Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

This song has no right to be this badass and because I’ve been addicted to it recently I decided to translate it. Bear in mind that I’ve used a mixture of English translations to create my English version since I do not know Japanese and therefore cannot translate from the original lyrics. I’ve also put Karen’s lines in red and Maya’s lines in purple for ease of distinction.

Enjoy!



Pride and Arrogance
Orgullo y arrogancia


[Karen:] I should be able to see it as well

[Maya:] No, you may not see

[Both:] The view from the top of the tower


[Karen:] Yo debería poder verlo también

[Maya:] No, tú no puedes verlo

[Ambas:] La vista desde la cima de la torre


[Karen:]
What lies within your heart?
What is the shining thing that you strain your eyes to see?
Though that Star may yet be beyond my reach
I will continue to run for the sake of our promise


[Karen:]
¿Qué está dentro de tu corazón?
¿Qué es la cosa brillante que fuerzas la vista para ver?
Aunque esa Estrella todavía es más allá de mi alcance
Seguiré correr para honrar nuestra promesa


[Maya:]
The voice of the goddess calls from the heavenly throne
And a single star descends
One star alone


[Maya:]
La voz de la diosa llama desde el trono divino
Y una sola estrella descende
Una sola estrella


Climb up to me, if you have the willpower to do so
Cut me down, show me your rage
Even if the pride within your heart
Is torn from you


Sube hasta mí, si tienes la fuerza para hacerlo
Vénceme y muéstrame tu ira
Aún si el orgullo en tu corazón
Se divide de ti


Preparation is not what will carry you to the summit
If you stake your pride upon the stage
You will be unstoppable


Preparar no es lo que te llevará a lo alto
Si te juegues tu orgullo en el escenario
Entonces serás imparable


Ever higher, ever more glorious
Illuminating the horizon with my light
Moving a step forward, that much closer to the dream
For that is my pride


Cada vez más alta, cada vez más gloriosa
Mi luz ilumina el horizonte
Doy un paso al frente, más cerca al sueño
Porque eso es mi orgullo


Ever higher, ever more glorious
To that nigh unreachable place
For such is my pride


Cada vez más alta, cada vez más gloriosa
A ese lugar casi imposible a alcanzar
Porque así es mi orgullo


Ok, so I’m a linguistics major. And of course that means I’ve spent a lot of time over my first couple of years of study looking at how people communicate and performing conversational analysis of various types. I’m definitely not an expert as I’ve still not graduated and there will always be more to learn, but here are some of my thoughts on how certain parts of Blake and Yang’s dialogue were written and what it says about the way the audience is meant to perceive their relationship.

This goes pretty deep with the analysis, so bear in mind that I’m not suggesting everything I talk about here is 100% fact or completely intentional on the writers’ part. I’m just offering some thoughts as someone who has had to learn how to look for every ounce of meaning in conversations, so you can take whatever you want from this. It also got pretty hefty, so it’s divided into four sections for easier reading. With all that said… enjoy!

PART THE FIRST

Here we have their very first exchange of dialogue on their first night at Beacon. Now, Yang’s response to the conversation stalling is what I find most interesting about this. This is someone who has been established as an outgoing, confident, sociable person. Yet she goes with a line as awkward as “I like your bow… it goes great with your pyjamas” to try and push the conversation forward? It doesn’t quite seem to fit with the idea of Yang as someone who is self-assured and capable of socialising with ease that the viewer has been given up to this point for her to be so unsure when handling a simple introduction to a stranger.

Obviously her awkwardness is partly because Blake isn’t exactly the most co-operative conversationalist here, but it’s only a few lines into the interaction and Yang’s already slightly tripping over her words. Now also take into account that one character behaving unusually awkwardly around another character and complimenting them soon after meeting them is often used as a way for writers to quickly establish attraction and are you beginning to see what I’m getting at?

(No, I’m not saying the audience is meant to think that Yang has romantic interest in Blake at this point, I’m simply saying that their first interaction bears some resemblance to a typical meet cute scenario in a romance story.)

It’s also noteworthy that Yang tries to keep the conversation going for a good while even while Blake is only offering near monosyllabic replies (”Nice night, don’t you think?”). She clearly wants to have a meaningful interaction with Blake despite there being numerous other students better-suited as potential friends for Ruby, and that suggests that something about Blake interested her enough to try and continue the conversation despite the fact that she had to pull all of the weight.

That initial exchange creates a dissonance with Yang’s character in terms of how she interacts with Blake compared to everyone else who she is perfectly comfortable around from the start. And it becomes even more apparent when–after calling Blake a “lost cause” at the end of their first meeting–Yang’s first words to Blake after they become partners are a cocky “I could have taken them.”

So far with the dialogue between them the show has told us that: one, Yang feels awkward around Blake when they first meet for some reason despite being socially competent, and two, Yang wants some sort of interaction or approval from Blake (hence the slight boasting about her combat abilities). Expanding on that idea, it seems strange that Yang goes from referring to Blake as a “lost cause” to being perfectly happy to have her as her partner so fast, until you consider that Yang likely only made the “lost cause” comment to try and draw some kind of further response from Blake.

The last thing I want to address for now is: that initial awkwardness of Yang’s that I spent half this first post talking about? Yeah, as you might be thinking, it doesn’t last long. As soon as they make eye contact and become partners in the Emerald Forest, Yang acts far more casual around Blake and treats her more like she does the others.

Which makes it even more fascinating to me that they had Yang stumble through that clumsy comment about Blake’s bow matching her pyjamas at all. Sure, it could definitely be a simple oddity because it was early in the show, but someone still had to write that line, and regardless of why it was written it still creates a launching point from which Blake and Yang’s dynamic can (and indeed did) develop.

I know I spent a lot of time on this section considering how short these initial interactions are, but a first conversation is crucial to establishing a dynamic between a pair of characters so I needed to give it its due.

The summary of this first part can be mostly boiled down to: Yang wants to form some sort of bond with Blake.

PART THE SECOND

Here we have the other significant lines/conversations in the first three Volumes. I’m going to go through these in order to make things as simple as possible for myself.

One, “I love it when you’re feisty.” Well, this is just self-explanatory. Yang delivers what can only be interpreted as a flirtatious line while pointing directly at Blake. It’s… not subtle, and moreover there’s no reason for it to be included except to let the audience know that Yang is attracted to Blake.

Two, the talk in Burning the Candle. This is often pointed to as one of the moments that really made Bumbleby take off, and it’s easy to see why. The entire scene is extremely intimate, with Yang opening up to Blake about her abandonment issues which she has never been shown to tell anyone else about, but there are a few details of the dialogue that I want to focus on.

  • “Just please, get some rest. If not for you, then for the people you care about.” This line reads a little oddly at first, and I sort of felt like it should be “[…] for the people who care about you” instead. But eventually I realised that it does make sense in the context of what happens after, which is…
  • “And if you do feel like coming out tomorrow, I’ll save you a dance” followed by a wink. Once more, this entire line could so easily have been removed or never added at all without changing the outcome of the scene if we were just meant to read Yang’s intentions as purely platonic, but that’s not the most intriguing thing about it. To me, this line reinforces the one I just mentioned above, in that both of them show Yang gently testing the waters—carefully hinting at the idea of something between them without forcing them to address it directly. She seems to think Blake might return her attraction, but wants to make her own feelings clear to see how Blake reacts. Lastly, the “coming out” pun draws the audience’s attention to it more and makes it harder to miss or gloss over.
  • With that in mind, it seems more logical that she would say “[…] the people you care about” and not “[…] the people who care about you” in the previously mentioned line if she is trying to discover the nature of Blake’s feelings for her rather than only disclose the nature of her own feelings for Blake. By subtly implying that Blake cares about her she is opening the door for Blake to choose what happens next, and we all know what that choice was given Blake decides to give Yang her first dance later in the episode.

