After covering METHOD_IMPLANTA/. I just had to do the rest of the songs relating to Rhaplanca. A number of songs relating specifically to Infel Phira and Metafalica contain parts of the tale of a girl named Rhaplanca. Neither she nor the great tree Implanta she attempts to grow nor her companion Maoh nor even the tale itself are mentioned anywhere in the game text itself (that I'm aware of), yet the pieces of her story are highly relevant both to the songs they appear in and to the points in the plot at which these songs are sung. The part in this song appears to be the first of five, with the next portion in EXEC_HAIBANATION/.
The mood here is highly variable. Luca comes into the song very uncertain, but the energy picks up after an unusually lengthy introduction as she settles into singing. The central portion of the song is upbeat and powerful, reflecting the awed sense of "it's really working" the characters are likely feeling... and then everything falls apart. The final portion is a combination of whispered and mournful, as befits the fallout. You know what I mean if you've played this far.
Sections with Hymmnos lyrics are listed with the Hymmnos lyrics in the center column (which I always use for pronunciation) and the given Japanese equivalents in the left column in this color to indicate that the Japanese phrases are not the actual lyrics.
Adding to the complexity, much of the song has multiple parts singing different things at the same time. These are noted below as they occur, and hopefully the explanations are understandable. I'm particularly fond of where the parallel lines are similar but not quite the same.
The Japanese in this song is so archaic that when I went looking for more information, I found a translation of the Japanese portions of the lyrics into modern Japanese. Apparently it's at least as troublesome for a native speaker as reading Shakespeare is to a native English speaker. Unfortunately, the link (http://hymmno-dict.com/music_box_at2.html#aka_at2_homura_02) is now dead.
|
Vocal & Chorus by: Lyrics by: Composed & Arranged by: |
霜月はるか みとせのりこ 土屋暁 |
Haruka Shimotsuki Noriko Mitose Akira Tsuchiya |
|---|
| Japanese | Romanization/Hymmnos | Translation |
|---|---|---|
| (none given) | Nn i ga exec hymme METAFALICA >> SOL=FAGE/1x10 enter FRERIA |
(This line activates access to Frelia's power via SOL=FAGE for the execution of METAFALICA. See below for details.) |
| Interlude ~19 seconds | ||
| いざや目覚めよ 明き黎明に 我は生命を与う 謳になる |
Iza ya mezame yo akeki reimei ni Ware wa inochi wo atau uta ni naru |
Awaken now, unto a bright daybreak. I shall become song that I may bestow life. |
The next two lines are VERY slow and sound almost like part of the instrumentation. |
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| 大地よ、大地よ | Ar dor, ar dor | O earth, O earth, |
| 出でよ、偉大なる神の地よ | Urr dius dor ee | Come forth, O great divine land. |
"fayra en kapa, weak en sheak" is sung with each of the two lines directly following this note, and "spiritum sanctum" similarly comes during each line. |
||
| 降りよ神の力、この身は謳とならん 我は虚にして最大 |
"Rra ki ra echcrra jouee,Rra ki ra chs hymmnos mea" "Rra ki ra echcrra li 0,Rra ki ra chs maxim" |
"Descend, power of the Goddess. Myself shall become song." "I am empty yet also greatest." |
| 炎と水、月と太陽 | "fayra en kapa,weak en sheak" | "Flame and water, moon and sun" |
| 魂の箱舟 | "spiritum sanctum" | "Ark of souls" |
"spiritum sanctum" now drops out, but the other Hymmnos lines above continue playing from 我に力… until …上に注ぐ. |
