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Entangled

Weave a quilt from your velvet hair,
that could give me shelter,
if I the dawn met me bare.
 
Hold me between your lips and mine,
I’ll learn breathing vacuum, like a fish,
that lives and dies because of its mouth.
 
You weave the spider web that entangles my mind,
because I love you very much, without any reason.
 
You weave day after day, never stopping,
and from day to day more and more...
 
Surround me with your arms,
tie a ribbon with a double knot
that would bind me to your breast, my dear.
Entangle with your kisses
the part of my brain
that is in charge of my heart.
 
You bind my eyes to your shoulders,
underneath your skirt, please forgive me,
with intention to throw an indiscreet glance.
 
Bind me to your bedpost,
don’t halt your desire to learn
that love like this happens only once in a lifetime.
 
I dive inside your skin like a smoke of the
cigarettes of affection that you roll for me.
 
You tangle the strings of this poor marionette
and between affair and affair more and more...
 
Surround me with your arms,
tie a ribbon with a double knot
that would bind me to your breast, my dear.
Entangle with your kisses
the part of my brain
that is in charge of my heart.
 
Bind me to your bedpost,
don’t halt your desire to learn
that love like this happens only once in a lifetime.
 
I dive inside your skin like a smoke of the
cigarettes of affection that you roll for me.
 
Оригинальный текст

Lía

Нажмите, чтобы увидеть оригинальный текст (Испанский)

Julio Iglesias: Топ 3
Idioms from "Lía"
Комментарии
BuenSaborBuenSabor    вт, 04/02/2014 - 19:13
4

Quite direct and accurate; comments in line with the other discussion:

I would think "cruceta" would mean "crosspiece" rather than "cross", especially in the context of marionettes. The marionette is *already* tied (bound) to the crosspiece; the change that makes it worth talking about would be the tangling of the puppet's strings. I would also look for some parallel structure here to redeem the literary device of repetition that threatens to be submerged here:
.
.
Lías cada día con el día posterior
y entre día y día, lía, lía, lía...
.
.
Lías la cruceta de esta pobre marioneta
y entre lío y lío, lía, lía, lía...
.
.
From day to day, lie, lie lie
.
From tangle to tangle, lie, lie, lie

Concerning:
.
Lías cigarrillos de cariño y sin papel,
para que los fume, dentro de tu piel.
.
I couldn't find a way to express that clearly in english, so I made up my version out of whole cloth. Your's is a LOT closer to the original.

AldefinaAldefina
   ср, 19/02/2014 - 16:43

Thank you Steve.

As you have mentioned it under your translation, you had the same problem - many parts of this song were expressed in Spanish in such a way that it was impossible to translate them literally. Still I tried to keep as close to the original as it was possible. Nevertheless I was unable to avoid the need of interpreting some parts of these lyrics.

Interpretation is always a matter of taste. I was aware that some people might disagree with it. This song is one of my favorite songs of Julio Iglesias, so it was a “must” for me. It took me few month to translate it and almost half a year earlier I started thinking how to do it. The main problem was how to translate the stanza with “cruceta”. Of course I was able to understand the difference between “cruz” and “cruceta”. The problem is that I had a choice to use either “manipulator” (I have found it in Wikipedia) or “crosshead” (many dictionaries). For me as an engineer both these words sounded too technical for a love song. This way I decided to write an interpretation, that in my opinion, even if not having the same meaning, was pretty close in its sense. I agree that the idea that you suggested is definitely better - I wonder why I haven’t thought about it earlier.

Another problem were the words “lía”, “día” and “lío”. They are very short, as opposed to the English words that have the same meaning. Because of that I couldn’t have repeated them the same way as in original, so I had to write these stanzas in a different way, trying to maintain the meaning. Anyway, you have done it in a similar way. In whole honesty I don’t see any better way of interpreting them, so now I decided only for slight corrections. I don’t think that using “lie” is a good solution.

I still wonder about the last stanza. I don’t like “paperless”. Maybe “tissueless” would be better, but as English is not my native language I don’t feel it good enough to be able to tell what sounds better. As I was unable to decide, I simply dropped it altogether.

Have look now. I hope you will like it more.

BuenSaborBuenSabor    чт, 20/02/2014 - 09:37

Aldefina --

Back on the subject of

"Lías cigarrillos de cariño y sin papel,
para que los fume, dentro de tu piel."

There's not too much to be done with the latter line, "So that it burns within your skin,"

But the first line has just GOT to be symbolic. I mean, rolling cigarettes & setting your lady on fire with them? LITERALLY? Oh, yucch. even if you care about her a lot ("de cariño"), how you do that without burning your own fingers, considering there is no paper? Even more yucch.

I'm looking at that phrase, "sin papel". Yes it literally means "without paper", but ... but ... "papel" also means the role played by an actor; if one is truly in the throes of romance, I don't believe he is acting ... he is open, vulnerable, and expressing himself without pretense, guile, or shame ... feeling a burning in his heart, and also bearing the burning memory of every touch he has given or received ... like from the tip of a burning cigarette ...

BuenSaborBuenSabor    вт, 11/03/2014 - 19:00

Lías mis miradas a tu espalda,
por debajo de tu falda con perdón,
por poner los ojos junto a la intención.

You bind my eyes to your shoulders,
underneath your skirt, please forgive me,
with intention to throw an indiscreet glance.

Hmmm ...

"Lías mis miradas ... con perdón," Which glances?

"a tu espalda, y por debajo de tu falda" are prepositional adjectives.

The looks/glances ("miradas") are being bound with the forgiveness ("perdon"), not with shoulders & skirts, those only specify what things are being glanced at.

The third line makes the rest of the verse unnecessary; the totally terse form would be, "Forgive me for making clear what I want from you." But that isn't very poetic.