Three, the talk at Mountain Glenn. Blake explains how she feels like the only thing her Semblance is good for is running away, and Yang counters that Blake is “not one to back down from a challenge.” Her voice when she says this is… peculiarly soft, which only adds to the weight of the line, but mostly this is showing the viewer that Yang sees Blake’s strengths where Blake only sees weaknesses. Yang expresses great belief in Blake here, which links nicely to…

Four, the talk after Yang’s fight against Mercury. This addresses Blake’s belief in Yang in the spiritual follow-up to the Mountain Glenn scene, and oh boy, is it rife with obvious romantic coding. Just for starters, it’s the first direct parallel between Yang and Adam—i.e. Blake’s canonical ex and her canonical future… well, I think you see where that’s going—with Blake herself openly comparing them.

She says that she had “someone very dear” to her change—a curiously ambiguous term when she could have used “someone I worked with” or even just “partner” to contrast Yang and Adam’s roles as her combat partners instead of their roles as people she’s very close to on a personal level—but that Yang isn’t him and so she chooses to trust her.

This clues the audience in that what connects Yang and Adam is their differences—i.e. the way they reacted when Blake confronted them about their violent act, one with gaslighting and the other with understanding and reassurance—not their similarities. They are opposite forces in Blake’s life, and the show is informing the viewer of that now because not long after we arrive at…

Five, Volume 3 Chapter 11. This isn’t just not subtle, it’s setting subtlety on fire and then throwing it out of the window never to be seen again.

  • Adam declares that he will “destroy everything [Blake] loves”, basically the narrative equivalent of summoning whoever is most important to Blake, and of course the person who appears is Yang.
  • As if that didn’t already go far enough, Adam then looks from Blake’s horrified face to Yang and adds “starting with her”, beating the audience over the head with the fact that Yang is someone Blake loves.

I don’t think I need to say any more about this. It’s the point where the writing tied Blake and Yang together irrevocably, and there was no going back from it.

The summary of this second part can be mostly boiled down to: Blake reciprocates Yang’s attempt to form a bond, but that bond is then tested to the full (in a common technique to show the audience how powerful a relationship is by almost breaking it).

PART THE THIRD

Here we have Volumes 4 and 5, a.k.a. the conversations that Blake and Yang have with other people about each other.

One, Blake and Sun’s talk in V4C11. This one’s fairly simple. Blake says that she loves her team like she never thought she could love anybody, and that she thinks about them every day. Her voice only cracks when she says Yang’s name, indicating that though she means all of them Yang is the person she misses the most.

Two, the initial RWY conversation and Yang and Weiss’ talk afterwards. Yang claims not to want Blake around, but then admits that she “needed [Blake] there for [her].” This contrast between want and need highlights that although she’s conflicted Yang would still rather Blake were there if she had the choice. Then Weiss explains why she believes Blake left, giving Yang greater perspective on why Blake did what she did. But this is all fairly straightforward, the noteworthy part is…

Three, Sun’s “[…] and I can promise Yang would say the same” and Weiss’ “[…] and I’m willing to bet Blake feels the same way.” More clear parallels; a friend of theirs reminds Blake and Yang that the other person does care about them despite the literal and metaphorical distance between the two of them. Most striking, however, is that there is no precedent for Sun bringing up Yang here. Immediately before he says that he makes the very romantically charged declaration of “I would do it all again if it meant protecting you”… and then instead of following up on it he kills his own romantic moment by referencing Yang. Combined with the fact that he is flagrantly conflating his own (widely accepted to be romantic) feelings for Blake with Yang’s feelings for Blake, this scene is meant to tell the viewer that Sun has realised that Yang has those feelings for Blake, and he wants Blake to be aware of Yang’s feelings too so that she can fix her relationship with Yang.

The summary of this third part can be mostly boiled down to: Blake and Yang both pine for each other and are angsty about the idea that the other one doesn’t return their feelings, and Sun and Weiss become best wingman and wingwoman respectively.

PART THE FOURTH

Alright, we’re near the end now, I promise. The last scenes I want to cover are from Volume 6. This section might not go quite as deep with the analysis since a lot of things became much more obvious by this point, but hopefully this part will still be fun with a few interesting observations nonetheless.

One, the conversation on the train in V6C1. Not too much to go over here. Yang is awkward. Blake is awkward. It’s a whole mess of awkwardness. But there are two things I would like to briefly touch on.

  • First, the way Yang says “Blake, you don’t have to do that.” This line could have been delivered in an angry or bitter tone to show Yang’s lingering doubts about Blake rejoining the team, but it isn’t. Instead it sounds almost sad, and a little uncomfortable. What the viewer is supposed to take from this line in particular isn’t so much that Yang is still mad at Blake for leaving, but that Yang doesn’t want Blake bending over backwards and doing things for her to try and make it up to her.
  • Second, “I’m fine… we’re gonna be fine.” Yang initially frames her answer only in terms of herself, but then shifts to referring to both her and Blake. It’s not just their individual wellbeing she’s talking about, it’s the state of their relationship. This is an olive branch, if you will, letting Blake know that even if she’s hurt she does still want to see if they can fix their bond.

Two, “Good to see you’re not rusty.” This comment serves two purposes: 1) it shows that Blake and Yang’s dynamic hasn’t been irrevocably damaged as they’re still able to share the playful banter they did before, and 2) it establishes that Yang’s still casually flirting a little.

Three, each of them calling out the other’s name first in V6C2. In a moment of panic and fear, Blake and Yang are each other’s first thought. Take from that what you will, but it emphasises how much they care about each other even after everything that happened during/following the Fall of Beacon. So far all of these moments are telling the audience that there is something to be repaired here; Blake and Yang’s connection is presented as weakened, but far from broken.

Four, the barn scene in V6C5. Oh boy, oh boy. First there’s Yang answering Blake’s “Are you okay?” with “I don’t know”, which is not at all the same “I’ll be fine […]” she gave Weiss in V5C6 and “I’m totally fine, I’m great” she failed to convince Ruby or Weiss with in V5C8. Even just earlier in V6 when it’s in front of the others she tells Blake “[they’re] gonna be fine”, but when it’s just the two of them she admits that none of those answers were true where she didn’t with anyone else. Combine that with the fact that Blake starts opening up about what her relationship with Adam was like later in this scene when before she didn’t even tell Sun he was more than someone she worked with and only vaguely described what he was like to the rest of the team after Yang’s fight with Mercury, and it’s pretty obvious that both of them only really feel comfortable discussing their most intimate feelings with each other. Lastly, also compare the sharp “We’re fine” Yang gives Blake here to the reassuring “We’re gonna be fine” in C1; while this scene demonstrates the strength of Blake and Yang’s bond, it is also its lowest point. From here it can either snap completely, or be mended to become stronger than ever, which is what we get starting with…

Five, V6C10 a.k.a. the gayest scene in RWBY so far. This exchange is just as awkward as the one in the first episode, but for somewhat different reasons. It’s flirtatious and lovestruck – there isn’t really any other way to describe it. Blake is shy and almost bashful; she teases that “stealth isn’t exactly [Yang’s forté]” then panics and immediately backtracks with “I mean, you’re great, and I’ll hurry back.” It’s all totally unnecessary to reach the objective of the conversation (which is just to convey that Blake is going to disable the tower alone) and it can’t be reasonably interpreted as anything other than romantic. The most striking part for me, however, is Yang’s “Go.” It’s one tiny word, yet it serves perfectly to make it clear to the audience that by now Yang trusts Blake not to leave again, and not only that but she trusts Blake to leave and then come back. This interaction is needed in order to move their reconciliation forwards so that they are a united front when…

Six, Adam happens. If subtlety was set on fire and thrown out the window never to be seen again before, then now its remains have also been trampled on by a raging bull just for good measure.