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| 我に力与え給う1 神の聲を聞かせ給う1 | Ware ni chikara atae tamou1 kami no koe wo kikase tamou1 | She granteth me power, letteth the voice of the Goddess be heard. |
| 其は幼き神樹の落胤 眠る種の上に注ぐ |
So wa osanaki shinju no raka Nemuru tane no ue ni sosogu |
That is the illegitimate offspring of the holy tree. Pouring down over the sleeping seeds, |
The Hymmnos now drops out, and the paired lines that follow are sung in parallel instead. |
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| 恵みの雨与え給う1 瑠璃の雨に目覚め給う1 恵みの雨与え給う1 瑠璃の雨に AH- 芽吹きて |
Megumi no ame atae tamou1 ruri no ame ni mezame tamou1 Megumi no ame atae tamou1 ruri no ame ni AH- mebukite |
She granteth them a rain of blessing, waketh them in the lapis rain. She granteth them a rain of blessing, ah, sprouting in the lapis rain. |
| 枝葉のばし 天を蓋えや 枝葉のばし 天を蓋え |
Edaha nobashi ten wo ooe ya Edaha nobashi ten wo ooe |
Extend O ye foliage and envelop the heavens. Extend ye foliage and envelop the heavens. |
| 祈る聲は空に翔けゆく 翼 祈りは 翔けてゆく AH- |
Inoru koe wa sora ni kakeyuku hane Inori wa kakete yuku AH- |
Praying voices are wings to fly the skies. Prayer taketh flight, ah. |
| AH- 目眩き 蒼穹の砕けし欠片 | AH- mabayuki soukyuu no kudakeshi kakera | Ah, broken shards of the brilliant blue sky, |
| AH- この手の上 いま 宿れ AH- この手の上 きらめき 零れ落ちる |
AH- kono te no ue ima yadore AH- kono te no ue kirameki koboreochiru |
Ah, now dwell ye in my hands. Ah, fall ye glittering into my hands. |
In addition to a pair of parallel lines, the two measures of Japanese below overlap with the two measures of Hymmnos below them. |
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| 降り注げ 光よ 舞い降りよ この胸の中 光を奏で舞い降りよ この胸の中 |
Furisosoge hikari yo maiori yo kono mune no naka Hikari wo kanade maiori yo kono mune no naka |
Rain down, O light! Fly down into my breast. Singing of the light, fly down into my breast. |
| AH- 響きわたれや 神が謳よ | AH- hibiki watare ya kami ga uta yo | Ah, resound, O song of the Goddess! |
| 注げ光よ 来たれ再生のとき | Rra ki ra synk, cexm dius lusye Rra ki ra synk, bexm dius waath |
Pour down, O light, the time of rebirth is come. |
| 注げ光よ 宿れ神の力 | Rra ki ra synk, cexm dius lusye Rra ki ra ferda, jouee,Diasee |
Pour down, O light, the power of the Goddess lieth within me. |
Simultaneous Japanese and Hymmnos continues, with the following blocks overlapping. |
||
| 解き放て天に この想いの鼓動 さあ 甦れ 遥か神代の奇蹟 |
Tokihanate sora ni kono omoi no kodou Saa yomigaere haruka kamiyo no kiseki |
Set free into the heavens the pulse of these feelings. Be now reborn, miracle of the distant age of the Goddesses. |
| 解き放て、己が真実の謳 解き放て、己が真実の姿 |
yehar,hyear! Rra num ra hymme cset mea yehar,hyear! Rra num ra urr innna mea |
Set free my true song. Set free who I truly am. |
Most of the remainder of the song is whispered and quite difficult to make out. The Japanese glossing for these next two lines is so far removed from the Hymmnos that I'm considering it erroneous and ignoring it entirely. The two lines that follow are sung very slowly as the lines from "tes didalia dorn..." (and not before!) to "...haf nell pauwel." are whispered. |
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| ラプランカという少女がいた | "Rhaplanca,selena phira" | Rhaplanca raised a seed |
| 彼女は雨の降らぬ不毛の地で種を育てていた 何故人はこんなにも希望を失ってしまったの？ |
"ween sabl,den fandel sabl" | In the sand, but there was so much sand. |
| ラプランカという少女がいた 彼女は雨の降らぬ不毛の地で種を育てていた |
Ides, rre sasye rhaplanca vit nnoi phira ween sable. |
There was a young woman named Rhaplanca. She raised a seed in a barren land where no rain fell. |
