' āc vŏlēbās
[Qu']In poesiis, cupi'ipse capta
Vertere recte.


Copertina_framm_Saffo, file 17/9/10 17:02 creatum et 2/11/10 20:28 modificatum:

Īnquĕ rīsū mēl, vĭŏlās cŏmāquĕ,
Pūră Sāpph', hăbēs, cănĕr' āc vŏlēbās
Īn pŏēsĭīs, cŭpĭ' īpsĕ cāptă
Vērtĕrĕ rēctē.


Printout used from mid-Sep 2010 to mid-Dec 2010:
Stampa dei frammenti usata tra metà Settembre 2010 e metà Dicembre 2010:
[Overlayed on image of cover there, with manuscripted changes comaque->capillis and In poesiis -> Qu' in poesiis. That's top of screen, bottom:]
Changes were lost with the next printout.
Modifiche perse colla stampa successiva.


Much later, between 1/2/11 and 17/5/11:
Molto più tardi, tra 1/2/11 e 17/5/11:

Īntŭ' rīsū mēl, vĭŏlās căpīllīs.
Pūră Sāpph', hăbēs, cănĕr' āc vŏlēbās
Qu' īn pŏēsĭīs, cŭpĭ' īpsĕ cāptă
Vērtĕrĕ rēctē.



[Shot of flipping through SP7, the latest printout, which has the versions found in the latest Sappho fragments file (S19)]


[Perform old versions.]

Tesina, tra (between) 15/6/12 & 20/6/12:

[…]
Γράψαι ἤθελες, τὰ θέλω λάβων ὄρ-
θῶς μετατρέψαι.

[…]
Qu' īn pŏēsĭīs, vŏlŏ īpsĕ cāptă


Both changes were lost to the tesina. Greek change resurfaced 10/10/21 in Hymn post, and Latin one was therein rejected as inmetrical.
Ambedue le modifiche si son perse nella tesina. La Greca è riaffiorata il 10/10/21 nel post dell'Inno, e la Latina è ivi stata rifiutata in quanto inmetrica.


Tune | Melodia

AC A FF CC CC C E DD A DD CC
Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι,

17/4/23 23:11.


FF C AA CC FG F C DC Bb DD C
Ἄμμιν ἐν ποήμασι σοῖσιν ὄττι

23:14.


FF C EF D CC
Γράψαι ἤθελες,

18/4/23 16:19


A C DD -> A E DD -> A F DD
τὰ θέλω

16:22.


F CC FF DD C Bb CC AA
λάβων ὄρθως μεταφράσδην.

16:23.


6/5/23:

[Show performance from Epigrams vid.]


Thoughts (Pensieri), 18/4/23 22:16:

Maybe more than "translating correctly" it is more important to "translate well/beautifully": ὄρθως->κάλως
Forse piuttosto che "tradurre correttamente" è più importante "tradurre bene/in modo bello": ὄρθως->κάλως


Ammin en poemasi
AA F AA C FG F C ->
CC F AA C...

10/5/23 15:43, tweak (modifichetta).


Musical translation | Traduzione musicale

Saffo dal mellifluo sorriso, pura,

10/5/23 23:13.


Chioma di vïole, ciò che tu dire

23:15.


Nelle poesïe volevi -> Nelle poësie ci volevi, (io) voglio

23:15.


Thought: How to fit [all the Greek]?
Pensiero: Come ci faccio stare [tutto il greco]?


Ci volevi nelle poesie, capire
Vo' e ben tradurre.

11/5/23 13:55


Thought, 18/8/23 12:26:

right->well, of course, so… write->tell for rhyme…
right->well, ovviamente, quindi… write->tell per la rima…

Violet-haired, pure, honey-smiling Sappho,
What in your poems you wanted to tell
Us all I want to understand, o Sappho,
And translate well.


Thuoght: can I make a quick fix to the Latin? Of course! And thus, the Latin is there, with recte->pulchre being the quick fix from 19/8/23 20:09
Pensiero: aggiustata veloce al Latino, si può? Sicuro! Ecco dunque il Latino, con recte->pulchre come aggiustatina del 19/8/23 20:09


Thought: But the English is non-musical! What can I do about that?
Pensiero: Ma l'Inglese non è musicale! Che posso farci?


Musical retranslation | Ritraduzione musicale

Honey-smiling, violet-haired, pure Sappho,

29/1/24 19:27, not msg.


What your poems …

19:28.


Everything you wrote to us in your poems,

19:28.


I would like to properly understand and
Beautif'lly translate.

19:29.


[Perform final versions.]


Before I give you the versions, though, I have some additions. First off, the Sicilian one, which I creadted for my Sicilian Sappho anthology, or rather for the associated YT series, starting with «Saffo ṙû suřřisu ṙi mèli, pura» (11/4/24 17:20), then reworking and completing at 19:10-19:20. For completeness' sake, here is what I wrote about it in the anthology itself.

Accuminzai cu «Saffo ṙû suřřisu ṙi mèli, pura» (11/4/24 17:20), poi ripresi ê 19:10 cu «Saffi cû suřřisu ṙi mèli, china / Ṙi viuletti», ca subbitu divintau «china 'i / Violi ntê capiđđi, tu aṛma pura,», poi «Saffu cû suřřisu ṙi mèli, aṛma / Mmaculata,» (19:11) e «Saffo cû suřřisu ṙi mèli, pura, / Chî capiđđi 'i violi/viola, zoccu tu ṙiri» (19:17 - ci nni misi ṙû tempu pi ařřivari ccà!). A stu puntu passai ô versu ṙoppu, «Nni vulivi ntê tò puisìi, capiri» (19:17), chi accurzai accussì: «Ntê puisìi vulivi, capiri vogghiu / E beni třadùçiri.» (19:17). Ṙiçisi poi ca vulia u plurali «violi» (19:18), nun u singulari «viola», e accussì ařřivai a:

Saffu cû suřřisu ṙi mèli, pura,
Chî capiđđi 'i violi, zoccu tu ṙiri
Ntê puisìi vulivi, capiri vogghiu e
Beni třadùçiri.

Nfini vosi mèttiri "pura" cchiù indietřu ntô primu versu, «Saffu pura cu nu suřřisu 'i mèli,» (19:19), e canciari lu sicunnu picchì iniziassi cu «E capiđđi 'i violi» (19:20), et voilà.

Translation:
I started with «Saffo ṙû suřřisu ṙi mèli, pura» (11/4/24 17:20), then came back at 19:10 with «Saffi cû suřřisu ṙi mèli, china / Ṙi viuletti», which right away turned into «china 'i / Violi ntê capiđđi, tu aṛma pura,», then «Saffu cû suřřisu ṙi mèli, aṛma / Mmaculata,» (19:11) and «Saffo cû suřřisu ṙi mèli, pura, / Chî capiđđi 'i violi/viola, zoccu tu ṙiri» (19:17 - took quite some time to get here!). At this point I moved on the the next line, «Nni vulivi ntê tò puisìi, capiri» (19:17), which I shortened thus: «Ntê puisìi vulivi, capiri vogghiu / E beni třadùçiri.» (19:17). I then decided I wanted the plural «violi» (19:18), not the singular «viola», and thus I came to [the version above]. Finally, I wanted to put "pura" further back in l. 1, «Saffu pura cu nu suřřisu 'i mèli,» (19:19), and change l. 2 so it started with «E capiđđi 'i violi» (19:20), et voilà.