Adam is exceedingly open about the fact that he sees Yang as a rival for Blake’s love, and hates the fact that Blake has, as he perceives it, chosen Yang over him. He tries to manipulate Yang by arguing that Blake “made a promise to [him] once that she’d always be at [his] side”, but when Yang instantly sees through him he resorts to asking Blake if he “just wasn’t good enough for [her]” to which she very rightly replies that “it was so much more than that.” Adam’s jealousy reaches its most undeniable, though, when it culminates in him screaming “What does she even see in you?!” at Yang. It’s a phrase that is never used except in the context of romantic interest, and it removes any remaining doubt that this isn’t a personal conflict for Adam. It could make sense for him to hate Yang because she’s a human, but he never brings that up and instead repeatedly highlights himself that it’s her connection with Blake that he despises.

The other part worthy of note here is Blake’s “[…] we’re protecting each other” speech, which serves as a direct counterpoint to her earlier declaration to Yang of “I’ll protect you”, and completes their V6 trajectory from the start with Blake’s guilt putting them on an uneven footing to this moment in which she recognises that they need to stand as equals instead. (And I’d like to clarify that this issue was never about Blake seeing Yang as weak–heck, her word for her is “strength”–it was about her feeling like she owed Yang something in return for the loss of her arm to Adam and needing to let go of that unhealthy mindset.)

Seven,  the aftermath of the Adam confrontation. It’s only a couple of lines of dialogue, but it says an awful lot. The fact that Blake’s first instinct is to reassure Yang that she won’t leave again or go back on her word when Yang is already holding her demonstrated just how deep Adam’s manipulation ran, and Yang’s response is equally significant. She could say “It’s okay” or “I forgive you”, or something else that would validate Blake’s guilt in the process of absolving it, but she doesn’t. She says “I know you won’t”, which is infinitely more powerful because it demonstrates that she isn’t just offering Blake forgiveness, she’s also making it clear that there was nothing to forgive in the first place since Blake’s actions were well-meaning and a result of past abuse.

Eight, and last but very very far from least, “we were there for each other.” This is the conclusion of this whole arc in Yang and Blake’s relationship. This line emphasises that they are closer than ever before, and that they’re finally back in a healthy place from which they can move forward.

The summary of this fourth part can mostly be boiled down to: yeah, they’re in love.

Well, there we are. We have reached the end. Sincere congratulations to anyone who stuck around this long, because this got very very long, but I hope it was worth it.

Disclaimer #1: This post is going to discuss an emotionally and physically abusive relationship, as well as the topics of rape and sexual assault. It won’t go into great detail, but if those are subjects you wish to avoid entirely then this might not be something you want to read.

Disclaimer #2: I am approaching this article with the perspective of a rational person, i.e. I am of the opinion that Adam Taurus is an abusive murderous pedophile and that Blake and Yang’s relationship is romantically coded and thus should be examined through a romantic lens. If you firmly disagree with either of those statements then please do me a favour and leave now.

Now, with those disclaimers out of the way, let’s get started.

On first viewing the final confrontation in which Blake Belladonna and Yang Xiao Long face and defeat Adam Taurus, their shared demon and the primary source of conflict in their relationship throughout three seasons of the show, is an impressive visual spectacle and a hugely significant event in the narrative of RWBY. That is to be expected from the climax of a plot arc that has spanned half of the show’s run so far and was the catalyst for substantial development of two of the series’ main characters on both an individual level and in terms of their bond with each other. However, a deeper examination shows themes that are far more interesting and thought-provoking than the surface reading of a pair of heroes triumphing over a villain.

I was inspired to write this piece by a couple of posts (that I will link at the end) which touched on some of the ideas I am about to cover, and I wanted to consolidate the excellent points they made and add some further interpretations of my own.

In order to understand the full meaning of how the storyline involving Blake, Yang and Adam ended we first have to look at how it got there. Therefore, I’m going to talk briefly about some earlier scenes in this arc before I move on to the last few Chapters of Volume 6.

Adam’s sword has been a prominent part of almost all of his on-screen appearances, to the point where it’s integral to his image.

He uses it far more frequently than the other half of his weapon, and the only time we see him genuinely panic is when he loses it.

When Yang throws it over the edge of the cliff, she doesn’t just disarm him – she disempowers him.

It’s also worth noting that his sword, along with his mask, is the primary focus of Yang’s nightmares and flashbacks where she remembers the loss of her arm.

Lastly, when Adam murders Sienna Khan it is by brutally impaling her with it.

The reason for the emphasis placed on it becomes apparent in “The Lady in the Shoe” when Blake reveals that it is literally the source of his power as she explains his Semblance to Yang.

Adam is an aggressive, violent, manipulative, egotistical murderer. He is a spiteful, self-centred psychopath who cares for no one but himself and will do absolutely anything to get what he believes he deserves. He is immature, incapable of empathy, and is so poor at processing his emotions that he cannot let go of anything. Most of all, though, he is an abuser – he took advantage of Blake’s admiration for him, separated her from her parents, coerced her into a romantic relationship when she was still practically a child, and repeatedly used gaslighting and intimidation to make sure she did what he wanted.

In short, Adam is an embodiment of toxic masculinity, and his sword is the tool through which he imposes that masculinity on others. This makes perfect sense considering it is established extremely early in the show that in Remnant weapons are thought of as an extension of a person’s soul.

As one of the posts I mentioned earlier comments, when Adam stabs Blake in the exact same place in her side in each of these two fights the framing of it is… not subtle.

In both cases he steps between her legs and impales her with his sword (I repeat, in the exact same place). I don’t think I need to say anymore about what this is meant to suggest, and frankly I don’t want to because the implications are incredibly unsettling. It is a very well executed analogy, however, that prevents them from blatantly showing or stating something that horrific on-screen and risking accidentally glorifying those experiences by dwelling on them too much.

All of this goes to prove that Adam’s sword is intended to be a physical manifestation of his toxic behaviour. And if Adam’s weapon is a representation of his sexuality, then it follows that Blake’s is as well.

This makes the moment where he breaks her weapon that much more impactful, since he is not only removing her only way to fight back against him, but is also destroying her soul – the very essence of who she is.

As a side note, this also adds much greater significance to the fact that not only was Blake willing to let Yang touch her weapon within a day of their first meeting, but one of the core combat moves within Team RWBY consists of Blake letting Yang handle her weapon, so it happens not just once but on multiple occasions.

Anyway, with that general thematic context established, I’m now going to go through the actual fight scenes between Blake, Yang and Adam in Volume 6 and highlight a few particular details.

During Blake and Adam’s initial one-on-one battle his sword continues to be prominent – he knocks her over the head with it not just once but twice, he beats her into the ground with it. He’s using it much more viciously than necessary; this is not a fair fight, it’s one person taking out their anger at the world on someone else and feeling justified in doing so because they see that person as their property (hence Adam’s use of “my darling”, “my love”).

If any of this makes you think of domestic violence, then you’re getting the right idea.