| いつかこの種が人を潤す大樹になるように そう願い、彼女は自分の飲み水を種に与えた |
Harr touwaka selena phira tes didalia dorn, crannidale infel en kapa. |
That it might some day become a great tree to benefit man, So wishing, she gifted the seed her own drinking water. |
| 人々はそんなラプランカを愚か者と嘲い、 まだ幼い木を踏みつけた |
Rre fandel heighte has en plina, herra pagle harr riomo hueaf. |
The people mocked Rhaplanca as a fool for it, And trampled upon the yet young tree. |
| 彼女は苗木を守るため、苗の側についた | Den,harr granme irs pitod enrer crannidale infel en kapa. |
She remained by the seedling to protect the sapling. |
| けれどある日とうとうラプランカも倒れてしまう | Den,harr haf nell pauwel. | But Rhaplanca too collapsed one day. |
| ラプランカは世界の絶望に打ちひしがれた 茫然と苗を見つめながら… 「何故そんなにも人々は 希望をなくしてしまったの？」 |
Harr paul,whai herra rete ieeya,so? Harr re heighte der gauzewiga oz ciel. Harr ar vit plina has nhaf..." |
Rhaplanca was stricken by the world's despair, As she gazed blankly at the seedling... "Why have the people lost hope so completely?" |
This "Diasee..." is sung very slowly from somewhere around "Harr paul, whai..." to after the whispering cuts off with "plina has nhaf...". |
||
| 「教えて、誰か…」 | "Diasee..." | "Someone, tell me..." |
1 verb stem + 給う is a particularly tricky bit of classical Japanese.
To begin with, it's pronounced たもう (tamou), even though it's written たまう (tamau) and is pronounced たまう in the modern language. (There were apparently pronunciation shifts in classical Japanese that resulted in, among other things, many words using au kana in writing but ou an sound when speaking. I've seen some information suggesting this didn't normally happen at the ends of verbs, which should mean this would have been pronounced たまう all along. Realistically, though, I'm out of my depth here, and can't say much of anything about the classical pronunciation with any degree of certainty.)
The other part that's especially confusing is that, although it's essentially never used in modern Japanese except as an auxiliary verb (as it is here) and in the command form 給え (tamae), this song uses it in the base form. The construct [verb]+給え roughly equates to the modern ～てくれ (-te kure) or ～て下さい (-te kudasai), meaning "(please) do [verb] for me," so by extention, [verb]+給う should equate to ～てくれる (-te kureru) or ～てくださる (-te kudasaru), meaning "[someone, usually of higher rank or social standing] (graciously) does [verb] for my/our benefit."
Long story short, this means that every use of [verb]+給う indicates that someone other than the singer is performing the action and that the singer or audience benefits from this act. The obvious candidate is the Goddess, hence my use of "She".
Keep in mind that I'm working from a Japanese description of how the language works and Japanese descriptions of the terms. Translations of translations always tend to suffer somewhat in quality...
Refer to my brief Hymmnos reference for general information on how the language works.
If you have the Hymmnos font installed, the headings below should appear in the script used in the game. Hey, why not? The font is available from the Hymmno Server, where most of my information on Hymmnos comes from. The site is mostly in Japanese, but the download link itself is in English. If you don't have the font, the headings will simply appear as large Latin text.
"Nn i ga exec hymme METAFALICA >> SOL=FAGE/1x10 enter FRERIA", with no glossed meaning given. Pronunciation written in kana as ン イ ガ エグゼク ヒュム メタファリカ トラス ソル フェージ イ グ イ オ エンテル フレリア (N i ga eguzeku hyumu metafarika torasu soru feeji i gu i o enteru fureria).