Then I had the idea of Sicilian-English and Sicilian-Latin crossover episodes, and 3-translation crossovers. For each of these, I wanted a special opening. So along with the Sicilian, I had to include one or two more versions. This meant extra voices. For Greek-Sicilian-X (X being Latin or English), I devised a third voice on 18/4/24 at 16:45-17:08, which would be used to sing the Latin or the English. Then for the fourth voice, I went for a countermelody, and composed it up to "Pura" in the below score at 19:08-19:30 on 18/4/24, and completed it at 23:43-0:04 that same day. So here is the score of the 4-voice thing as it came out that night:

I then tweaked the ending three times, getting the following versions, screenshotted 19/4/24 10:41:06, 21/4/24 16:33:28, and 21/4/24 16:36:56, respectively:
As you can see, the countermelody forced a repetition, where I decided to recover that older μετάτρεψαι because the -ai is often considered short and could thus fit together with a following repeated κάλως μεταφράσδην without squishing a long vowel on a single quaver note.

But the "Intu' risu" didn't really ever sit very well with me. So on 23/5/24 at 9:10 I started a remake: «In capillis tu violasque, melque / Risu habes, Sappho,», then «Risu habesque, dicere quae volebas / In poesiis, velim ipse capta vertere pulchre.» (9:12), «velim ipse pulchre / Vertere, Sappho» (9:12), and finally «velim ipse, Sappho, / Vertere pulchre» (9:13), tweaked to «Risu habesque, et dicere quae volebas» at 22:05 upon noticing a -que without a matching et. Alright, so now, 25/5/24 16:11, I have to adapt this to the fourth voice. And at 16:19 I sum up the result below, and have the following quadrilingual score:

The last thing to note is that, at 16:32 on 2/7/24, I finalized the idea that having Sapphō in the non-fourth-voice Latin didn't sit well with me, because it forced me to shorten the ō or it wouldn't line up with the other voices. Hence, I moved it to the fourth voice, robbing that one of the capta. So from Sapphō in third voice and capta in fourth voice, I went to the opposite, as per below.
But then I have a Japanese, a Chinese, and a German series to deal with, not to mention a Romagnolo one. So I need versions of the cover for all of them.
The latter two are the simplest, because just do barbarous meter versions. The history of the Romagnolo goes thus: «Bëla Saffo cun 'e surìș ad mél / E i cavèll 'd viulètt, quell ch' t avlìva diř / Int'al tu frãmmęt,» (21:24), «me a vrèbb capiř->capi'-l / Par tradùș-al bę.» (21:26), «i frãmmęt though, or maybe al puisèj» (21:27), and finally «me a-l avrèbb capiř e tra- / dușar par bę» (21:28), all on 21/11/24. And that same evening, still sitting on the toilet, I do the German: «Sappho, honiglächelnde reine Sappho / Mit» (22:33), «Violettenhaarige, was du schreiben / In den Dichten möchten, möcht' ich versteh'n und / Gut übersetzen.» (22:35), «Mit Gedichten» (22:37), «wolltest» (22:37), summing up to «Sappho, honiglächelnde reine Sappho / Violettenhaarige, was du schreiben / Mit Gedichten wolltest, möcht' ich versteh'n und / Gut übersetzen.» at 22:41, then not being convinced with the Gut and tweaking it to Schön at 23:00.
Between these two, though, I dealt with the others. So, the Chinese was dealt with at 22:23, in one fell swoop. But the Japanese? It had to be chôka, of course. And the story goes: «スミレ髪、 / 蜂蜜笑顔、» (21:53), «純正な / 心のある / サッフォーよ、» (21:58, or probs. ≤21:57), so "pure" becomes "pure-hearted", then «あなたの詩で» (22:05), «書いたこと» (22:06), «よく理解して» (22:09), and by 22:11 I have a complete version «スミレ髪、 / 蜂蜜笑顔、 / 純正な / 心のある / サッフォーよ、 / あなたの詩で / 書いたこと / よく理解して / 日本語へ->の», OK no it's not complete, it's missing «典雅な長歌 / 言うのは願い» (22:16), where «I actually finished the last line while figuring out tenga from Google translations of refined» (22:17).
Then I decided to do Standard Sappho selection for Greek and Spanish as well, so there will eventually be a Spanish version (there isn't as of 21/12/24), and on 12/12/24 13:05-13:14 I made the Greek one, where "barbarous meter" seems like a contradiction, and yet :).
But what about the music? Well, German and Romagnolo are barbarous meter, so they just go into one of the parallel voices. Chinese can do either, as evidenced in the openings in the bonus to the 1/12/24 video. The Japanese, though, was a bit long. So I used the tune of voice 4, but added a bit at the beginning:
And here are all the versions: high school Greek-Latin + Italian-English, ditto for the recent stuff then Sicilian-Latin_remake, the two fourth voices, German and Romagnolo, Japanese two columns, Chinese two columns. Takashi has provided his own version, but it's not chôka so I have to re-figure out the tune. I probably eventually will.

High school files


Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι,
Ἄμμιν ἐν ποήμασι σοῖσιν ὄττι
Γράψαι ἤθελες, 'γ' ἐθέλω λάβων ὄρ-
θως μετάτρεψαι.

Viole 'n la chioma, miele nel sorriso,
O pura Saffo, quello c'hai inteso
Nei tuoi poemi scriver, vo' capire
E ben ridire.
Īntŭ’ rīsū mēl, vĭŏlās căpīllīs,
Pūră Sāpph', hăbēs, cănĕr' āc vŏlēbās
Qu’ īn pŏēsĭīs, cŭpĭ' īpsĕ cāptă
Vērtĕrĕ rēctē.

Violet-haired, pure, honey-smiling Sappho,
What in your poems you wanted to write
To us I want to understand, o Sappho,
And translate right.


Recent updates


Ἰόπλοκ' ἄγνα μελλιχόμειδε Σάπφοι,
Ἄμμιν ἐν ποήμασι σοῖσιν ὄττι
Γράψαι ἤθελες, τὰ θέλω λάβων κά-
λως μεταφράσδην.

Saffo dal mellifluo sorriso, pura,
Chioma di vïole, ciò che tu dire
Ci volevi nelle poesie, capire
Vo' e ben tradurre.

Saffu pura cu nu suřřisu 'i mèli,
E capiđđi 'i violi, zoccu tu ṙiri
Ntê puisìi vulivi, capiri vogghiu e
Beni třadùçiri.

Ō, intu’ rīsū melque, violās capillīs,
Pūra Sapphō, habēs, caner' ac volēbās
Quæ in poēsiīs, cupiō ipse capta
Vertere pulchrē.