I would also like to draw attention to this particular moment (that is discussed in slightly more detail in one of the two posts I’ve linked at the end) where Blake briefly catches Adam’s sword in the sheath of her own weapon.

In other words, she has to let her soul take the damage to escape the physical pain. Just as she’s been doing throughout the entirety of her relationship with Adam.

I’ll let that sink in for a moment.

Worthy of note as well is the part of the fight where Blake and Yang fight Adam together – specifically, the part where Blake throws her broken sword at Adam, he sends it flying back towards Blake, and Yang jumps in to catch it and launch Blake towards Adam in a reversal of their long-standing team attack where Blake sends Yang flying towards the enemy.

This shows us several things. One, we get another example of Adam overpowering Blake’s identity with his own when he uses his sword to turn her own weapon back on her. Second, Yang preventing Adam’s weapon from hurting Blake is a fairly obvious representation of how over the course of their partnership Yang is slowly helping Blake to heal from Adam’s abuse. Third and last, Blake and Yang switching roles in their combined attack move demonstrates not just that they have become complete equals in their partnership (“She’s not protecting me, Adam. And I’m not protecting her. We’re protecting each other.”), but also that while Adam has always attempted to suppress Blake’s identity Yang seeks only to support Blake rather than control her.

My final point regarding the fight is about how it ends. Adam tries to use the shattered pieces of Blake’s soul to kill her, but she turns them back on him and reclaims her identity. Yang takes the other piece of Blake’s weapon—the other half of Blake’s soul—helping to liberate Blake from her abuser but not overshadowing Blake’s victory over him.

In summary, the way in which Adam uses his sword to absorb damage from others without feeling it himself and then send it back at them is a metaphor for how he forces his masculinity/sexuality on Blake (and other characters to a lesser extent) and removes her agency. On the other hand, Blake actively selects Yang as her partner during Beacon initiation, marking the start of her reestablishing her agency by making her decisions uninfluenced by anyone else. Moreover, when you consider the rest of the symbolism involving the character’s weapons, this leads to a very clear potential conclusion: where Blake’s sexual identity—and even her soul (supported by the line “you lost your mind, I lost my soul” from Blake to Adam in Nevermore)—was forcibly taken away from her by Adam, Blake chooses to trust Yang with both willingly.

 

 

These are the two posts I referred to in this article:

https://alexkablob.tumblr.com/post/182485098674/kkglinka-replied-to-your-post-laulink-replied-to

https://alexkablob.tumblr.com/post/182208545819/god-that-move-where-blake-caught-wilt-in-gambol

Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

[lit.] represents a literal translation, [alt.] represents an alternative translation.

I’m back with another translation, this time of a fun little ditty (sarcasm definitely intended 😀 ) about Japan’s unique brand of homophobia. This song was originally a duet between two characters in an anime called Love Live, but rather than the original Japanese version I am translating a Spanish cover of the song (obviously, since I don’t speak Japanese 😀 ). I did, however, also make use of the official English translation of the original Japanese version when I was doing my own translation, and so my translation is somewhat of a mixture of the bits I preferred from the different versions of the song. Of course, the overall meaning of all the lyrics is still the same, but I just thought I should note that I took my phrasing and exact wording from a couple of different places.

The final thing to mention is that since this is a duet and the dual perspective is quite important in the lyrics, I used different colours to show who’s singing which lines. Text in this colour represents one singer, while text in this colour represents the other singer, and text in this colour is used when both singers perform the line.

Anyway… enjoy!

Jardín de cristal
Garden of Glass

En sueños me perdí
En lirios te perdí

I lost myself in dreams
I lost you in lilies*

*The Japanese word for ‘lily’ is yuri which is also a very common term used in Japan (and now also elsewhere) to refer to any story pertaining to romance or sex between two women, hence the relevance of lilies in this song 😀

Al mirar tus ojos afligidos
Que ven a lo lejos absorbidos
Quiero acercarme y confesarte
Que estaré aquí para acompañarte

Looking at your heartbroken eyes
That stare unseeing into the distance
I want to go to you and tell you
That I will be here to stay with you

Ah, sé que te encontraré
En un jardín con flores de cristal

En él no habrá nadie más
Solo tú estarás…

Ah, I know that I’ll find you
In a garden with flowers made of glass

Within it there will be no one else
Only you…

Y este amor
Que veremos allí florecer

And this love
That we will see bloom there

Como en un columpio
Siento balancearme
Cuando estás cerca de mí
Mirarte una eternidad no bastará

I feel myself spinning
So out of control
Every time that you’re near me
Just looking at you for an eternity will never be enough

Me tienes atrapada (atrapada)
Cautivada (cautivada)
En tus suspiros ya no habrá más soledad
Pues contigo voy a estar

You have me caught (caught)
Captivated (captivated)
In your sighs there will be no more loneliness
Because I’m going to be here with you

Con tu corazón estoy soñando
Imagino que lo he capturado
Dime que no estoy sola en esto
Que estarás conmigo antes lo incierto

I am dreaming of your heart
And imagining that I have captured it
Tell me that I’m not alone in this
That you’ll be with me even when things are uncertain

Ah, un laberinto ves
Con mariposas hechas de cristal

Y sé que las desearás
Que las quieres tocar

Ah, you see a labyrinth
With butterflies made out of glass

And I know that you desire them
That you want to touch them

Pero si lo haces
El sueño se acabará

But if you do
Then the dream will be over

Nuestro amor secreto
Nos separa día y día
Y ya no puedo más
Mirarnos a lo lejos la rutina es

Our secret love
Separates us day by day
And I can’t take it anymore
This routine of merely watching each other in agony

Es un amor prohibido (es prohibido)
Maldecido (maldecido)
Dos chicas que jamás verán felicidad
Ya no quiero que duela más

These feelings are forbidden (forbidden)
Cursed (cursed)
Two girls who will never see happiness
I just don’t want it to hurt anymore

Dormiré en un jardín de flores
Con tu mano junto a mí

Tu rostro acariciaré
Y suspiraré

I will sleep in this garden of flowers
With your hand next to mine

I’ll touch your face
And I’ll sigh

Dame más…

Because I want more than this…

Nuestro amor secreto
Nos separa día y día
Y ya no puedo más
Mirarnos a lo lejos la rutina es

Our secret love
That separates us day by day
And I can’t take it anymore
This routine of merely watching each other in agony

Es un amor prohibido (es prohibido)
Maldecido (maldecido)
Dos chicas que jamás verán felicidad
Ya no quiero que duela más

These feelings are forbidden (forbidden)
Cursed (cursed)
Two girls who will never see happiness
I just don’t want it to hurt anymore

Como en un columpio
Siento balancearme
Cuando estás cerca de mí
Mirarte una eternidad no bastará

I feel myself spinning
So out of control
Every time that you’re near me
Just looking at you for an eternity will never be enough

Me tienes atrapada (atrapada)
Cautivada (cautivada)
En tus suspiros ya no habrá más soledad
Pues contigo voy a estar

You have me caught (caught)
Captivated (captivated)
In your sighs there will be no more loneliness
Because I’m going to be here with you

En sueños me perdí
En lirios te perdí

I lost myself in dreams
I lost you in lilies

 

Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

[lit.] represents a literal translation, [alt.] represents an alternative translation.

This song has been relentlessly stuck in my head for the last few days so in order to use the fact that I can’t get it out of my brain for something productive I decided to translate it.

Enjoy!

