Hydrangea and Sunny Day Service: Rainy days and …

サニーデイ・サービス、歌詞(Lyrics)『あじさい』(English Translation)

Some song lyrics are just impossible to translate into another language because of their highly contextualized form of language use. “Hydrangea” (1996) by Sunny Day Service is one of those songs. The band is well known for their unique, retro style of lyrics, arrangement and visual image. They are sometimes called a modern Happy End, a well known Japanese folk rock band around 1970 .
ときに翻訳困難な歌詞があります。ある文化にあまりに固有の意味を持つ言葉づかいが、その理由です。サニーデイ・サービスの「あじさい」は、まさにそうした曲です。レトロな歌詞やアレンジ、またメンバーの見た目やジャケットデザインなどで知られていて、ときに「現代のはっぴいえんど」とも称されます。

Hydrangea conjures up a very particular set of imagery of the rainy season in Japan. The color of pale blue and pink, and raindrops shining on the green leaves. Flowers by the quaint, old buildings that give peaceful, quiet shades. Overall lucid elegance enlivened by misty air of the wet season.

あじさいと聞くだけで、梅雨の情景が一気に心に浮かぶのですが、それは淡い青やピンク、青葉に光る雨粒。落ち着いた日本家屋の軒下の花々。雨の季節、雨に煙る優しい透明感とでもいいようなものが、全体的に浮かぶわけです。

The set is hydrangea and the prop is a series of words and retro items that remind us of the old times. The imagery of the street with retro, chic signs actually give us a sense of rundown street that fails to keep up the changing times. Flower scissors and tatami floor apparently refer to the imagery of traditional Japanese residence. All of these are something that gives us clear imagery but that can hardly be found today. Here is an interesting gap between the reality and our reminiscences.

セットがあじさいなら、小道具は古き良き時代を思わせる言葉や生活の道具です。レトロ看板並ぶ通りは、実際は時代に取り残された感のある通りを、花鋏や畳はもちろん日本家屋を、これらは明らかに鮮明なイメージを思い起こさせるわけですが、実際には今は目にすることはないのが現実です。現実と追憶のギャップがここにもあるのです。

Beyond mirage – an unrealistic wish that never be achieved – emerges a comforting memory.

決して実現しない願いとでも言える蜃気楼の向こうに、懐かしい思い出が浮かんだりもするのです。

 

サニーデイサービス

あじさい

This hydrangea I saw
On a rainy evening of the wet season
Railway tracks, trains come and go
She was there on her own for no reason
With an arch grin
Asking spring wind to blow in

The mist came down
The street with retro, chic signs
I let her take my hand
And we found a nice place to hop in

These golden roses
I see from an upstairs window
Through the straw blind
They bloom but never get fruits
Dissolve into the damp, drizzly sky
Her gaze down at the tatami floor
The night comes and leaves us behind
A beaming smile of hers

Your finger on the straw, the cider glass
A faraway mirage, and your smile

Who left the flower scissors in the shade?
Look at the flowers seeping out of the mesh of tatami floor
Your finger on the straw, the cider glass
A faraway mirage, and I just followed her lead

 

Catch The Wind and Happy End: Spring Dreams

はっぴいえんど、歌詞(Lyrics)『風をあつめて』(English Translation)

Spring dreams are magical in that they provide nostalgic reminiscences for those remembering good ol’ days. “Catch the Wind” by Happy End (1969-1972), one of the most important rock bands in Japanese rock history, is remembered by many for its lyrical uniqueness.
春の夢は幻の様で、私たちの追憶を掻き立てます。日本のロック史上非常に重要なバンド、はっぴいえんど(1969-1972)の『風をあつめて』は、その特徴的な歌詞によって多くの人の耳に残っているようです。