Sappho, honiglächelnde reine Sappho,
Violettenhaarige, was du schreiben
Mit Gedichten wolltest, möcht' ich versteh'n und
Schön übersetzen.

甜蜜的微笑,菫菜的头发,
纯粹的莎孚,你的诗歌里
想要说什么?我想要明白
也想好好来翻译。

スミレかみ
蜂蜜はちみつ笑顔えがお
純正じゅんせい
こころのある
サッフォーよ、
あなたのうた
いたこと
よく理解りかいして
日本語にほんご
典雅てんが長歌ちょうか
うのはねが



Ω Σαπφώ με μαύρα μαλλιά, 'σύ αγνή
Που χαμογελάς γλυκερά, τα όλα
Πού 'γραψες, καλά να τα καταλάβω
Και μεταφράσω!
Intu’ rīsū mel, violās capillīs,
Pūra Sapphō, habēs, caner' ac volēbās
Quæ in poēsiīs, cupiō capta ego
Vertere pulchrē.

Honey-smiling, violet-haired, pure Sappho,
Everything you wrote to us in your poems,
I would like to properly understand and
Beautif'lly translate.

In capillīs tū violāsque, melque
Rīsū habēsque, et dīcere quae volēbās
In poēsiīs, velim ipse capta
Vertere pulchrē.

Ō, in capillīs tū violāsque, melque
Rīsū habēs, dīcere quæ volēbās tuīs
In poēsiīs, cupiō, Sapphō, ego
Vertere pulchrē.

Bëla Saffo cun 'e surìṣ ad mél
E i cavèll 'd viulètt, quell ch' t avlìva di'
Int al tu puisèi, mè a-l avrèbb capi' e tra-
duṣar par bẽ.

Tiánmì de wéixiào, jǐncài de tóufǎ,
Chúncuì de Sāfú, nǐ de shīgē lǐ
Xiǎngyào shuō shénme? Wǒ xiǎngyào míngbái
Yě xiǎng hǎohǎo lái fānyì.

Sumire-kami,
Hachimitsu egao,
Junsêna
Kokoro no aru
Saffō yo,
Anata no uta de
Kaita koto
Yoku rikai shite
Nihongo no
Tengana chôka
Iu no wa negai.


Ō Sapfṓ me máv̆ra malliá, 'sý agní̱
Poy khamogelás glykerá, ta óla
Poý 'grafes, kalá na ta katalávō
Kä metafrásō!



There's one last thing: a controcanto English, probably to be used in a single opening, dated 22/7/25 18:42:

Hōnëy smiii-liing violet-hairèd, pu-ure Sappho,
Ev'rything you wrote to us in your po-
ems I would now like to properly uuun-
de-e-e-erstand and then beautifully translate.

I will hopefully soon create and add a score for this.

Friday, 26 January 2024

Morto dentro

Dunque, oggi canzone greca, Από μέσα πεθαμένος, "Morto dentro". Il 3/1/23 ho caricato la Despacito cinese, per così dire, e quello stesso giorno m'è spuntato questo commento, che recita « Omaggio [link] É greca, un po' malinconica 👋», ed ecco come ho trovato questa canzone :). Poi cercando su Lyricstranslate sono arrivato a quest'altro.
Comunque, andiamo a vedere la storia dela traduzione italiana. Era l'1/12/23, e dovevo aggiornare i candidati alla traduzione. Uno l'ho tolto, questa canzone l'ho considerata, ma poi ho deciso di tenerla, e alla fine, alle 15:44-16:09, ho finito per tradurla in Italiano. Grande lavoro per la fine, ci sono volute parecchie varianti. Notare la variante «Per alcuni il vino è» al posto di «Per alcuni il senso è ber».
Qui parlavo della versione 1. La versione 2 è un tentativo che non mi convince molto di tenere il titolo quasi uguale nella canzone. Voglio dire, nel greco il titolo è από μέσα πεθαμένος e nella canzone c'è από μέσα πεθαμένοι, mentre nella Italiana 1 c'è "morti di dolor" contro "morto dentro". Il tentativo è delle 22:51 del 16/1/24.
Poi il 28/1/24 la Kika arriva a vedere il video, e mi lascia questo commento al post relativo sullo spazio. Quindi ovviamente aggiustiamo qua la punteggiatura del greco e la traduzione letterale a sinistra, e vediamo come aggiustare magari anche la cantabile. Al momento abbiamo la versione originale «Mentre parlavamo: "Il senso / Della vita, che cos'è?"», e la versione 28/1/24 13:13 «Mentre parlavam: "Di' dunque: / Questa vita che cos'è?"», poi diventata sempre a quell'ora «Mentre parlavamo: "Dimmi: / Questa vita che cos'è?"». E direi che, col cambio «Per alcuni il senso è ber, / Per alcuni soldi e fama» -> «Per alcuni è tutto un ber, / Per alcuni è soldi e fama» dell'1:06 del 30/1/24, ci sta benissimo.
Non so perché non abbia implementato tutto ciò da qualche parte qui, ma poi il 25/2/24 alle 10:42 penso a «Per alcuni è tutta un ber», e poi l'1/3/24 alle 11:47 «Per alcuni è soldi e->o fama», e adesso di quanto sopra più queste cose ne faccio una versione 3, che parte dalla versione 1.
OK, a quanto pare avevo implementato "Per alcuni è tutto un ber" nella 1 ma non "Di' dunque Questa vita che cos'è", quindi mo' tolgo la modifica da quella riga e torno alla versione video anche nella 1.
Ma non è finita qui. Infatti il 6/3/24 alle 16:29 mi vien fatto di cambiare un pezzo come:

Nel momento mio peggiore
In cui un altro ami tu,
Vai chiedendo->dicendo: "Il tuo cuore
Non dovrebbe batter più!".

Mannaggia a me, quanto ci ho messo poi a finire il remake… 18:42-19:21 il 9/3/24, con una valanga di versioni alternative che metto qui sotto.

Forse pochi sono in tutto
Quelli tali e quali a me
Che, pur con il cuor distrutto,
Ancor sembran/paion vivere.

18:42-18:44.

Un bel giorno a me dicesti,
Quando stavi ancor con me
"Di', c'è un senso ai nostri gesti?
Questa vita che cos'è?"

18:42-18:48.

Un bel giorno a me dicesti,
Quando stavi ancor con me
"Di', c'è un senso ai nostri gesti?
Questa vita che cos'è?"

18:42-18:48.

Mi dicesti, tempo addietro,
Quando stavi ancor con me:
"Nella luce oppur nel tetro,
Questa vita che cos'è?"

18:42-18:51.

Tempo fa, [con me] -> stavam parlando,
Quando ancor stavi con me,
E chiedesti, meditando[*]:
"Questa vita che cos'è?"

18:42-19:01.
[*] Alternative: dubitando, domandando,
in me fidando, me guardando, me sfidando,
lungi stando, in me sperando.
Forse pochi son davvero
Quelli tali e quali a me
Che, pur morti nel pensiero,
Fuori->Ancor sembran vivere.