Jekyll and Hyde
Jekyll y Hyde

I know it’s just the human condition
Older than the oldest tradition
One side of me says, ‘Stop so you don’t blow’
The other side says, ‘What would I stop for?’

Sé que solo es la condición humana
Mayor que la tradición más antigua
Una parte de mi dice, -Detente o te desharás-
La otra parte dice, -¿Para qué pararía?-*

*There are several verbs that mean ‘to stop’ in Spanish, two of which are detener and parar. The reasons that I translated ‘stop’ in two different ways in this verse are 1) the imperative form of parar  command someone to stop is ‘para’ which is also a word of its own meaning ‘for’ in Spanish so I wanted to avoid confusion in the first line when using the imperative, and 2) I thought the repetition of de  and te  in ‘Detente o te desharás’  and para  in ‘¿Para qué pararía?’  added to the rhythm of the song.

Opposite as the day and night
As different as the sun and moon is
This is the reality of my duality
This ‘we’ needs to become a ‘me’

Contrario como el día y la noche
Tan diferente como el sol y la luna
Esto es la realidad de mi dualidad
Este ‘nosotros’ necesita convertirse en un ‘yo’

Because I’m a fraud, I’m an imposter
I’m a fraud, I’m an imposter
I’m a fraud, I’m an imposter
I’m a fraud cause you see there’s two of me, two of me

Porque soy un fraude, soy un impostor
Soy un fraude, soy un impostor
Soy un fraude, soy un impostor
Soy un fraude pues como ves hay dos de mí, dos de mí*

*There are also multiple ways to say ‘because’ in Spanish, and the reason that I use pues in the last line of this verse rather than porque as in the first line is that, as I said in the previous note, I felt that the rhyme of ‘pues como ves’  helped to maintain the flow of the song in the translation.

Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is

Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre

I am conflicted, can’t let this fate rule
I’m doing stupid things like a fool
All this time I have wasted
It’s time for me to face all my faces

Estoy en conflicto, no puedo dejar que este destino gobierne
Hago tonterías como un idiota
He malgastado todo este tiempo
Ya es hora de enfrentar todas mis caras*

*This line is an example of one of the primary difficulties of translation, as unfortunately there is no way to preserve the clever wordplay of ‘face all my faces’ in Spanish since where in English the single word ‘face’ is being used with two different meanings in Spanish the equivalent meanings are two entirely separate words.

Opposite as the day and night
As different as the sun and moon is
This is the reality of my duality
This ‘we’ needs to become a ‘me’

Contrario como el día y la noche
Tan diferente como el sol y la luna
Esto es la realidad de mi dualidad
Este ‘nosotros’ necesita convertirse en un ‘yo’

Because I’m a fraud, I’m an imposter
I’m a fraud, I’m an imposter
I’m a fraud, I’m an imposter
I’m a fraud cause you see there’s two of me, two of me

Porque soy un fraude, soy un impostor
Soy un fraude, soy un impostor
Soy un fraude, soy un impostor
Soy un fraude pues como ves hay dos de mí, dos de mí

Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is

Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre

So many voices inside of my head
And they’re telling me to go
Some are saying take it fast
Some are saying take it slow
Driving a windy road
Bipolar as I can go
I tried to keep it straight
But ended up into a hole
All I ever wanted to be was me
Now I know not who I am
One day I’m Lex Luthor
The next I think I’m Superman
I was walking on the water
Now I’m sinking in the sand
Dang, I thought I was innocent
But there is blood all on my hands

Tantas voces dentro de mi cabeza
Y me dicen que yo deba ir
Algunas me aconsejan ir con velocidad
Otras me aconsejan tomarme mi tiempo
Conduzco en un camino serpenteante
Tan bipolar como puedo ser
Trataba de mantenerlo recto
Pero terminé en un hoyo
Solo quería ser yo mismo
Ahora no sé quien soy
Un día soy Lex Luthor
El próximo pienso que soy Superman
Yo caminaba sobre el agua
Ahora me hundo en la arena
¡Carajo! Creía que yo era inocente
Pero hay sangre en mis manos

Opposite as the day and night
As different as the sun and moon is
This is the reality of my duality
This ‘we’ needs to become a ‘me’

Contrario como el día y la noche
Tan diferente como el sol y la luna
Esto es la realidad de mi dualidad
Este ‘nosotros’ necesita convertirse en un ‘yo’

Because I’m a fraud, I’m an imposter
I’m a fraud, I’m an imposter
I’m a fraud, I’m an imposter
I’m a fraud cause you see there’s two of me, two of me

Porque soy un fraude, soy un impostor
Soy un fraude, soy un impostor
Soy un fraude, soy un impostor
Soy un fraude pues como ves hay dos de mí, dos de mí

Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is
Jekyll, Jekyll, Jekyll, Jekyll and Hyde
That’s what my name is

Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre
Jekyll, Jekyll, Jekyll, Jekyll y Hyde
Eso es mi nombre

This we needs to become a me
Este ‘nosotros’ necesita convertirse en un ‘yo’

Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

[lit.] represents a literal translation, [alt.] represents an alternative translation.

I’m back with a new song translation, and since I’ve just finished bingeing the whole first 5 seasons of the show it’s another track from Steven Universe. This time it’s a number called That Distant Shore (although a more accurate title would probably be Depression, Anxiety, and PTSD: The Musical), performed in the show by Lapis Lazuli. Like my other translation for Steven Universe, I’ve first done my own Spanish translation of the original English lyrics as usual (without looking at the lyrics for the Spanish dub), but after that I’ve also translated the lyrics for the Spanish version back into English so you can see the differences between the two and added a few of my own comments regarding the dub. At the end I’ve included the Spanish-dubbed version of the cleverly choreographed scene from the show in which the song features as well.

Enjoy!

That Distant Shore
Esa costa lejana

It all became so lovely
Those bluest skies above me
Those funny feelings I had never felt before I met you
I thought I’d stay a while
I tried to learn to smile
So many colours I had never even known

Todo se puso tan precioso
Los cielos más azules encima de mí
Esos sentimientos raros que nunca había sentido antes de que te conocí
Pensé que me quedaría un rato
Intenté aprender a sonreír
Tantos colores que yo nunca había siquiera conocido

Maybe I’ll find myself sitting on that distant shore
Maybe I’m not alone

Quizás me encontraré sentada en esa costa lejana
Quizás yo no estoy sola

Then I see the colours fading
Gentleness of light escaping
Shadows of my fear invading, have I seen this all before?
I know that there’s something residing
A terror deep inside me
I couldn’t understand how you could be so bold

Entonces veo que los colores se apagan
La ternura de la luz se escapa
Las sombras de mi miedo invaden, ¿ya he visto todo esto?
Sé que hay algo que reside
Un terror muy dentro de mí
Yo no podía entender cómo podías ser tan audaz

Maybe I’ll find myself smiling on that distant shore
Maybe I’m not alone

Quizás me encontraré sonriendo en esa costa lejana
Quizás yo no estoy sola

Now here’s the reverse translation of the official Spanish version. All in all this is probably one of the best dubs of a song I’ve come across. The singer’s voice has the same quality and tone as Jennifer Paz (who sang the English version), and the lyrics manage to capture most of the feeling of the original while still maintaining the rhythm of the song. My one criticism would be that maybe the tonal shift from the light and upbeat first half of the song into the darker, more intense second half is not quite as obvious in the Spanish dub but it only reduces the effectiveness and power of the track slightly so it’s not a big complaint.

