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[Ariel] 西国的海妖 - 化鹤归 | To become a crane and return


renn

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Ariel (西国的海妖) - 化鹤归 | To become a crane and return


Lyrics: 乘物游心 (Cheng Wu You Xin)
Composition: 潇梦临 (Xiao Menglin)
Arrangement: 潇梦临 (Xiao Menglin)
 

Lyrics translation by renn at www.onehallyu.com

credits.png

 

https://www.youtube.com/watch?v=LOM7OA0QdXI


素衣纹花 绘出个 盛世的轮廓
风穿襟袖 å°†ç¹åŽ ç°‡ç°‡å°½å¹è½
磅礴山河 方显出 è§ç‘Ÿçš„脉络
快马平剑少年 å°šä¸çŸ¥æ­»ç”Ÿè½å¯ž

sù yÄ« wén huÄ / huì chÅ« gè / shèng shì de lún kuò
fÄ“ng chuÄn jÄ«n xiù / jiÄng fán huá / cù cù jÇn chuÄ« luò
páng bó shÄn hé / fÄng xiÇŽn chÅ« / xiÄo sè de mài luò
kuài mÇŽ píng jiàn shào nián / shàng bù zhÄ« sÇ shÄ“ng luò mò

The woven pattern of the white robe paints out the outlines of an age of prosperity.
The wind penetrates through the collar and the sleeves, and, in clusters, it blows down all the flourishment.
Only boundless and majestic mountains and rivers can show [the contrasting state of] the desolate arteries and veins.
The youth [who rides] a fast horse [and carries] an ordinary sword has yet to come to know loneliness of life and death.


åŽæ¥ä½ æˆ‘ 被分隔 乱世的深壑
风雨如晦 曾比肩 也未觉凄æ»
归途æµç¦» è°å¯¥è½ 我轻呵 岿œˆå¤ªå•è–„
惜平生 åªæ•¢å°†çƒŸé›¨æŠ–è½ä¸€è“‘

hòu lái nÇ wÇ’ / bèi fÄ“n gé / luàn shì de shÄ“n hè
fÄ“ng yÇ” rú huì / céng bÇ jiÄn / yÄ› wèi jué qÄ« cè
guÄ« tú liú lí / shéi liáo luò / wÇ’ qÄ«ng hÄ“ / suì yuè tài dÄn bó
xÄ« píng shÄ“ng / zhÇ gÇŽn jiÄng yÄn yÇ” dÇ’u luò yÄ« suÅ

Later on, you and I became separated [by] the deep valleys of the troubled times.
Wind and rain sweep across a sky as gloomy as the night. [We] had once [stood] shoulder to shoulder, but even so do not feel heartbroken.
Forced to wander from place to place as refugees on the homeward journey, who have been scattered? I lightly expel my breath: the years are too insubstantial.
How pitiful that in all of one's life, one only dares to shake the misty rain from one's straw rain cape.


#
è‹¥æˆ‘åŒ–é¹¤å½’æ¥ å½“åº­ç§äº†æž‡æ·ä¸€æ£µ
纵é观世事多舛 é历命途凉薄
亦甘愿 与你将 è¿™å²æœˆæ…¢æ…¢è¹‰è·Ž
å¾…æžå¶å¦‚伞盖 收墨 将掌纹用心摩挲

ruò wÇ’ huà hè guÄ« lái / dÄng tíng zhÇ’ng le pí pá yÄ« kÄ“
zòng biàn guÄn shì shì duÅ chuÇŽn / biàn lì mìng tú liáng bó
yì gÄn yuàn / yÇ” nÇ jiÄng / zhè suì yuè màn màn cuÅ tuó
dài zhÄ« yè rú sÇŽn gài / shÅu mò / jiÄng zhÇŽng wén yòng xÄ«n mó suÅ

If I become a crane and return [to you] and one loquat tree has been planted in the courtyard,
Even if have seen all the affairs of life that are filled with trouble and misfortune and experienced thoroughly the unkindness of fate,
would still be willing to slowly falter and fumble through time with you.
When the canopy [of the loquat] resembles an umbrella, [i'll] put away the ink and diligently caress the lines of [your] palm.