18:44-19:07.

Mi dicesti, una volta,
Quando stavi ancor con me
"Di', c'è un senso ai nostri gesti?
Questa vita che cos'è?"

18:42-18:48.

Quando ancora con me stavi,
Tu dicesti un giorno a me:
"Di che cosa siamo schiavi?
Questa vita che cos'è?"

18:53.

Tempo fa discutevamo/discorrevamo
Quando stavi ancor con me
Mi->E dicesti: "Quel->Ciò che abbiamo,[@]
Questa vita, che cos'è?"

18:42-19:04.

Ti risposi: "C'è chi chiama
Questa vita tutta un ber,
Altri dicon soldi e fama;
La mia vita è tutta in te".

19:12.

[@]Alternative: Che cerchiamo? /
Che vogliamo? / Che viviamo?

"Per alcuni è solo ebbrezza",
A te la mia risposta fu,
"Per alcuni fama e ricchezza;
Ma per me sei solo tu!".

19:15-19:18.

Il 10/3/24 poi, alle 9:09, penso di cambiare «In quel tempo che m'amavi» in «Quando ancora tu m'amavi» nelle versioni 1-3. Nella versione 4 invece: «Nel momento mio peggiore» -> «Or nel tempo mio peggiore / Ora in queste tristi ore» (9/3/24 20:30) -> «In queste ore di dolore» (10/3/24 9:02), appena prima dell'ultima modifica si ha «Lā mia risposta fu» -> «La risposta mïa fu», mentre alle 9:22 «Vai dicendo: "Il tuo cuore / Non dovrebbe batter più!"» -> «Vai dicendo che il mio cuore / Non dovrebbe batter più», e infine alle 9:28 «Che, di dentro morte già» -> «Che, nel cuore morte già, -> Che, col cuore morto già».
Da ultimo, il 13/4/24 nel cuore della notte considero, per il v. 3, «E "La vita che viviamo",» (3:10) e «"Ogni vita che viviamo",» (3:11), ma non mi piace né l'una né l'altra versione. La mattina seguente, forse circa a mezzogiorno, penso di tenere «Quel che cerco/voglio sei sol tu» per la prima iterazione del v. 8, e «La mia vita sei sol tu» per la seconda. Registrando la versione 4 (che è quella di cui tutto questo paragrafo parla), me ne dimentico prontamente, facendo la seconda versione in entrambe le iterazioni :). C'è poi l'alternativa 20/4/24 18:35, che è di iniziare con «Un bel dì discorrevamo». Preferisco di evitare pure questo.
Bon, vediamo la canzone!


Τον καιρό που μ' αγαπούσες
Με ρωτάς ένα πρωί
Στην κουβέντα μας επάνω·
"Τ' είναι άραγε η ζωή?"
Τότε γύρισα και σού 'πα·
"Γι' άλλους είναι το κρασί,
Γι' άλλους δόξα, γι' άλλους πλούτη,
Μα για μένα είσαι εσύ".
Γι' άλλους δόξα, γι' άλλους πλούτη,
Μα για μένα είσαι εσύ".

Τώρα που άλλαξε η καρδιά σου
Κι έναν άλλο αγαπάς
Απορείς, μου λεν, ακόμα
Η δική μου πως χτυπά.
Μήπως τάχα σαν κι εμένα
Δεν είν' άνθρωποι πολλοί
Από μέσα πεθαμένοι
Και απόξω ζωντανοί
Από μέσα πεθαμένοι
Και απόξω ζωντανοί



Nel tempo in cui mi amavi
Mi chiedesti un giorno
Nella nostra conversazione:
"Cos'è dunque la vita?"
Allora mi girai, e ti dissi:
"Per alcuni è il vino,
Per altri la gloria, per altri la ricchezza,
Ma per me sei tu".
Per altri la gloria, per altri la ricchezza,
Ma per me sei tu".

Ora che è cambiato il tuo cuore
E ami un altro
Ti chiedi, mi dicono, come
Il mio batta ancora.
Forse davvero come me
Non molti uomini sono
Morti dall'interno
Ma vivi dall'esterno
Morti dall'interno
Ma vivi dall'esterno
Ton käró poy m' agapoýses
Me rōtás éna prōí
Sti̱n koyvénta mas epánō:
"T' ë́nä árage i̱ zōí̱?"
Tóte gýrisa kä soý 'pa
"Gi' álloys ë́nä to krasí,
Gi' álloys dóxa, gi' álloys ploýti̱,
Ma gia ména ë́sä esý".
Gi' álloys dóxa, gi' álloys ploýti̱,
Ma gia ména ë́sä esý".

Tṓra poy állaxe i̱ kardiá soy
Ki énan állo agapás
Aporë́s, moy len, akóma
I̱ dikí moy pōs khtypá.
Mí̱pōs tákha san ki eména
Den ë́n' ántrhōpö pollö́
Apó mésa pethaménö
Kä apóxō zōntanö́
Apó mésa pethaménö
Kä apóxō zōntanö́
Quando ancora tu m'amavi,
Tu chiedesti un giorno a me,
Mentre parlavamo: "Il senso
Della vita, che cos'è?".
Mi girai e ti risposi:
"Per alcuni il senso è ber,
Per alcuni, soldi e fama;
La mia vita è tutta in te!
Per alcuni soldi e fama;
La mia vita è tutta in te!

Ora che hai cambiato cuore
E ami un altro, non più me,
Tu mi chiedi: "Come? Ancora
Batte il cuore che c'è in te?".
Forse pochi sono quelli
Che, pur morti di dolor,
Al mio modo, dall'esterno
Sembran esser vivi ancor.
Al mio modo, dall'esterno
Sembran esser vivi ancor.
Quando ancora tu m'amavi,
Tu chiedesti un giorno a me,
Mentre parlavamo: "Il senso
Della vita, che cos'è?".
Mi girai e ti risposi:
"Per alcuni il senso è ber,
Per alcuni soldi e fama;
La mia vita è tutta in te!
Per alcuni soldi e fama;
La mia vita è tutta in te!

Ora che hai cambiato cuore
E ami un altro, non più me,
Tu mi chiedi: "Come? Ancora
Batte il cuore che c'è in te?".
Forse è vero che nel mondo
Non son molti come me
Che, per quanto morti dentro,
Fuori sembran vivere…
Che, per quanto morti dentro,
Fuori sembran vivere.
Quando ancora tu m'amavi,
Tu chiedesti un giorno a me,
Mentre parlavamo: "Di' dunque:
Questa vita, che cos'è?".
Mi girai e ti risposi:
"Per alcuni è tutta un ber,
Per alcuni è soldi o fama;
La mia vita è tutta in te!
Per alcuni soldi e fama;
La mia vita è tutta in te!