En esta costa
On That Shore

Ya son tan adorables
Los cielos indomables
La calidez extraña que en mí has despertado
Pensé quedarme un rato
Y sonreír sin fallo
Pues cada prisma nuevo me maravilló

They are so wonderful now
Those indomitable skies
And the strange warmth that you have awoken in me
I thought to stay a while
And smile without fault
As each new perspective amazed me

Quiero tal vez sentarme en esta costa hoy
Sola tal vez no estoy

I want to maybe sit on that shore today
Maybe I’m not alone

Veo aquel color borrarse
Luz virtuosa escaparse
Sombras de mi miedo alzarse, todo se repite y yo
Sé que residen en mis mares
Errores implacables
Por eso tu audacia sí que me intrigó

I see that colour fading
Virtuous light escaping
Shadows of my fear rise up, it all repeats and I
Know that in my seas reside
Unrelenting mistakes
That’s why your boldness intrigued me so

Quiero tal vez reírme en esta costa hoy
Sola tal vez no estoy

I want to maybe laugh on that shore today
Maybe I’m not alone

 

The only thing I need to clarify before I get into this list is that obviously this is not a definitive list of the worst sexual lyrics in all of music as I have not listened to every song in existence. Therefore, this is merely my personal opinion, and this list is intended purely to be entertaining so don’t take it too seriously. Although the entries are numbered there’s not really much of a ranking – all of these lyrics are equally abominable. Also, I want it on record that I had to listen to far too much Nickelback (which was around 3 songs :P) while writing this and being subjected to their poor excuses for music is not a fate that anyone should have to suffer through. Anyway, with that out of the way, let’s move on to the actual list…

10. “Yes, sex is always the answer/It’s never a question/Cause the answer’s yes/Oh, the answer’s yes” from S.E.X. by Nickelback.

First, I could be wrong but I don’t recall sex ever solving the problem of climate change or saving endangered animal species and it was most definitely not the answer to 99% of the exam questions I have ever had in my academic career, so that is an unbelievably stupid line. Two, I don’t think it was intentional but these lines come across as kind of rapey, with the whole “it’s never a question” thing giving off a bit of a ‘Consent? Pah, who needs it?’ vibe, especially when combined with the line “No is a dirty word” earlier in the song. I’m pretty sure I’ve mentioned how awful this song’s lyrics are before in another article but they’re so bad that I had to include them here too.

9. “When he’s inside you/No, there’s no room for me” from Damn Girl by The All-American Rejects.

This entry and the next one are terrible for pretty similar reasons. They’re both trying to be intelligent but just wind up feeling gratuitous and somewhat unsavoury. This one is the slightly less abhorrent of the two as it is a least mildly clever, but that doesn’t make it any less off-putting to hear.

8. “They think they’ll get inside her/With every drink they buy her” from Next Contestant by Nickelback.

I hope Nickelback feel at home on this list, because here they are again, and this isn’t even the last we’ve seen of them. Like in the previous entry, I feel like Chad Kroeger thought this line was so smart when he wrote it that it never occurred to him how cringeworthy and unnecessary it was. Or maybe that’s giving him too much credit and he genuinely believes this is in some way romantic and appealing. Because everyone wants to be treated like an object to be won as a prize by an overly jealous and possessive partner, right?

7. “You’re so much cooler when you never pull it out/Cause you look so much cuter with something in your mouth” from Something in Your Mouth by Nickelback.

Honestly, the entirety of this song could have made it onto this list, but I settled for the worst of the many repulsive parts in this track. Again, this line is nowhere near as clever as it must have seemed when the repulsive and terrifying depths of Chad Kroeger’s mind vomited it onto the lyric sheet: the metaphor is far too obvious to be entertaining, so once the shock value wears off it’s just very… boring. The good news, though, is that this was the last appearance by Nickelback on this list, so congratulations to them for only having 3 out of the 10 worst sexual lyrics that I’ve ever come across! In case the sarcasm there wasn’t strong enough to transmit through the computer screen, I should tell you, I’m rolling my eyes.

6. “From the top of the pole I watch her go down/She got me throwing my money around/Ain’t nothing more beautiful to be found/It’s going down, down” from Right Round by Flo Rida.

One, why are you so proud of having to pay women loads of money just to look at them, not even have sex with them? Two, I see your clumsy analogy for oral sex, and it is not welcome here. Three, I’m sure with only five minutes of research I could find several natural wonders that are definitively more beautiful than a stripper pole dancing (no offence whatsoever to strippers). These lyrics are crappy in a pretty generic way, so they wouldn’t have been this high on the list if it weren’t for the fact that Flo Rida didn’t think it was enough to make an awful song but he had to ruin Dead or Alive’s infinitely better track You Spin Me Round (Like a Record) in the process by including a mutilated version of its chorus (which, incidentally, is the only tolerable part of this mess). It was tough to decide between these lines and such words of wisdom as “I’m in a daze/That bottom is waving at me/Like ‘Dammit, I know you’ ” or “Somebody help me/She taking my bank roll/But I’m king of the club/And I’m wearing the crown/Popping these bottles/Touching these models/Watching they asses do down, down”, though 😀

5. “My dick is ready/I must use it” from Do You Wanna Fuck? by Byz.

Must you? Must you really?

Then again, I’m not sure what I expected from a song with a chorus of “And then she ask me/‘Do you wanna fuck?’/Yes, I wanna do/Wanna put my dick in you”, so at least the quality here is consistent, I guess.

4. “What you gonna do with all that ass/All that ass inside ‘em jeans?” from My Humps by The Black-Eyed Peas.

Um… keep it inside said jeans? Since their backside seems to be perfectly happy in its current location I fail to see the issue here.

3. “You know what to do with that big fat butt… wiggle, wiggle, wiggle, wiggle” from Wiggle by Jason Derulo (feat. Snoop Dogg).

I am so glad that Jason Derulo is here to inform us of what we ought to do with our behinds, otherwise how would we have known that it was really our calling all along to shake them for his enjoyment? I can only hope that someone farts in his general direction while “wiggling”. The next time you find yourself marvelling at the incredible progress that the human race has made, remember that just by October 2014 this track had sold over one and a half million copies in the US alone, and suddenly none of man’s achievements will seem as impressive.

2. “My hump, my hump, my hump/My hump, my hump, my hump/My lovely lady lumps” from My Humps by The Black-Eyed Peas.

Nickelback may have scored three entries on this list, but The Black-Eyed Peas have outdone them by getting two entries from the same song on here! One line was not enough to impress upon you how truly abysmal this monstrosity is. And to make it worse, this song reached number 3 on the charts in America and the UK. Just take a moment to process that… and then start to weep inconsolably as you realise that this is incontrovertible proof that humanity is doomed.

1. “Why they put the dick in the pussy?” from Dooo It! by Miley Cyrus.

BWAHAHAHAHAHAHAHA!! AHAHAHAHAHAHAHAHA! No, but seriously… WHAT?! I have no words. I literally do not know what I can say to that, so instead I’m just going to leave you this for your viewing pleasure as I feel it adequately describes my feelings about this line 😀

Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

[lit.] represents a literal translation, [alt.] represents an alternative translation.

I’ve been meaning to translate a song for a while as it’s been some time since I last did one, but I didn’t know what song to do until recently Netflix recommended me Steven Universe so I started watching for the hell of it (and ended up getting hooked like so many others :D). Anyway, of the occasional musical numbers in the show this one stuck out to me as a good ol’ angsty anthem of unrequited love (not to mention the scene has pretty neat choreography too), and since I’m a complete sucker for those kind of songs I liked it immediately. As the show is popular enough to get dubs in many other languages there’s an official Spanish version of it too, which made it the perfect candidate for translation. So to make things more interesting I’ve first done my own Spanish translation of the original English lyrics as usual (without looking at the lyrics for the Spanish dub), but after that I’ve also translated the lyrics for the Spanish version back into English so you can see the differences between the two and added a few of my own comments regarding the dub.