##
è‹¥æˆ‘åŒ–é¹¤å½’æ¥ ä¿¡æ‰‹ç¿»äº†è¯—ç»ä¸€å†Œ
é‡Žæœ‰è”“è‰æƒ¹ç°å°˜å‡ é’± 字迹斑驳
é™å¤œä¸‹çš„回廊 你足音近在咫尺
æŽ¨å¼€åŠæ‰‡ç«¹é—¨é—²æ­¥å‡º 细数 别åŽé£Žæ³¢

ruò wÇ’ huà hè guÄ« lái / xìn shÇ’u fÄn le shÄ« jÄ«ng yÄ« cè
yÄ› yÇ’u màn cÇŽo rÄ› huÄ« chén jÇ qián / zì jì bÄn bó
jìng yè xià de huí láng / nÇ zú yÄ«n jìn zài zhÇ chÇ
tuÄ« kÄi bàn shàn zhú mén xián bù chÅ« / xì shÇ” / bié hòu fÄ“ng bÅ

If I become a crane and return [to you] and, in passing, flip open a volume of the Book of Odes[1],
[The page containing the poem] "Lush grass grows everywhere in the countryside"[2] has gathered how much[3] dust? The writing is mottled.
[in] the winding corridor under the cover of the quiet night, the sound of your footsteps is merely a few feet away.
Pushing open half a panel of the bamboo door and leisurely walking out, [together with you, I] run through all the crises that occurred after [our] parting.


ä»–å¹´é å 雨微éœè¿˜é˜´çš„窗侧
几处闲田 动春锄å¶è§‰æ­¤æ„è±
é—®å²åŽå‡ ç•ªæ¸¸ æˆé©¬å°å‰ 或采花篱下
å°è‹è‹” å±é½¿å¦‚我 怜此情脉脉

tÄ nián kào zuò / yÇ” wÄ“i jì hái yÄ«n de chuÄng cè
jÇ chù xián tián / dòng chÅ«n chú Ç’u jué cÇ yì huÅ
wèn suì huá jÇ fÄn yóu / xì mÇŽ tái qián / huò cÇŽi huÄ lí xià
yìn cÄng tái / jÄ« chÇ rú wÇ’ / lián cÇ qíng mò mò

In another year, sit, leaning against the side of the window [showing that] the rain has slightly abated but the sky is still overcast.
Beginning the springtime hoeing in a few idle paddies, occasionally feel that this is rather liberating.[4]
Time [flies by and I] ask: how many times have traveled [through here], in front of the Horse-Training Terrace[5.1] or by the bamboo fence, picking flowers[5.2].[5]
Similar to [the tenderness felt towards] the green moss [that is] stepped upon [and ruined] with the teeth of wooden shoes[6.1], I have compassion for this soundless but deep affection.[6]


è‹¥æˆ‘åŒ–é¹¤å½’æ¥ æ— æ„æºäº†æµäº‘一朵
ä½ åªéœ€å½“我如常 æœå‡ºæš®å½’便å¯
似山中观局弈 斧柯朽 æµå¹´è½»è¿‡
似枕上梦醒 è§æ¡ƒæ ¸å°šåœ¨ 便知身是客

ruò wǒ huà hè guī lái / wú yì xié le liú yún yī duǒ
nÇ zhÇ xÅ« dÄng wÇ’ rú cháng / zhÄo chÅ« mù guÄ« biàn kÄ›
sì shÄn zhÅng guÄn jú yì / fÇ” kÄ“ xiÇ” / liú nián qÄ«ng guò
sì zhÄ›n shàng mèng xÇng / jiàn táo hú shàng zài / biàn zhÄ« shÄ“n shì kè

If I become a crane and return [to you], accidentally bringing along a flowing cloud,
You should just pretend it's usual for me to go out in the morning and come back in the evening like this.
As if watching a game of chess in the mountains, with the axe handle decaying, [marking] the easy passage of time.[7]
As if waking from a dream upon the pillow and seeing that the peach pit is still there, thus knowing that one is a "guest".[8]


è‹¥æˆ‘åŒ–é¹¤å½’æ¥ é•¿å¹è£ä½œçŸ­æ­ŒåŠç®©
å é¼“æ¸…ç¬³å„æ„è‚  留得å八闲客
醉举æ¯é¥®æ˜Ÿæ²³ 人间胜事且勾勒
æ¥æ—¥æ‚ é•¿ 此间你我 终能把 岿œˆé›•ç¢

ruò wǒ huà hè guī lái / cháng tàn cái zuò duǎn gē bàn luó
dié gÇ” qÄ«ng jiÄ gè chóu cháng / liú dé shí bÄ xián kè
zuì jÇ” bÄ“i yÇn xÄ«ng hé / rén jiÄn shèng shì qiÄ› gÅu lè
lái rì yÅu cháng / cÇ jiÄn nÇ wÇ’ / zhÅng néng bÇŽ / suì yuè diÄo zhuó

If I become a crane and return [to you], [i'll] cut long sighs into half a bamboo basket's worth of short songs.
The rapid tattoo of the drum and the lonely sound of the nomad flute each [brings] pent-up feelings of sadness, leaving eighteen idle "guests"[9].
Inebriated, raise my cup and drink in the galaxy[10], giving a brief account of the beautiful and happy things in the human world.
There are many days [ahead of us] yet. In this time, you and I will eventually be able to carve and polish the months and years.