Nn = apathetic, listless / i = impatient, rushed / ga = want to escape quickly
exec = execute (do) / hymme = sing, play, resonate / enter = enter / (the rest is explained below)
FRERIA is almost certainly a misprint of FRELIA (refer to EXEC_VIENA/.), who is of course the second Origin Reyvateil and the administrator of this tower. This first line is a special activation line to tap into Frelia's power, and other than the emotive sound at the beginning and the name of the song in use, is a purely functional fixed phrase, so the most interesting thing here is the emotive sound. Luca is far from excited to be here and singing this. At best, she's unconvinced that it's the right thing to be doing, and she's clearly uneasy. Certainly, she feels rushed and is rather less than eager. And her misgivings turn out to be entirely justified, of course.
As for the code-like portion, "exec hymme METAFALICA" is invoking the song, and ">> SOL=FAGE/1x10 enter FRERIA" is a redirect sending outbound (1x10) data to Frelia through Sol=Fage. Essentially, this sets up the rest of the song to pipe commands through Frelia.
"Ar dor,ar dor", glossed as 大地よ、大地よ ("O earth, O earth"). Pronunciation written in kana as アル ドール アル ドール (aru dooru ar dooru).
ar = the / dor = earth, continent
Pretty basic. It seems to be more an invokation of the land the song is attempting to create than a mention of the earth in general.
"Urr dius dor ee", glossed as 出でよ、偉大なる神の地よ ("Come forth, O great divine land"). Pronunciation written in kana as ウル ディウス ドール ィエエ (uru diusu dooru yee).
urr = (something invisble) appears, incarnate, embody / dius = divine, exalted / dor = earth, continent / ee = great, exalted
It's essentially word-for-word identical to the Japanese, except that Hymmnos seems to lack any sort of command form.
"Rra ki ra echcrra jouee,Rra ki ra chs hymmnos mea", glossed as 降りよ神の力、この身は謳とならん ("Descend, power of the goddess. Myself shall become song."). Pronunciation written in kana as [ルル]ラ キ ラ エクラ ジュエ [ルル]ラ キ ラ チス ヒュムノス ミーァ ([ruru]ra ki ra ekura jue [ruru]ra ki ra chisu hyumunosu mii[a]).
Rrha = entranced / ki = serious, focused / ra = want to be like this
echrra = resonate, sympathize / jouee = divine power / chs = become /
hymmnos = song, Hymmnos / mea = me
"Rra" throughout the song is either some unknown term or, more likely, simply a misspelling of "Rrha". Similarly, "echcrra" here and elsewhere seems to be a typo of "echrra". The "divine power" has to be the power of Frelia that Luca borrows to execute the song, and "resonate" is a more apt description of how it works than having the power "descend".
My best guess at a literal translation is, "I am completely focused on resonating with Frelia's power. I am completely focused on becoming song."
"Rra ki ra echcrra li 0,Rra ki ra chs maxim", glossed as 我は虚にして最大 ("I am empty yet also greatest"). Pronunciation written in kana as [ルル]ラ キ ラ エクラ リ ネル [ルル]ラ キ ラ チス マクシム ([ruru]ra ki ra ekura ri neru [ruru]ra ki ra chisu makushimu).
Rrha = entranced / ki = serious, focused / ra = want to be like this
echrra = resonate, sympathize / li = (adds emphasis, used before a consonant sound) / 0 = 0 /
chs = become / maxim = most
Resonating with nothing is an interesting concept, especially when put together with becoming most or greatest. Also interesting is that the nothing is emphasized. Perhaps the idea is to be so consumed by the song as to lose one's sense of self? There may also be a connection to the fallout after the song...
My best guess at a literal translation is, "I am completely focused on harmonizing with nothingness. I am completely focused on becoming greatest."
"fayra en kapa,weak en sheak", glossed as 炎と水、月と太陽 ("flame and water, moon and sun"). Pronunciation written in kana as ファイラ エン カパ ウィアク エン シェァク (faira en kapa wiaku en she[a]ku).
fayra = fire, flame / en = and (then), because of / kapa = water / weak = moon, month / sheak = sun, solar
It's essentially word-for-word identical to the Japanese, though usually "en" is used to link sentences or clauses rather than nouns.