The lyric definitely refers to Tokyo, its metamorphose around the 1964 Olympic games. The city landscape changed drastically, many of the tram ways gone, places connected to childhood memories lost or replaced with tall buildings. With smaller spaces for free play and more convenience, children less often played outside and people forgot how to slow down. All these nostalgia and reminiscences sigh aloud through this lyric in a really intricate and sophisticated way. Let’s look into each unique usage of vocabulary.
歌詞の世界は、明らかに東京を、1964年の東京オリンピック前後の東京の変貌を歌っています。路面電車は姿を消し、子ども時代を思い起こさせる場所は消え去り高層ビルに取って代わられ、都市の景観は様変わりした。便利さは増す一方で遊び場は減り、子どもの外遊びの機会は減り、人々はペースダウンすることを忘れてしまった。こうしたノスタルジックな嘆息が、繊細かつ文学的に、歌詞から響いてきます。では、その特徴的な言葉遣いを見ていきましょう。

“Senobi” means stretching up in the hope of looking taller and more competent. This refers physically to extended streets or high rising buildings, figuratively urban people desperate to look sophisticated to impress people. “Tainted haze” refers to hazardous smogs as a result of hurried urban development. The tramway is referred to as a symbol of good old Tokyo. There were fewer and fewer spaces or services in Tokyo that people associated with a simple, slow and laid-back attitude towards life. This perception leads you to see a mirage with tramway cars crossing the sea, allowing you to feel connected to something lost. From the phrase, “an out-of-the-bed tramway”, you might feel the coolness and silence of the morning and see the mist, through which tramway cars make their way. Even the whole city blurs and get dissolved into the morning mist.

「背伸び」は、より高くより良く見えるようにすること。物理的には、長い街路や高いビルを、比喩的には、いいところを見せようと懸命な人々の姿が思い浮かぶ。「汚点だらけの靄」は急速な都市開発によるスモッグを、「路面電車」は昔懐かしい東京の姿を感じさせます。素朴でのんびりした暮らしを思い起こさせるような空間やサービスが少なくなっってしまった、そんな感覚が「路面電車が海を渡る」という蜃気楼を見させ、失われたものとのつながりを感じさせます。「起きぬけの路面電車」からは、朝のひんやりとした静けさと、漂う霧の中を進む路面電車の姿が感じられ、都市そのものが霧の中に溶けだしていくような感覚も得られるのではないでしょうか。

The city is an amalgam of different aspirations and experiences. We hope the city provides us with encounters and affluence which would hopefully make our life richer, but we sometimes dream about escaping from urban hustle-bustle. It’s described as an escape “into the blue sky” by means of the city “with crimson sails.” Contrast continues by comparing two different textures: “cracked glass” and “rustling of the skyscrapers.” All of these urban memories and frustration push us to catch something real. There comes the wind to have in our hands.

都市は、人々の期待や経験の混交体。生活を豊かにしてくれるような出会いと豊かさ、そんなものを都市に期待する一方で、そのせわしなさから逃れたいとも考える。それが、「緋色の帆を掲げた都市」の力を借りて、「蒼空を翔けたい」との言葉に表れる。色のコントラストに引き続いて、「ひび割れた玻璃」と「摩天楼の衣擦れ」という肌触りを対比させています。失われた都市の追憶と葛藤によって、何かリアルなものを掴みたいという衝動へ導かれる。そこに、掴むべき風がやってくるのです。

“Catch The Wind” is definitely one of the most important lyric works in Japanese modern rock history. With its well-crafted layout of familiar imagery and highlighted contrast, we can easily relate to this uniquely constructed world of magical words. This song was used in a 2004 movie, “Lost in Translation”, and there is much lost in translation when it comes to a song like this.

日本のロック史上の最重要歌詞の一つの「風をあつめて」ですが、聴き手の共通体験へのアクセスを促す小道具遣いと、さまざまなコントラストの仕掛けによって、独特な言葉の結びつきであっても、自然と心に沁み込むような言葉の魔法がありますね。2004年の映画『ロスト・イン・トランスレーション』でもこの曲は使われましたが、確かに、翻訳の過程では失われるものは多いように感じます。

風をあつめて
Catch The Wind

On the street run-down and pretentious
I was talking a walk
Through the tarnished draperies of haze
I saw an out-of-the-bed tramway crossing the sea
Well, that made me think of
Catching the wind, catching the wind
Taking wing into the sky
Into the sky