Ora che hai cambiato cuore
E ami un altro, non più me,
Tu mi chiedi: "Come? Ancora
Batte il cuore che c'è in te?".
Forse pochi sono quelli
Che, pur morti di dolor,
Al mio modo, dall'esterno
Sembran esser vivi ancor.
Al mio modo, dall'esterno
Sembran esser vivi ancor.
Tempo fa discorrevamo,
Quando stavi ancor con me,
"Questa vita che viviamo",
Mi dicesti, "Che cos'è?".
"Per alcuni è vin soltanto",
La risposta mïa fu,
"Altri cercan soldi e vanto;
Quel che voglio sei sol tu!".
"Altri cercan soldi e vanto;
La mia vita sei sol tu!".

Nel momento mio peggiore
In cui un altro ami tu,
Vai dicendo che il mio cuore
Non dovrebbe batter più.
Sono poche le persone
Che, col cuore morto già,
Come me, dàn l'impressione
D'esser vive in verità.
Come me, dàn l'impressione
D'esser vive in verità.

Tuesday, 23 January 2024

Proemi omerici e canto delle Sirene

Oggi vi presento i proemi omerici e il canto delle Sirene, come da titolo. Oltre alle traduzioni in prosa latina di tra il 12 e il 27/8/09, che riporto come riempi-colonna accanto alle latine in esametri, abbiamo le seguenti 6 traduzioni:
  1. Prima di tutto il proemio dell'Iliade in esametri latini; come le altre latine, lascio i dettagli di questa al relativo post, in questo caso Sing to me of the wrath of Achilles, e riporto solo la storia come da indice cronologico: «Start and compl. betw. 12/8/09 and 8/9/09, twk. betw. 3/2 and 5/2/10, then a couple dates after that, then 22-24/7/12 and 16/8/12, and 29/3/23 for Pestis», e in versione lunga «12/8 marks the point where I move from the Herodotus and co. file to the Homer prose translations file; on 8/9 I brought my summertime Ancient Greek shenanigans to a professor from my school; the Feb 2010 tweaks are in a file created 3/2 and edited 5/2, and the original version is in a file edited 3/2 anyway; a file edited 6/2 does some things to the opening, but those are ignored in the next version, which is from 23/7; the file with the changes of these translations has a bunch of unknown-date edits, two or three explicit yearless dates, and then gives the other range, and is last edited 16/8; the very last tweak is from 29/3/23, i.e. yesterday»;
    Tutto ciò riguarda la versione vocali lunghe (e l'identica versione scansione), mentre la versione modificata fa due cambiamenti; il primo, al v. 1, è del 27/1/26 alle 12:40, fatto chiacchierando con un assistente IA che parla Latino; l'altra, al v. terzultimo, è delle 19:28 di quel giorno, con versioni anteriori «[…] consílium» «Hoc consilium Iovi' véró -> Iovis en fvit, hoc->id» «Fvit consilium Iovis en hoc -> illud -> hocce -> ecce (nah)» fatte durante la doccia finita intorno alle 19:28;
  2. Poi diamo le altre latine, a cominciare dal proemio dell'Odissea, che si trova in The man of many skills and the Sirens, e ha storia breve «Start 3/2, compl. prob. 6/2/10, twk. a couple dates, then 22-24/7/12 and 16/8/12» e storia lunga «There is a file last edited 3/2/10 14:26 which has only two lines of this opening; the 3/2 diary confirms this; this translation doesn't seem to have been completed until at least 5/2/10 18:41, and then appears complete in a 6/2/10 22:37 file; in effect, the 5/2 mentions that I "prepare the texts to be translated" and translate them to prose except for a few unknown words, which I deal with the following day, and 6/2 goes «Domi termino traductiones poetice» (at home I finish the poetic translations), so that's it; the rest of the dates are from the same file as the HS2 Homer translations»;
  3. L'ultima latina, e l'ultima dei tempi del liceo, è del canto delle Sirene, anche lei in The man of many skills and the Sirens, con storia breve «Prob. 6/2/10, twk. a couple dates, then 22-24/7/12 and 16/8/12» e storia lunga «This first appears in a 6/2/10 22:37 file, so I assume it was made between then and the previous Odyssey file, which is the 5/2/10 18:41 one mentioned above, since that one has none of it; cfr. two items above for 5/2 and 6/2 diary; fun fact: I planned to set this and the two openings to music, according to the filename; for the tweaks, cfr. two items above; the rest of the dates are from the same files as the HS2 Homer translations, except that the final tweak was dated by the post itself»; registrando il 27/1/24, mi accorgo di un errore di metrica: delectatus inizia con dĕ-, non dē-; quindi non Sed delectatus, ma Atque delectatus (15:22); il giorno dopo, sottotitolando, mi rendo conto che audiās ha quella lunga, quindi audjās dev'essere sennò è in metrico; con questo, dato che artem era solo per tenere breve quell'-as, cambio artem in vōcem, il tutto alle 12:13;
  4. Veniamo poi alle traduzioni recentissime, dell'anno scorso o addirittura di questo, con gli esametri barbari che traducono il proemio dell'Iliade; i primi due di questi sono del 16/12/23 alle 21:35-21:36, mentre il resto sono di quando finalmente ci ritorno, cioè del 5/1/24 alle 23:35-23:53, con modifia il giorno successivo alle 11:27 che da «L'ira tu canta, mia diva» porta a «L'ira tu cantami, o Divq»; chiara l'influenza del Pindemonte su questa traduzione; «Al regno d'Ade, e i lor corpi come pasto agli uccelli rapaci» non sta nel metro, però, così alle 23:01 del 23/1/24 correggo come in per;
  5. Sempre esametri barbari sono quelli con cui, il 8/1/24 alle 10:13-10:31, traduco in Italiano il proemio dell'Odissea; e anche qui si nasconde un'influenza, ma credo della Calzecchi-Onesti, visto che inizialmente avevo «L'uomo narrami», poi diventato «L'uomo raccontami», e nella CO se non erro si iniziava con «Narrami o Musa l'uom dall'agile mente»; «Ma non salvò i suoi compagni così, per quanto lo desiderasse,» non sta nel metro, e me ne accorgo postando, sicché sul momento penso a «per quanto il bramasse», poi, controllati tutti i versi e sistemato quello di cui al punto sopra, elimino il "così" alle 23:02 del 23/1/24; registrandolo il 27/1/24 mi accorgo che il v. 7 l'ho saltato sia colla musica che coll'Italiano, quindi rimedio ad ambedue: «Per la lor stessa follia criminale lor furono uccisi,» (14:57), poi «follia temeraria» (14:59);
  6. Il 8/1/24 alle 12:28-12:40, con modifiche alle 15:53-15:57 del giorno stesso, completo la triade di esametri barbari Italiani col canto delle Sirene; registrando poi il 27/1/24 cambio per sbaglio "Mai infatti da qui" in "Mai infatti di qui" nel verso 3 e decido poi di implementarlo.
Con questi brani avevo una sorta di debito del passato, nel senso che mi ero proposto, nel lontano 2010, di musicarli, e invece poi non l'avevo mai fatto. Fino a quando ho pensato di portare le traduzioni (allora solo latine) all'interno di una serie sul canale, e finalmente ho saldato il debito, più o meno (l'intento era musicarli in stile greco antico, infatti il 5/2/10 avevo cercato di capire come fosse questo stile). Vediamo un po' di datare le musiche, i cui spartiti si trovano in fondo al post:
  1. Proemio dell'Iliade: 21/1/24 14:04-14:24, con parecchie modifiche la notte seguente alle 0:07-0:26, nel mettere la musica sullo spartito virtuale;
  2. Proemio dell'Odissea: 21/1/24, primi 5 versi 14:25-14:41, resto 19:48-20:01, anche lui con modifiche nel metterlo sullo spartito virtuale la notte seguente, precisamente alle 0:41-0:48; purtroppo, registrandolo il 27/1/24, mi sono accorto che il v. 7 l'ho saltato sia colla musica che coll'Italiano; l'ho musicato alle 13:18, ma non ho voglia di fare un'altra immagine di spartito; magari un giorno le rifaccio tutte, quelle immagini, così si aggiungono le basi e tutte le modifichette da armonia fatte il 27/1/24;
  3. Per il canto delle Sirene la vicenda è più articolata; si parte con mezzo verso alle 11:43-44 del 22/1/24, per completare il verso alle 12:25-12:26; poi si completa l'opera alle 14:58-15:16, per poi avere le solite modifiche da spartito virtuale alle 0:05-0:30 della notte dopo.
Detto ciò, trattandosi di una puntata di serie, con intro in metrica, è bene che io cominci a riportare e datare le intro. Quindi:
  1. L'intro greca è dell'8/1/24 alle 16:21-17:00 e 17:59-18:14; viene poi notevolmente ritoccata per le correzioni della Kika, con cui dialogo su questi esametri la sera del 10 e in parte dell'11/1/24, e da ultimo il v. 6 la sera del 26/1/24 scambia un δὲ con un γε; questo produce la versione corretta sulla destra, mentre a sinistra c'è l'originale mia;
  2. Segue la italiana, fatta rapidamente alle 18:15-18:18 del 9/1/24;
  3. Infine la latina, subito dopo l'Italiana, 18:18-18:54, più modifiche alle 17:23-17:31 del 22/1/24, che cambiano i versi «Inceptūs cantumque canō bene Sīrēnārum.», «Gæcē, deinde Latīnē, ut ego ipse tradūxī, deinde», «Inceptūs, cantumque canō Sīrēnum ego ipse.» (versione intermedia del 2 tra l'iniziale di prima e la finale di sotto); il verso «Græcē, deinde Latīnē, ut ego ipse ea vertī, deinde» vien poi a finire con cantō invece di vertī il 27/1/24 alle 11:48, guadagnandosi poi un altro ea prima di cantō alle 22:24 del giorno dopo.
Con tutto ciò, vediamo questi brani!