"spiritum sanctum", glossed as 魂の箱舟 ("ark of souls"). Pronunciation written in kana as スピリトゥム サンクトゥム (supiritumu sankutumu).
spiritum = スピリトゥム / sanctum = ark (as Noah's)
Though "spiritum sanctum" is also a Latin phrase (meaning "Holy Spirit"), the glossing indicates that the rather different Hymmnos meaning is intended here.
"Rra ki ra synk, cexm dius lusye", glossed as 注げ光よ ("Pour down, O light"). Pronunciation written in kana as [ルル]ラ キ ラ シンク セズム ディウス ルーシェ ([ruru]ra ki ra shinku sezumu diusu ruushe).
Rrha = entranced / ki = serious, focused / ra = want to be like this
synk = pile up, overlap / cexm = (person or thing) comes / dius = divine, exalted / lusye = light
I'm guessing that "synk" implies a suffusion of light rather than just a little. Otherwise, nothing too complicated here.
My best guess at a literal translation is, "I am completely focused on the coming divine light."
"Rra ki ra synk, bexm dius waath", glossed as 来たれ再生のとき ("the time of rebirth is come"). Pronunciation written in kana as [ルル]ラ キ ラ シンク ベズム ディウス ワース ([ruru]ra ki ra shinku bezumu diusu waasu).
Rrha = entranced / ki = serious, focused / ra = want to be like this
synk = pile up, overlap / bexm = (a time) comes / dius = divine, exalted / waath = replay, rebirth
Similar to the previous sentence. Note the use of "bexm" rather than "cexm" when it's a coming time rather than a person or thing.
My best guess at a literal translation is, "I am completely focused on the coming time of divine rebirth."
"Rra ki ra ferda, jouee,Diasee", glossed as 宿れ神の力 ("the power of the goddess lieth within me"). Pronunciation written in kana as [ルル]ラ キ ラ フェルダ ジュエ ディアズィエー ([ruru]ra ki ra feruda jue diazyiee).
Rrha = entranced / ki = serious, focused / ra = want to be like this
freda = lodge, dwell / jouee = divine power / diasee = child of god
"Diasee" seems a bit out of place, but maybe I simply don't understand how it's being used here.
My best guess at a literal translation is, "I am completely focused on the divine power within me."
"yehar,hyear! Rra num ra hymme cset mea", glossed as 解き放て、己が真実の謳 ("Set free my true song"). Pronunciation written in kana as イェハール ヤ [ルル]ラ ナム ラ ヒュム セスト ミーァ (yehaaru ya [ruru]ra namu ra hyumu sesuto mii[a]).
yehar = release, unleash / hyear = hear ye or whatever :p
Rrha = entranced / num = nothing / ra = want to be like this
hymme = sing, play, resonate / cest = true / mea = me
"cset" makes sense as a typo of "cest", which fits both the listed meaning and the pronunciation used. At least in this situation, "Rrha num" seems to indicate being too absorbed in the song for emotion to really register any more.
My best guess at a literal translation is, "Be freed! I am absorbed in singing my truth."
"yehar,hyear! Rra num ra urr innna mea", glossed as 解き放て、己が真実の姿 ("Set free who I truly am"). Pronunciation written in kana as イェハール ヤ [ルル]ラ ナム ラ ウル インナ ミーァ (yehaaru ya [ruru]ra namu ra ).
yehar = release, unleash / hyear = hear ye or whatever :p
Rrha = entranced / num = nothing / ra = want to be like this
urr = (invisble) appears, incarnate, embody / innna = in the mind or heart / mea = me
Similar in many ways to the previous line. I'll also note that "hyear" may be pronounced either as イェア (yea) or ヤ (ya), but it sounds more like the briefer version in each of these two uses.