Enjoy!

It’s Over, Isn’t It?
Se acabó, ¿no es verdad?

I was fine with the men
Who would come into her life now and again
I was fine cause I knew
That they didn’t really matter until you

Estaba bien con los hombres
Que entrarían en su vida a veces*
Estaba bien porque sabía
Que ellos no importaban hasta que tú**

[*A veces actually means ‘sometimes’, but since there’s no exact Spanish translation for ‘now and again’ I figured it was the closest in terms of meaning.

**In case you don’t already know, Spanish has two past tenses: the preterite and the imperfect. The preterite is used to refer to completed actions or events with a clear beginning and end point while the imperfect is used to refer to events without a clear beginning and end and actions that may or may not be completed. Therefore I used the imperfect throughout this verse of my translation (and most of the rest of the song as well) as the lyrics refer to a regular or recurring action rather than a one-off occurrence, and also because I felt it better reflected the song’s theme of being unable to move on from the past.]

I was fine when you came
And we fought like it was all some silly game
Over her, who she’d choose
After all those years I never thought I’d lose

Estaba bien cuando venías
Y peleamos como si fuera* solo un juego [lit. ‘[…] as if it were just a game’]
Para ganarla, para ver quien elegiría**
Después de todos los años, no creí que yo perdería

[*The word fuera in this line is an example of the subjunctive mood. The subjunctive is used frequently in Spanish for many different reasons, but this is one of the few instances where it could also be used in English if the line is rephrased ‘[…] as if it were all some silly game’. This is because in both languages the subjunctive is used after the conjunction como si or ‘as if’, the only difference being that in English the use of the subjunctive is optional while in Spanish it is mandatory.

**My translation reads ‘To win her, to see who she’d choose’ instead of ‘Over her, who she’d choose’.]

It’s over, isn’t it? Isn’t it?
Isn’t it over?
It’s over, isn’t it? Isn’t it?
Isn’t it over?

Se acabó, ¿no es verdad?
¿No es verdad que se acabó? [lit. ‘Is it not true that it’s over?’]
Se acabó, ¿no es verdad?
¿No es verdad que se acabó?

You won and she chose you
And she loved you and she’s gone
It’s over, isn’t it?
Why can’t I move on?

Tú* ganaste y te eligió**
Y te amaba** y se fue
¿No es verdad que se acabó?
¿Por qué no puedo olvidar?***

[*Since it is not necessary to include the pronoun preceding a verb in Spanish I made a conscious decision to add it here to emphasise that the song’s addressee ‘won’ and the singer did not.

**Note the use of the preterite in the first line and the imperfect in the second. Both these verbs are in the past tense, but the first line refers to a specific one-off action (i.e. the moment in which the subject of the song chose one person over the other) and so the preterite is used. On the other hand, the second line refers to a continuous action with no definite start or end point (i.e. the act of loving someone) and so the imperfect is used.

***My translation reads ‘Why can’t I forget?’ instead of ‘[…] move on?’ because it was the best equivalent in Spanish to the intended meaning of ‘move on’ in this line.]

War and glory, reinvention
Fusion, freedom, her attention
Out in daylight my potential
Bold, precise, experimental

Guerra y gloría, reinvención
Fusión, libertad, su atención
En la luz del día mi potencial
Atrevido, preciso, experimental

Who am I now in this world without her?
Petty and dull with the nerve to doubt her
What does it matter? It’s already done
Now I’ve got to be there for her son

¿Ahora quién soy en este mundo sin ella?
Mezquina y apagada con el valor* de dudarla
¿Por qué importa? Está hecho ya
Ahora a su hijo tengo que apoyar

[*In this context the word ‘nerve’ in English implies bravery but also carries negative connotations as it suggests someone’s actions were out of line or inappropriate. The Spanish word valor, however, possesses only the positive meaning of ‘courage’, which gives the translated line a slightly different tone to the original.]

It’s over, isn’t it? Isn’t it?
Isn’t it over?
It’s over isn’t it? Isn’t it?
Isn’t it over?

Se acabó, ¿no es verdad?
¿No es verdad que se acabó?
Se acabó, ¿no es verdad?
¿No es verdad que se acabó?

You won and she chose you
And she loved you and she’s gone
It’s over, isn’t it?
Why can’t I move on?

Tú ganaste y ella te eligió
Y ella te amó y se fue
¿No es verdad que se acabó?
¿Por qué no puedo olvidar?

It’s over, isn’t it?
Why can’t I move on?

¿No es verdad que se acabó?
¿Por qué no puedo olvidar?

 

 

Now here’s the reverse translation of the official Spanish version. Overall I would say it manages to maintain most of the meaning and emotion of the original, however dubbing a song is an even more difficult process than translating prose. There are no huge disparities between the two versions, but there are a fair few subtle changes in order to keep the rhythm and flow of the lyrics from one language to the other, which in this case is done quite well, though I would say these changes also lead to the main problem of this dub which is the lack of the original’s consistent rhyme scheme.

Fue todo, ¿no es así?
That Was All, Wasn’t It?

Estaba bien si con él
Que venía algunas veces por mes
Estaba bien pues pensé
Que no era importante hasta que tú

I was fine with the men
Who came a few times per month
I was fine cause I thought
That they weren’t important until you

Estaba bien, vino él
Y discutir fue una tontería, yo lo sé
Luego ella escogió
Y después de muchos años nunca pensé perder

I was fine when he came
And arguing was foolishness, I know
But then she chose
And after so many years I never thought I’d lose

Fue todo, ¿no es así?
¿No es así? Eso fue todo
Fue todo, ¿no es así?
¿No es así? Eso fue todo

That was all, wasn’t it?
Isn’t it so? That was all
That was all, wasn’t it?
Isn’t it so? That was all

Te eligió, lo eres todo
Y te amó y se acabó
Fue todo, ¿no es así?
No puedo olvidar el dolor

She chose you, you got it all
And she loved you and it’s over
That was all, wasn’t it?
But I can’t forget the pain

Guerra y gloría, reinventemos
Fusión, liberación, su atención
Día y noche es mi potencial
Valiente, audaz, experimental

War and glory, we reinvented ourselves
Fusion, liberation, her attention
Day and night is my potential
Brave, bold, experimental

¿Y quién soy yo si ella no está a mi lado?
Ruin, y sin brillo, ella me ha abandonado
¿Y qué importa? Ya lo hecho está
A su hijo yo debo cuidar

And who am I if she’s not at my side?
In ruins, and without light, she has abandoned me
But what does it matter? It’s already done
Now I have to take care of her son

Es todo, ¿no es así?
¿No es así? Eso fue todo
Fue todo, ¿no es así?
¿No es así? Eso fue todo

That was all, wasn’t it?
Isn’t it so? That was all
That was all, wasn’t it?
Isn’t it so? That was all

Te eligió, lo eres todo
Y te amó y se acabó
Fue todo, ¿no es así?
No puedo olvidar el dolor

She chose you, you got it all
And she loved you and it’s over
That was all, wasn’t it?
But I can’t forget the pain

Fue todo, ¿no es así?
No puedo olvidar el dolor

That was all, wasn’t it?
But I can’t forget the pain

Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

[lit.] represents a literal translation, [alt.] represents an alternative translation.