Τὸ προοίμιον τῆς Ἰλιάδος
Μῆνιν ἄειδε, θεά, Πηληιάδεω Ἀχιλῆος
Οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε,
Πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν
Ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν
Οἰωνοῖσί τε πᾶσι· Διὸς δ’ ἐτελείετο βουλή·   5
Ἐξ οὗ δὴ τὰ πρῶτα διαστήτην ἐρίσαντε
Ἀτρεΐδης τε ἄναξ ἀνδρῶν καὶ δῖος Ἀχιλλεύς.



Proœmium Iliadis
Iram cane, dea, Pelidæ Achillis
Funestam, quæ milia Achæis dolorum dedit,
Multasque strenuas animas Hadi iecit
Heroum, eosque spolia fecit canibus
Avibusque omnibus; Iovisque perficiebatur consilium;
Ex quo quidem (ii duo) primum separati sunt litigando
Atridesque dominus virorum et divus Achilles



Τὸ προοίμιον τῆς Ὀδυσσείας
Ἄνδρα μοι ἔννεπε, Μοῦσα, || πολύτροπον, ὃς μάλα πολλὰ
Πλάγχθη, ἐπεὶ Τροίης || ἱερὸν πτολίεθρον ἔπερσε·
Πολλῶν δ’ ἀνθρώπων || ἴδεν ἄστεα καὶ νόον ἔγνω,
Πολλὰ δ’ ὅ γ’ ἐν πόντῳ || πάθεν ἄλγεα ὃν κατὰ θυμόν,
Ἀρνύμενος || ἥν τε ψυχὴν || καὶ νόστον ἑταίρων.   5
Ἀλλ’ οὐδ’ ὧς ἑτάρους || ἐῤῥύσατο, ἱέμενός περ·
Αὐτῶν γὰρ σφετέρῃσιν || ἀτασθαλίῃσιν ὄλοντο,
Νήπιοι, οἳ κατὰ βοῦς || Ὑπερίονος Ἠελίοιο
Ἤσθιον· αὐτὰρ ὁ τοῖσιν || ἀφείλετο νόστιμον ἦμαρ.
Τῶν ἁμόθεν γε, θεά, || θύγατερ Διός, εἰπὲ καὶ ἡμῖν.   10



Proœmium Odysseæ
Virum mihi insece, Musa, versutum, qui quidem multa
Passus est, postquam Troiæ sacram arcem delevit;
Multorumque virorum vidit urbes et mentem cognovit,
Multaque ipse in mari passus dolores suo in corde,
Redimere conans suumque animum et reditum comitum.
Sed nec ita comites servavit, cupiens etsi:
Eorum enim suis stultitiis deleti sunt,
Pueruli, qui boves Hyperionis Solis
Vorare; at ille illis abstulit reditus diem.
Horum undelibet quidem, dea, filia Iovis, dic et nobis.



Ἀοιδὴ Σειρήνων
«δεῦρ’ ἄγ’ ἰών, || πολύαιν’ Ὀδυσεῦ, || μέγα κῦδος Ἀχαιῶν,   185
νῆα κατάστησον, || ἵνα νωϊτέρην ὄπ’ ἀκούσῃς.
οὐ γάρ πώ τις τῇδε || παρήλασε νηῒ μελαίνῃ,
πρίν γ’ ἡμέων || μελίγηρυν ἀπὸ || στομάτων ὄπ’ ἀκοῦσαι,
ἀλλ’ ὅ γε τερψάμενος || νεῖται καὶ πλείονα εἰδώς.
ἴδμεν γάρ τοι πάνθ’, || ὅσ’ ἐνὶ Τροίῃ εὐρείῃ   190
Ἀργεῖοι Τρῶές τε || θεῶν ἰότητι μόγησαν,
ἴδμεν δ’ ὅσσα γένηται || ἐπὶ χθονὶ πουλυβοτείρῃ».



Cantus Sirenarum
“Heia age iens, clare Ulixes, magna gloria Achæorum,
Navem siste, ut nostram (duarum) vocem audias.
Non enim umquam quis hic transivit navi nigra,
Antequam quidem nostram dulcisonoram ab oribus vocem
At ille quidem delectatus navigat et plura sciens. [audisset,
Scimus enim quidem omnia, quæ in Troia ampla
Argivi Troianique deorum consilio passi sunt,
Scimusque quanta fiant super terra fecunda.”