My best guess at a literal translation is, "Be freed! I am absorbed in manifesting what lies within my heart."
"Rhaplanca,selena phira", poorly glossed as ラプランカという少女がいた ("There was a girl named Rhaplanca"). Pronunciation written in kana as ラプランカ セレナ ピラ (rapuranka serena pira).
Rhaplanca = (a name) / selena = play (music) / phira = seed
The Japanese glossing given bears little resemblance to the Hymmnos. While "selena" seems an odd verb to use with "phira", it makes more sense if you consider it as creating or sustaining the seed(s) by using song magic. Either way, "selena" appears to have an effective meaning closer to "raise" here.
My best guess at a literal translation is, "Rhaplanca raised a seed."
"ween sabl,den fandel sabl", poorly glossed as 彼女は雨の降らぬ不毛の地で種を育てていた 何故人はこんなにも希望を失ってしまったの？ ("She raised a seed in a barren land where no rain fell. Why have the people lost hope so completely?"). Pronunciation written in kana as ウィン サブル デン ファンデル サブル (win saburu den fanderu saburu).
ween = in this situation / sabl = sand / den = but, however / fandel = numerous, much
The first sentence in the Japanese glossing somewhat resembles this Hymmnos line, but the second simply doesn't belong here.
My best guess at a literal translation is, "In the sand, but there was so much sand."
"Ides, rre sasye rhaplanca", glossed as ラプランカという少女がいた ("There was a young woman named Rhaplanca"). Pronunciation written in kana as イデス [ルル]レ サシェ ラプランカ (idesu [ruru]re sashe rapuranka).
ides = (the) past / rre = (subject indicator) / sasye = young woman / rhaplanca = (a name)
Using "ides" make the past tense explicit. Hymmnos usually treats past, present, and future tenses as the same thing. For any unfamiliar with it, "rre" indicates that the subject of the sentence follows. This is contrary to Japanese grammar, in which particles always mark the word before them, and acts more like an English preposition.
My best guess at a literal translation is, "There was a young woman, Rhaplanca."
"vit nnoi phira ween sable", glossed as 彼女は雨の降らぬ不毛の地で種を育てていた ("She raised a seed in a barren land where no rain fell"). Pronunciation written in kana as ヴィット ノイ ピラ ウィン サブル (vitto noi pira win saburu).
vit = see, look, watch / nnoi = 1 / phira = seed / ween = in this situation / sabl = sand
"sable" is a likely typo of "sabl" especially since the pronunciation matches, though the extra 'e' could be deliberate and meant to expand the scale.
My best guess at a literal translation is, "Who watched a seed in the barren land."
"Harr touwaka selena phira tes didalia dorn", glossed as いつかこの種が人を潤す大樹になるようにそう願い ("That it might some day become a great tree to benefit man, with that wish"). Pronunciation written in kana as ハ[ルル] トゥワカ セレナ ピラ テス ダイダリア ドルン (ha[ruru] tuwaka serena pira tesu daidaria dorun).
harr = she / touwaka = with hope, wishing / selena = play (music) / phira = seed / tes = (destination marker) / didalia = large / dorn = tree, wood
Again, "selena" appears to effectively mean "raise" here. "tes" is roughly equivalent to the Japanese に or へ particles, and in this case indicates the "destination" of raising the seed.
My best guess at a literal translation is, "She raised the seed with the hope that it would become a great tree."
"crannidale infel en kapa", glossed as 彼女は自分の飲み水を種に与えた ("she gifted the seed her own drinking water"). Pronunciation written in kana as クラニダーレ インフェル エン カパ (kuranidaare inferu en kapa).
crannidale = share / infel = love / en = and (then), because of / kapa = water
This adds to the previous line rather than standing alone.
My best guess at a literal translation is, "Sharing her water and love."