Through the morning glow
I was making my way
Over the dreary breakwater
I saw a city at anchor
With crimson sails set
Well, that made me think of
Catching the wind, catching the wind
Taking wing into the sky
Into the sky

At a coffee shop empty in the morning
I was sipping my cup empty
Through the cracked glass
I saw rustling of the skyscrapers
Surging over the pavements
Well, that made me think of
Catching the wind, catching the wind
Taking wing into the sky
Into the sky

Then, Now and Tomorrow: Spring in Your Step

吉田拓郎、歌詞(Lyrics)『今日までそして明日から』(English Translation)

Then, Now and Tomorrow (1971) is one of the best songs of Takuro Yoshida, who was a pioneer of singer-songwriter in Japan. Using simple language, laying out words just as murmuring, he achieved maximizing uniqueness of Japanese phonetics and wording. In 70’s, when a lot of musicians were exploring musical and lyrical expressions in Japanese language, Takuro Yoshida established himself as a truly original musician and led the music industry to the next stage.
『今日までそして明日から』(1971)は、シンガーソングライターという言葉を定着させた吉田拓郎の代表曲と言えるでしょう。平易な言葉を用いて、つぶやくように言葉を次々と並べていく、そこに日本語らしい語感が響く。多くのミュージシャンがそれぞれのやり方で、日本語の音楽表現を探っていた時期に、彼もまた独自の世界を築き上げ、音楽界を新たな次元へと導いた一人でした。

The very first line shows what you can pull out of Japanese language. What a difference one single word makes ! Instead of just telling the fact, the replacement of “ikite-kimashita (I’ve been living)” with “ikite-mimashita (I’ve been doing my best in living)” adds a cute twist to expressing opinions, which makes lyrics much more relatable to listeners. Natural and everyday language takes on a catchy melody in a good way. There is no need to use items like slide doors or a public bath to arouse imagery unique to Japanese language. This song particularly plays a perfect role in expressing images and messages that a songwriter has in his or her mind.

何よりも冒頭の「わたしは今日まで生きてみました」に、日本語らしさが最大限に生かされています。「生きてきました」でなく「生きてみました」という表現が伝える語感。意見や主張を、こうした表現で「外す」ところが特徴的で、それにより聴き手により共感を抱かせます。そうした自然で日常的な日本語が、ごく自然にメロディに乗る心地よさ。障子やら銭湯やらの和のテイストを持ち込まなくても、掻き立てられる日本語のイメージ。自分の心の中にあるイメージやメッセージを、他人に伝えるという歌の機能を存分に果たしています。

The uniqueness of this song – the message itself and how the message is expressed through unique wording – makes it particularly difficult to translate the feel that native Japanese speakers would have. The beauty of expressing everydayness by using an everyday language should not be dramatized or reduced to cliche. Below is my translation, which may sound moralistic but make you feel how a single word makes a big difference in creating an overall tone of the lyric.

歌詞の内容もさることながら、その言葉遣いを特徴とするこの曲の雰囲気を、外国語に訳しきるのは非常に困難に感じます。ありきたりのことをありきたりの言葉で伝えることの魅力を、いかに脚色じみていなく、かつ凡庸でない翻訳として伝えるか、悩ましいですね。今回は、教訓的な調子で訳してみましたが、言葉一つで歌詞全体の雰囲気が変わることを体感できますね。

The repeated refrain seems to symbolize our repeating day-to-day existence. The past can be interpreted and evaluated in whatever way and the future can not be predicted enough. Then, patiently and with certainty, you just have to live through everyday challenges. The song resonates with listeners heart when they need to get determined and self-assured.

繰り返されるリフレインが、繰り返される毎日の積み重ねである人生を象徴しているようにも聴こえます。これまでのことはどのようにでも評価でき、また、この先のことは誰にも予測できない。ならば辛抱強く日々を積み重ね行く。その決意を自分に言い聞かせているようにも聴こえます。

There will be some tomorrows that would help you move on because of a big change and other tomorows that would duplicate what it is today. The sound and lyric of this song tells much about how people get to take on this responsibility. All of these have made this song a great song. Then, we wonder how he pulled out all of these in his 20’s after all.