Φροίμιον τὸ ἀρχαῖον
Ὑμῖν Ἰλίαδος καὶ Ὀδυσσείας φέρω αὐτὸς
Τὰς ἀρχάς, καὶ τῶν Σειρηνάωνς νυν ἀοιδὴν
Ἐν μελαοιδίᾳ ἣν αὐτὸς ξυνέγραψα πρὸς αὐτῶν,
Σὺν δὲ μεταφράσεσιν τὰς αὐτὸς ἐποίηκ' αὐτῶν.
Ἑλλάδος ἐν γλώσσῃ μὲν πρῶτ' ἐγ' ἀείσω, ἔπειτα
Ῥωμαϊκῇ δὲ παλαίῃ, ἔπειτα ἐν Ἰταλικῇ δὲ.
Χαίρετε τῇ ἀκοῇ ὑμεῖς πάντες, τ' ἐπιθυμῶ!



Intrōductiō
Vōbīs Īliadisque et Odyssēæ præsentō
Inceptūs, cantum Sīrēnum etiam bene cantō.
Ipse melōdjam eīs invēnī, omnia vōbīs
Græcē, deinde Latīnē, ut ego ipse ea vertī, ea cantō,
Ītalicam per versjōnem canere hæc conclūdō.
Audīte et gaudēte: bene augurō ego hoc nunc vōbīs!
Preœmio dell'Iliade
L'ira tu cantami, o diva, di Achille figliuol di Peleo,
L'ira funesta, che lutti a migliaia portò per gli Achei
Anime forti d'eroi a migliaia inviò pria del tempo
Al regno d'Ade, e i lor corpi per pasto agli uccelli rapaci
Ed ai cani lasciò (tale infatti era il piano di Zeus),
Da quel primo momento in cui aspra contesa disgiunse
Dal divo Achille il gran capo degli uomini, figlio d'Atreo.
Proœmium Iliadis
Ī́rām pḗrcĭnĕ mī́ Pēlī́dǣ, dī́vă, Ăchī́llīs
Fū́nēstā́m, quǣ mū́lta͜ ăd Ăchī́vōs fū́nĕră iḗcīt,
Mū́ltās ḗt fōrtḗs ănĭmā́s dḗi͞ecĭt ăd Hā́dĕm
Hḗrōū́m, cănĭbū́sque͜ īllṓrūm cṓrpŏră prǽ̄bu͞it
Ā́tque͜ ăvĭbū́s cūnctī́s; Iŏvĭ’ sī́ccĕ vŏlū́ntās fĭḗbā̆t;
Ḗx quĭdem͜ ĕṓ, prīmū́m quō lī́tīs cá͞usă dĭrḗmit
Ā́trīdḗm dŏmĭnū́mquĕ vĭrū́̂m dīvū́mquĕ Ăchī́llēm.
Proœmium Iliadis
Īram percine mī Pēlīdæ, dīva, Achillis
Fūnestam, quæ multa ad Achīvōs fūnera jēcit,
Multās et fortēs animās dējēcit ad Hādem
Hērōum, canibusqu' illōrum corpora præbvit
Atque avibus cūnctīs; Iovi' sīcce voluntās fjēbat;
Ex quid' eō quō prīmum lītis causa dirēmit
Ātrīdem dominumque virûm dīvumque Achillem.
Proœmium Iliadis
Īram percine tū Pēlīdæ, dīva, mī͜ Achillis
Fūnestam, quæ multa ad Achīvōs fūnera jēcit,
Multās et fortēs animās dējēcit ad Hādem
Hērōum, canibusqu' illōrum corpora præbvit
Atque avibus cūnctīs (Iovis hoc fvit cōnsilium tum),
Ex quid' eō quō prīmum lītis causa dirēmit
Ātrīdem dominumque virûm dīvumque Achillem.



Proemio dell'Odissea
L'uomo raccontami, o Musa, che molto viaggiò e sofferse
Dopo avere di Troia la santa rocca distrutto.
Molte cittadi lui vide, e di molti le menti conobbe,
Molti dolori in mare sofferse, profondi nel cuore,
L'anima sua di salvare tentando, e il ritorno dei suoi.
Ma non salvò i suoi compagni, per quanto lo desiderasse,
Per la lor stessa follia temeraria lor furono uccisi,
Stolti! Ché loro dei buoi del Sole Iperïone
Voller mangiare, ed a lor lui negò del ritorno il mattino.
Figlia di Zeus, anche a noi tutte queste cose, deh, narra.
Proœmium Odysseæ
Vḗrsūtum͜ ī́nsĕcĕ, Mū́să, || vĭrū́m mĭhĭ, plū́rĭmă vḗrō
Quī́ pāssū́st Tr͞oiǣ́ || pōstquam͜ ī́llĕ săcram͜ ārcem͜ ēvērtĭt;
Mū́ltōrū́mquĕ vĭrū̂́m || mēntḗs ātque͜ ṓppĭdă nṓvĭt,
Mū́ltă mărī́ pāssū́st || pœ̄nā́rum͜ īn cṓrdĕ sŭo͜ ī́llĕ,
Ū́t cŏmĭtū́m rĕdĭtū́s || ănĭmū́mquĕ sŭū́m sērvā́rĕt.
Sḗd nēc sī́c cŏmĭtḗs || sērvá͞it, cŭpĕrḗt cum͜ ĕquĭdem͜ īllĕ;
Ī́lli͜ ĕtĕnī́m || su͞a stū́ltĭtĭā́ || sūnt tḗmpŏrĕ cǣ́sī,
Quṓ, pŭĕrī́ stūltī́!,|| bōvḗs Hy̆pĕrī́ŏnĭ’ Sṓlĭs
Ḗxēsḗre;͜ ăt ĕī́s || rĕdĭtū́s īlle͜ ā́bstŭlĭt hṓram.
Hṓrūmque͜ ū́ndĕlĭbḗt, || Iŏvĭ’ fī́lĭa, dī́c, dĕă nṓbīs.
Proœmium Odysseæ
Versūtum īnsece, Mūsa, virum mihi, plūrima vērō
Quī passus't Troiæ postquam ille sacram arcem ēvertit;
Multōrumque virûm mēntēsque atque oppida nōvit,
Multa marī passus't pœnārum in corde svō ille,
Ut comitum reditūs animumque suum servāret.
Sed nec sīc comitēs servājt, cuperet cum equid' ille,
Illī etenim svā stultitiā sunt tempore cæsī
Quō, puerī stultī!, bōvēs Hyperioni' Sōlis
Exēsēre; at eīs reditūs ille abstulit hōram.
Hōrumqu' undelibet, Iovi' fīlia, dīc, dea, nōbīs.