It’s been a while since I’ve done one of these translations but now finally here I am again 😀

This time the song in question is Divide, another track from the TV show RWBY. It’s from the perspective of the main antagonist Salem ripping apart the protagonists’ mentor-of-sorts Ozpin for what she perceives as his failures and just promising general carnage, and since the villain songs are almost always the best (case in point: Be Prepared form The Lion King, What You Feel from the Buffy episode Once More with Feeling, every song the Phantom sings in Phantom of the Opera :P), I decided to do this one today.

Anyway… enjoy!

Credit to Kirakanjo on DeviantArt for this wonderfully creepy rendition of Salem.

Divide
Divide

Does it feel good knowing you tried?
Knowing that all that remains
Is the slow, cold, brutal death
Of the fools that will all die in vain

¿Lo siente bien saber que trataste?
Saber que todo que queda
Es la muerte lento, frío, y brutal
De los tontos que todos morirán en vano

How does it feel
Knowing your efforts will fail?
All that you’ve built will be torn down
The hope of your people assailed

¿Cómo lo siente
Saber que tus esfuerzos fallarán?
Todo lo que has construido será derribado
La esperanza de tu gente atacado

Send your guardians
They will fail
Legends and heroes will crumble and fall
You will not prevail!

Envía tus guardianes
Fracasarán
Leyendas y héroes se derrumbarán
¡Tú no prevalecerás!

When allied together
A threat men display
Divide them with doubt
It will all wash away

Cuando están aliado juntos
Una amenaza son los humanos
Pero si los divides con duda
Todo se quitará

One spark can incite their hope
And ignite the hearts of their weary souls
I will extinguish that flame!

Una chispa puede incitar su esperanza
Y encender los corazones de sus almas cansadas
¡Yo apagaré esa llama!

Form your armies, dream your dreams
Make your plans and plot your schemes

Forma tus ejércitos, sueña tus sueños
Haz tus planes y conspira tu intriga

Send your fighters one and all
Then in battle watch them fall

Manda todos tus soldados
Entonces en batalla míralos caer

It was you who ended their lives
Made them to dig their own graves
With your dark, sick, cruel design
Convinced them their world could be saved

Fuiste tú quien terminó con sus vidas
Hiciste que cavaran sus propias tumbas
Con tu diseño oscuro, enfermo, y cruel
Los convenciste que su mundo pudiera ser salvado

Have you no shame
Signing them up for your war?
Train them to fight what they can’t beat
Your sins are what they’ll pay for

¿No tienes vergüenza
Inscribirlos en tu guerra?
Entrénalos luchar lo que no pueden superar
Tus pecados son lo que pagarán

Sacrifice them for your needs
Slaughter is coming
The end drawing near
You’ll regret your deeds

Sacrifícalos por tus necesidades
Se viene la matanza
Se acerca el final
Lamentarás tus actos

Legends and fairy tales
Scattered in time
Maidens and kingdoms
Wrapped up in a lie

Leyendas y cuentos
Dispersos en tiempo
Doncellas y reinos
Envueltos en una mentira

These children you mislead
You’ll watch them all bleed
Strength will not bring victory

Estos niños tú engañas
Los verás todos sangrar
Fuerza no traerá victoria

Divide them!
Tear them apart!
Sever their trust
It will strangle their hearts

¡Divídelos!
¡Despedázalos!
Corta su confianza
Sofocará sus corazones

Inside them
Plant seeds of doubt
Hope will be smothered
They’ll turn on each other

Dentro de ellos
Planta semillas de duda
La esperanza se ahogará
Se volverán en contra el uno al otro

Hatred will sprout
Suspicion and doubt
Friendships deny
While allegiances die

El odio saldrá
Sospecha y duda
Las amistades niegan
Mientras las lealtades mueren

The taste will be sweet
When you get what you’ve earned
And I’ll watch you burn!

El sabor será dulce
Cuando consigues lo que mereces
¡Y yo te veo arder!

 

Translation notes: See my first song translation for additional notes.

Text in italics is the original English, and text not in italics is my Spanish translation.

[lit.] represents a literal translation, [alt.] represents an alternative translation.

I haven’t done a translation in some time but here I am again, this time with a feminist anthem similar to what “You Don’t Own Me” or “Sisters Are Doin’ it for Themselves” would be like if those songs were in Spanish 😀

Enjoy!

Yo no soy esa mujer
I Am Not That Woman

Tienes una idea falsa del amor
Nunca fue un contrato ni una imposición
Y aunque te quiero cada vez más
De un modo que no puedes ni sospechar…

You have a false idea of what love is
It was never a contract or an imposition
And although I truly like you a lot
In a way you can’t even imagine…

Yo no soy esa mujer, que no sale de casa
Y que pone a tus pies lo mejor de su alma
No me convertiré en el eco de tu voz
En un rincón… yo no soy esa mujer

I am not that woman, who doesn’t leave the house
And who puts at your feet the best of her soul
I will not become an echo of your voice
In a corner… I am not that woman

Cambia tu manera de pensar en mí
O verás como no me encontraras aquí
Aunque se rompa mi corazón
Te obligaré a que entiendas esta lección

Change the way you think about me
Or you will see that you will no longer find me here
And although it might break my heart
I will make sure that you learn this lesson

Yo no soy esa mujer, que no sale de casa
Y que pone a tus pies lo mejor de su alma
No me convertiré, en el eco de tu voz
En un rincón…

I am not that woman, who doesn’t leave the house
And who puts at your feet the best of her soul
I will not become an echo of your voice
In a corner…

Yo no soy esa mujer, esa niña perdida
La que firma un papel y te entrega su vida
Nunca me verás llorar, aunque sienta deseos
Más de una vez… yo no soy esa mujer

I am not that woman, that lost girl
Who signs a paper and surrenders her life to you
Even if I wish things were different, you will never see me cry
More than once… I am not that woman

Aunque se rompa mi corazón
Te obligaré a que entiendas este lección

And although it might break my heart
I will make sure that you learn this lesson

Yo no soy esa mujer, que no sale de casa
Y que pone a tus pies lo mejor de su alma
No me convertiré en lo que tú quieres, no
En lo que prefieres, no, esa niña consentida, mimada o perdida

I am not that woman, who doesn’t leave the house
And who puts at your feet the best of her soul
I will not change myself into what you want, no
Into what you prefer – that spoiled* child, pampered and lost – no

[*‘Spoiled’ here is in the sense of ‘over-indulged’ rather than ‘damaged’ or ‘tainted’.]

Yo no soy esa mujer, esa chica que baila
Baila al son de tu vida y tu alma
Nunca me verás llorar, no, no, no
Nunca me verás caer, no, no, no
Nunca me verás perdida, llorando, consentida, no…

I am not that woman, that girl who dances
Dances to the sound of your life and you soul
You will never see me cry, no, no, no
You will never see me fall, no, no, no
You will never see me lost, crying, spoiled, no…

Yo no soy esa mujer, que no sale de casa
Y que pone a tus pies lo mejor de su alma
No me convertiré, en el eco de tu voz
En un rincón…

I am not that woman, who doesn’t leave the house
And who puts at your feet the best of her soul
I will not become an echo of your voice
In a corner…

Yo no soy esa mujer, esa niña perdida
La que firma un papel y te entrega su vida
Nunca me verás llorar, aunque sienta deseos
Más de una vez… yo no soy esa mujer

I am not that woman, that lost girl
Who signs a paper and surrenders her life to you
Even if I wish things were different, you will never see me cry
More than once… I am not that woman