Repeat #

Repeat ##



T/N: This song is quite heavy with its reference of classical poetry! I don't discuss/translate the original works all in detail but I have made some notes. Don't know if I've missed something but here's what I've caught.

[1] 诗ç», the "Book of Odes", is the oldest existing collection of Chinese poetry, said to be compiled by Confucius.

[2] é‡Žæœ‰è”“è‰ (lit. wilderness/countryside has spreading grass) is the title of one of the poems classified under "Odes of Zheng", one group of poems found in the aforementioned "Book of Odes".

[3] é’± is a unit of weight. It has several definitions but going by the old meaning, it converts to 3.125 grams.

[4] The rain from the previous line as well as the idle paddies and spring plowing from this line all borrow from the imagery of the second line of Song Dynasty poet Zhang Yan's 《渡江云·山阴久客一å†é€¢æ˜¥å›žå¿†è¥¿æ­æ¸ºç„¶æ„æ€ã€‹: 一帘鸠外雨,几处闲田,隔水动春锄。

[5] This entire line is derived from the first line of Song Dynasty poet Pan Xibai's ã€Šå¤§æœ‰Â·ä¹æ—¥ã€‹: æˆé©¬å°å‰ï¼Œé‡‡èŠ±ç¯±ä¸‹ï¼Œé—®å²åŽã€è¿˜æ˜¯é‡ä¹ã€‚ Except the last four characters, the rest all show up exactly, only the order is rearranged.
[5.1] æˆé©¬å° (lit. train horse terrace) or Xima Terrace was built by late Qin Dynasty warlord Xiang Yu after he bestowed the title of Overlord of Western Chu upon himself and chose modern day Xuzhou as his capital city. It was named for its purpose, to watch soldiers train their horses.
[5.2] 采花篱下 (lit. pick flower fence under) is actually an allusion by the poet to yet another poem (Eastern Jin Dynasty poet Tao Yuanming's 《饮酒·其五》). In the original poem, the poet was picking chrysanthemums for the purpose of making wine.

[6] This line borrows from the first line of Song Dynasty poet Ye Shaoweng's 《游园ä¸å€¼ã€‹: 应怜å±é½¿å°è‹è‹”ï¼Œå°æ‰£æŸ´æ‰‰ä¹…ä¸å¼€ã€‚ Roughly: Perhaps the garden owner worries that my wooden shoes will ruin the green moss, so even though I've been lightly knocking upon the wooden door, for a long long time, nobody comes to open the door.
[6.1] å±é½¿ (lit. wooden shoe teeth) describes the "teeth" (supporting blocks that touches the ground) of the geta.

[7] It's not a direct quote, but the pieces (chess (specifically "weiqi"), in the mountains, axe handle rotting, the swift passage of time) point to Tang Dynasty's second emperor Li Shimin's poem ã€Šäº”è¨€å’æ£‹ã€‹, particularly the line: 方知仙岭侧,烂斧几寒芳, and thus borrow from that atmosphere.

[8] The part about dreaming and 身是客 (lit. [this] body is a guest) reminded me of a phrase from Southern Tang Dynasty's last emperor Li Yu's poem 《浪淘沙令》: 梦里ä¸çŸ¥èº«æ˜¯å®¢ï¼Œä¸€æ™Œè´ªæ¬¢ã€‚ Li Yu lived in the Five Dynasties and Ten Kingdoms period and was known as "Last Lord Li", for he was captured and his reign ended by the founding emperor of the Song Dynasty. He was held prisoner in the Song capital until his death. In this particular line of the poem, he expressed that only in dreams was he able to forget that he was a prisoner and enjoy a moment's pleasure. It is evident then that the literal "guest" is actually a euphemism for "prisoner".

[9] The "guests" here might have to do with the "guest" in the previous note. As for why eighteen, well, there is a collection of songs and poems called the "Eighteen Songs of a Nomad Flute". But instead of songs, the flute here leaves behind "guest"...I guess? To be honest, this is associative guesswork and I'm not sure anybody other than the lyricist understands lmao.

[10] 星河 (lit. star river) can refer specifically to the Milky Way.

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