"Rre fandel heighte has en plina", glossed as 人々はそんなラプランカを愚か者と嘲い ("The people mocked Rhaplanca as a fool for it"). Pronunciation written in kana as [ルル]レ ファンデル ヘイテ ハス エン プリナ ([ruru]re fanderu heite hasu en purina).
rre = (subject indicator) / fandel = numerous, much / heighte = harm / has = her / en = and (then), because of / plina = foliage
This line and the following one are switched in the Japanese glossing, but it's all one sentence anyway. It also appears that "fandel" functions as a noun here rather than an adverb.
My best guess at a literal translation is, "The multitudes harmed her and the plant."
"herra pagle harr riomo hueaf", glossed as まだ幼い木を踏みつけた ("and trampled upon the yet young tree"). Pronunciation written in kana as へ[ルル]ラ パグレ ハ[ルル] リオーモ ヒャフ (he[ruru]ra pagure ha[ruru] rioumo hyafu).
herra = they (male) / pagle = talk, say / harr = she / riomo = pass (context data), bring about / hueaf = useless, pointless
Note the use of the subject "harr" rather than the object "has". This makes "harr riomo" roughly "what she brought about" or more simply "what she did".
My best guess at a literal translation is, "They called what she did pointless."
"Den,harr granme irs pitod enrer crannidale infel en kapa", glossed as 彼女は苗木を守るため、苗の側についた ("She remained by the seedling to protect the sapling"). Pronunciation written in kana as デン ハ[ルル] グランメ イルス ピトッド エンリャ クラニダーレ インフェル エン カパ (den ha[ruru] guranme irusu pitoddo enrya kuranidaare inferu en kapa).
den = but, however / harr = she / granme = courage in heart, want to protect / irs = is, exists / pitod = with, together / enrer = always, ever / crannidale = share / infel = love / en = and (then), because of / kapa = water
"irs pitod" would mean "be with".
My best guess at a literal translation is, "But wanting to protect it, she always stayed with it, sharing her water and love."
"Den,harr haf nell pauwel", glossed as けれどある日とうとうラプランカも倒れてしまう ("But Rhaplanca too collapsed one day"). Pronunciation written in kana as デン ハ[ルル] ハフ ネル パゥウェル (den ha[ruru] hafu neru pa[u]wel).
den = but, however / harr = she / haf = have, hold, own / nell = 0 / pauwel = power
My best guess at a literal translation is, "But she didn't have the strength."
I've rearranged the glossing on the next 3 lines to match the Hymmnos lines with the same approximate meaning.
"Harr paul,whai herra rete ieeya,so?", glossed as 何故そんなにも人々は希望をなくしてしまったの？ ("Why have the people lost hope so completely?"). Pronunciation written in kana as ハ[ルル] パウル ファイ へ[ルル]ラ レテ イーヤ (so) (ha[ruru] pauru fai he[ruru]ra rete iiya (so)).
harr = she / paul = feel / whai = why / herra = they (male) / rete = forget / ieeya = hope / so = ???
Here, "feel" is in the sense of "this is how she felt." The verb isn't normally used like this in English.
My best guess at a literal translation is, "She wondered, 'why have they forgotten hope so completely?'"
"Harr re heighte der gauzewiga oz ciel", glossed as ラプランカは世界の絶望に打ちひしがれた ("Rhaplanca was stricken by the world's despair"). Pronunciation written in kana as ハ[ルル] レ ヘイテ デァ ガゥンゼーヴィーガ オズ シェール (ha[ruru] re heite de[a] ga[u]nzeeviiga ozu sheeru).
harr = she / re = (makes verb passive) / heighte = harm / der = by, via / gauzewiga = despair / oz = (possessive) / ciel = sky, (loose usage) world
"re heighte" is " was harmed" because of the passive. "gauzewiga oz ciel" is "the world's despair."
My best guess at a literal translation is, "She was hurt by the world's despair."