何かが大きく変わって動き出す明日もあれば、今日までと変わらず続く明日もある。そんな明日へと向き合う責任の重さを、自分なりに背負っていく。そういう人の佇まいをも感じさせる。やはり名曲ですね。そして何よりも、こうした歌を20代のうちに世に送り出したことに改めて驚嘆させられます。

Then, Now and Tomorrow

Up until now
Things were OK
I think I gave it a good try
At times I called on someone to help me
At times I needed someone really badly
Up until now
Things were OK
I think I gave it a good try
Which made me think
I’ll be living this way
Tomorrow and beyond

Up until now
Things were OK
I think I gave it a good try
At times I got contemptuous
At times I got challenged
Up until now
Things were OK
I think I gave it a good try
Which made me think
I’ll be living this way
Tomorrow and beyond

Up until now
Things were OK
I think I gave it a good try
At times I felt betrayed
At times I felt warm hand in hand
Up until now
Things were OK
I think I gave it a good try
Which made me think
I’ll be living this way
Tomorrow and beyond

You’ve got your own way of living
Well, nothing starts
Before you get to know who you are
Well, but things change
You have no idea when and how
Beyond your control
That’s how you get to move on
Tomorrow and beyond

Up until now
Things were OK
I think I gave it a good try
Which made me think
I’ll be living this way
Tomorrow and beyond

Days That Used To Be: Spring in Your Step

山口百恵、歌詞(Lyrics)『いい日旅立ち』(English Translation)

Released in 1978, written by Shinji Tanimura and sung by Momoe Yamaguchi, Days That Used To Be has soon reached lyrical milestone by its imagery and lyricism in depicting the arrival of spring and emotional landscape of leaving for another place. The main character gets to find some kind of closure about the past and make a step forward.
「いい日旅立ち」は、過去に整理をつけ、当てのない未来へ踏み出そうとする、そんな主人公の姿を描いています。春の訪れと旅立ちの情景を抒情的に描いた歌謡曲の金字塔ですね。

Winter passes and spring is on its way when you look up the sky and throw your past plans and anticipations away. You used to have people around, with whom you shared your dreams and memories. You are alone now and determined to step forward on your own.

季節は確実に巡り、芽吹きを感じさせている。そんな時、過去の計画や期待やらを空に投げかけます。過去の夢を分かち合った人たちは、今はもうここにいない。つまり、自分は一人で歩まなければならない、そう決意するのです。

It feels like you have lost your home. Well then, you just can leave the past behind and start to make memories. Though your outlook seems as fickle as going somewhere else, you still have some confidence in what future will bring. You just seek something that would warm you heart.

自分には帰るところがないようにも思える。ならば、その思い出をこれから作っていこうという決意を込めて、過去に別れを告げる。あてのなさは、「日本のどこか」というほど頼りないものであっても、心のどこかで未来を確信している。求めるのは心を暖めるような原風景。

It’s no easy translating these sentiments, or nostalgia, in a way that the lyricism speaks to readers of another language. It’s still a universal human tendency to use songs to think of days that used to be.

こうした日本情緒を英語の語感にのせて訳すのは非常に難しく感じます。しかし、歌の力によって原風景を心に浮かべるとことは普遍的なものと感じられもするのではないでしょうか。

Days That Used To Be

When snow starts to melt
With spring thaw on its way
I call out for the northern sky
To bring back all dreams lost in time
I feel warm inside
With all those gone crossing my mind
All I can do is just set out all by myself

Ah, somewhere on this land, not across the sea,
There must be someone ready to meet me

No better day for leaving
For a sunset I saw
On the back of my dear mom
All those songs will stay in my mind

Fishing at the rocky beach is a small boy
Going home through the green plume grassland
From here my memories are to made
Leaving a good bye message on the sand

Ah, somewhere on this land, not across the sea,
There must be someone ready to meet me

No better day for leaving
For cotton-wool clouds I saw
What I learned from my dad
All those songs will stay in my mind

Ah, somewhere on this land, not across the sea,
There must be someone ready to meet me

No better day for leaving
For happiness
What I loved to sing
All those songs will stay in my mind