Canto delle Sirene
Gran gloria Achea, ben lodato Odisséo, verso noi la tua nave
Volgi, e trattieniti qui, per udire la nostra voce.
Mai infatti di qui è passato con sua nave nera
Un che la nostra voce di miele non abbia ascoltato.
Ma dilettatosi assai se ne va ogni uomo, e più saggio:
Noi sappiam tutto ciò che nelle ampie distese di Troia
Per volontà degli dèi han sofferto gli Argivi e i Troiani,
Tutto ciò che sulla terra che nutre ogni cosa succede.
Cantus Sirenarum
«Hḗia͜ ăge͜ ĭḗns, ō clā́rĕ || Ŭlī́xēs, glṓrĭa͜ Ăchī́vûm,
Nā́vēm sī́stĕ, ŭtī́ || nōstrā́m dūlcem͜ á͞udĭăs ā́rtĕm.
Nā́m hāc nḗmo͜ ūmquā́m || trānsī́vĭt ătrā́ cūm nā́vī
Ā́ntĕquăm ͞á͞udīrḗt || hānc vṓcēm dū́lcĭsŏnṓrǎm,
Sḗd dēlḗctātū́s || tūm nā́vĭgăt ā́tquĕ scĭḗns plū̆s.
Scī́mūs ĕnī́m cūncta͜ ͞é͞a, || Trŏĭā́ quæ͜ īn mā́gna͜ ădĭḗrĕ
Ā́rbĭtrĭṓ dīv͞û́m || Trōiā́nōs ā́tquĕ Ăchī́|vōs,
Quā́ntăquĕ tḗrră sŭpḗr || vĭdĕā́t sēsē͜ ḗssĕ ŏpī́mă».
Cantus Sirenarum
«Heia age iēns, ō clāre Ulīxēs, glōria Achīvûm,
Nāvem siste utī nostram dulcem audjās artem.
Nam hāc nēmō umquam trānsīvit atrā cum nāvī
Antequam audīret hanc vōcem dulcisonōram,
Atque delectātus tum nāvigat atque sciēns plūs.
Scīmus enim cūnct' ea, Troiā qu' in magnā adiēre
Arbitriō dīvûm Troiānōs atque Achīvōs,
Quantaque terra super videat sēsē esse opīma».






Φροίμιον τὸ διωρθωσθέν
Ὑμῖν Ἰλιάδος καὶ Ὀδυσσείας φέρω αὐτὸς
Τὰς ἀρχάς, καὶ Σειρήνων ᾠδὴν μελίγηρυν,
Ἐν μέλει ὃ ξυνέγραψα πρὸς αὐτῶν αὐτὸς ἔγωγε,
Σὺν δὲ μεταφράσεσ' ἅς γε πρὸς αὐτῶν ποίησ' αὐτός.
Ἑλλάδος ἐν γλώσσῃ μὲν πρῶτ' ἐγ' ἀείσω, ἔπειτα
Ῥωμαϊκῇ γε παλαιᾷ, ἔπειτα ἐν Ἰταλικῇ δὲ.
Χαίρετε τῇ ἀκοῇ ὑμεῖς, οὕτως ἐπιθυμῶ!



Introduzione
Dell'Ilïade e dell'Odissea oggi a voi io presento
I proemi, ed insieme anche il canto delle Sirene,
Brani che ho musicati e tradotti in Latino e Italiano.
Prima gli originali, a seguir le versioni latine,
Poi le Italiane io canto. A tutti voi buon ascolto!










Friday, 5 January 2024

Gentle Annie

Today we have an English song, Gentle Annie (no, not this one), which means I don't need to translate IAFI :).

As I think of what to put on my CD, when I ever get to record it, I think of this as a potential English song for the CD, so I translate the titular line. It is 1:28 on 13/5/23, and the translation reads «Dolce Annina». Then on 31/5/23 I take this up again, and between 22:10 and 22:29, looking up the lyrics somewhere along the way, I complete the job as recapped below for IAFI. Note the intermediate version «Come al sole la rugiada / Del mattin» and «E il mio amor per te vivrà / Fino alla fin». Also, I'd forgotten two lines apparently, the last of the penultimate stanza. Now that I've recapped everything at 22:40 on 5/6/23, it's time to think about those. And by 22:45 the start «Tu sei il fior tra tutti i fiori, / Sei il canto degli uccelli, / Sei il riso dei bambini / Lì a giocar. / Sei mia gioia e mia speranza, / Sei la mia ragion di vita,» somewhat walks the plank :). At 23:13 on 5/1/23, I see «Ed i mar saranno vuoti», and I'm like, with all the extra notes in that stanza, surely that truncation of "mari" is pointless :)? Also, it's not «La grazia tua m'ha vinto», but rather «La dolcezza», as I think at 23:14.

Alright, let's see this!


Fair and lovely Annie,
Your gentle ways have won me.
You bring peace and joy and laughter
Everywhere.
Where you go the sunshine follows,
You're a breath of spring in winter
And my heart and soul
Are always in your care.

Gentle Annie, gentle Annie,
My heart and soul
Are always in your care.

When you touch me with your fingers,
My cares and worries vanish
Like the morning dew
Before the rising sun,
When your eyes tell me you love me,
Then my soul is filled with wonder
And my love for you will live
When life is done.

Gentle Annie, gentle Annie,
My love for you
Will live when life is done.

You're the flower among the flowers,
You're the birdsong in the morning,
You're the laughter of the children
At their play.
You're my hope and joy and wisdom,
You're my reason just for living,
You're my treasure,
You're my very night and day.

Gentle Annie, gentle Annie,
You're my treasure,
You're my very night and day.

When the mountains all come tumbling
And the earth has stopped its turning,
When the winds don't blow
And stars refuse to shine,
When the moon has left the heavens,
And the seven seas are empty,
I will still have gentle Annie
On my mind.

Gentle Annie, gentle Annie,
I will still have gentle Annie
On my mind.
Bella e dolce Annina,
La dolcezza tua m'ha vinto,
Ogni giorno porti gioia
Ovunque vai.
Dove vai, ti segue il sole,
Primavera sei in inverno,
Nel mio cuore e nella mente
Mia tu stai.

Dolce Annina, Dolce Annina,
Nel mio cuore e nella mente
Mia tu stai.

Se mi tocchi colle tue dita,
Ogni mio pensier svanisce
Come la rugiada
Sotto il sole fa.
I tuoi sguardi innamorati
Mi fan pieno di stupore,
E il mio amor per te
Giammai non morirà.

Dolce Annina, Dolce Annina,
Il mio amor per te
Giammai non morirà.

Tu sei il fior tra tutti i fiori,
Sei il riso dei bambini,
Sei il canto degli uccelli
All'albor.
Sei mia gioia e mia speranza,
Sei la mia ragion di vita,
Sei il mio giorno e la mia notte,
Il mio tesor.

Dolce Annina, Dolce Annina,
Sei il mio giorno e la mia notte,
Il mio tesor.

Quando i monti crolleranno
E non girerà più la terra,
Coi venti fermi,
E le stelle spente là nel blu,
Quando in ciel non ci sarà luna
Ed i mari saranno vuoti,
Dolce Annina, in mente ancor
Mi sarai tu

Dolce Annina, Dolce Annina,
Dolce Annina, in mente ancor
Mi sarai tu