"Harr ar vit plina has nhaf...", glossed as 茫然と苗を見つめながら… ("As she gazed blankly at the seedling..."). Pronunciation written in kana as ハ[ルル] アル ヴィット プリナ ハス (nhaf) (ha[ruru] aru vitto purina hasu (nhaf)).
harr = she / ar = the / vit = see, look, watch / plina = foliage / has = her / nhaf = ???
"nhaf" pretty much has to mean "blankly" or something similar. I'm not sure what "ar" is doing here, unless it's saying she was beyond any other action. Actually, that kind of makes sense.
My best guess at a literal translation is, "She just stared blankly at her plant..."
"Diasee...", oddly glossed as 教えて、誰か… ("Someone, tell me..."). Pronunciation written in kana as ディアズィエー (diazyee).
diasee = child of god
There's a fairly large gap between the Hymmnos and the Japanese. The only thing I can guess is that it's being used as a mild oath, comparable to "My God...!"
All lines that are next to each other are sung simultaneously. Any suspected typos are corrected.
| Nn i ga exec hymme METAFALICA >> SOL=FAGE/1x10 enter FRELIA | ||
| いざや目覚めよ 明き黎明に 我は生命を与う 謳になる |
||
| Ar dor, ar dor | ||
| Urr dius dor ee | ||
| "spiritum sanctum" "spiritum sanctum" |
"fayra en kapa, weak en sheak" "fayra en kapa, weak en sheak" |
"Rrha ki ra echrra jouee, Rrha ki ra chs hymmnos mea" "Rrha ki ra echrra li 0, Rrha ki ra chs maxim" |
| 我に力与え給う 神の聲を聞かせ給う |
"fayra en kapa, weak en sheak" "fayra en kapa, weak en sheak" |
"Rrha ki ra echrra jouee, Rrha ki ra chs hymmnos mea" "Rrha ki ra echrra li 0, Rrha ki ra chs maxim" |
| 其は幼き神樹の落胤 眠る種の上に注ぐ |
"fayra en kapa, weak en sheak" "fayra en kapa, weak en sheak" |
"Rrha ki ra echrra jouee, Rrha ki ra chs hymmnos mea" "Rrha ki ra echrra li 0, Rrha ki ra chs maxim" |
| 恵みの雨与え給う 瑠璃の雨に目覚め給う | 恵みの雨与え給う 瑠璃の雨に AH- 芽吹きて | |
| 枝葉のばし 天を蓋えや | 枝葉のばし 天を蓋え | |
| 祈る聲は空に翔けゆく 翼 | 祈りは 翔けてゆく AH- | |
| AH- 目眩き 蒼穹の砕けし欠片 | ||
| AH- この手の上 いま 宿れ | AH- この手の上 きらめき 零れ落ちる | |
| 降り注げ 光よ 舞い降りよ この胸の中 |
光を奏で 舞い降りよ この胸の中 |
Rrha ki ra synk, cexm dius lusye Rrha ki ra synk, bexm dius waath |
| AH- 響きわたれや 神が謳よ |
Rrha ki ra synk, cexm dius lusye Rrha ki ra ferda, jouee, Diasee |
|
| 解き放て天に この想いの鼓動 さあ 甦れ 遥か神代の奇蹟 |
yehar, hyear! Rrha num ra hymme cest mea yehar, hyear! Rrha num ra urr innna mea |
|
| Ides, rre sasye Rhaplanca vit nnoi phira ween sabl. |
||
| Harr touwaka selena phira tes didalia dorn, crannidale infel en kapa. |
\ "Rhaplanca, selena phira" / / |
|
| Rre fandel heighte has en plina, herra pagle harr riomo hueaf. |
||
| Den, harr granme irs pitod enrer crannidale infel en kapa. |
\ "ween sabl, den fandel sabl" / |
|
| Den, harr haf nell pauwel. | ||
| Harr paul, whai herra rete ieeya, so? Harr re heighte der gauzewiga oz ciel. Harr ar vit plina has nhaf... |
\ "Diasee..." / |
|