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"Believe" by Arashi - Subtitled PV - Lyrics and Downloads

"Believe" by Arashi
(Theme of Yatterman)
Downloads from MediaFire and MegaUpload (split files may be joined with HJSplit)
          AVI (Xvid)
153.8MB
MF (split): 001/002
MU: Full
          WMV
51.86MB
MF: Full
MU: Full
          MP4 (H264)
50.21MB
MF: Full
MU: Full
          MP4 (PSP)
27.24MB
MF: Full
MU: Full
Preview on YouTube
As always, please support the artist:
[CD] [CD/DVD]
(Please note, the DVD version is the official Korean release, and is marked Region 3. The official Japanese release is long since sold out.)


Though this came out over a month ago, I still thought I'd share the video I finally had a chance to finish. Please enjoy!


*****************************************
LYRICS (notes below)
*****************************************

"Believe"

It's a brand new world

どこまで行っても     追い越せない
時が流れていっても     消えはしない
さあ     どこまで行ったら     辿り着くの?
遠い日の記憶

doko made ittemo     oikosenai
toki ga nagareteittemo     kie ha shinai
saa     doko made ittara     tadoritsuku no?
tooi hi no kioku

     Doesn't matter how far you go, you'll never break away.
     Doesn't matter how time will flow, you'll never disappear.
     Oh, how far will we have to go before we make it there?
     To memories of a distant day?


夜明ける頃     空見れば     輝いていた     It's a brand new world
夢で見た     星一つ     見つめてる

yoakeru koro     sora mireba     kagayaiteita     It's a brand new world
yume de mita     hoshi hitotsu     mitsumeteru

     At the breaking dawn, looking at the sky,
     How it shone with light! It's a brand new world.
     In my dream I saw just a single star that I'm aiming for.

繰り返すまま     重ねた日々に     なくした夢も     取り戻すから
嘘偽りの     世界はいらない     この手でつかめる

kurikaesu mama     kasaneta hibi ni     nakushita yume mo     torimodosu kara
uso itsuwari no     sekai ha iranai     kono te de tsukameru

     Turning back upon themselves, day after day became a blur
     But even if a dream was lost back then, I'm going to bring it back somehow.
     So, if the world is full of lies, then that's not a world I need.
     I'll grab hold with my own hand!


そう     僕らはずっと待ってる     いつまでだって待ってる
どこまでも続いてゆく道で
心にずっと抱いてる     この夢きっと叶うはず
泣いて笑って     進んでゆく

sou     bokura ha zutto matteru     itsumade datte matteru
dokomademo tsuzuiteyuku michi de
kokoro ni zutto daiteru kono yume kitto kanau hazu
naite waratte     susundeyuku

     Oh, always, we'll be waiting. Even 'til forever, waiting!
     On this road, continuing to God knows where,
     The dream in our hearts we've held for so long,
     I know that it's certain to come true.
     As we cry and we laugh, we'll keep on our way.


いつまでだっても     届かなくて
ふいに孤独を感じた     夜の果てに
なぜ     涙はこんなに     溢れてくの?
空に問い掛ける

itsumade datte mo     todokanakute
fui ni kodoku wo kanjita     yoru no hate ni
naze     namida ha konnani     afureteku no?
sora ni toikakeru

     When, no matter how long I try, I can't connect with you,
     When I felt that loneliness suddenly as night came to an end,
     "Oh, why do so many tears overflow this way?"
     I plead to the skies.


どんなときも     情熱を     求めていた     It's a brand new world
行き先を     ただ一つ     照らしてる

donna toki mo     jounetsu wo     motometeita     It's a brand new world
ikisaki wo     tada hitotsu     terashiteru

     Any time at all, burning passion is what I've hunted for.
     It's a brand new world.
     On my final goal standing all alone, it shines down its light.


傷つきながら     進んだ日々に     見つけた光     刻み込むから
誇りをけがす     未来はいらない     この手でつかめる

kizutsuki nagara     susunda hibi ni     mitsuketa hikari     kizamikomu kara
hokori wo kegasu     mirai ha iranai     kono te de tsukameru

     Even as we took our wounds, we went forward through those days,
     And the light we found back then is engraved within me now.
     So, a future that destroys my pride is a future I don't need.
     I'll grab hold with my own hand.


そう     誰かがきっと待ってる     伝えたくって待ってる
どこまでも続いてゆく道で
明日に向かって輝く     この夢ずっと追いかける
声をからして     進んでゆく

sou     dareka ga kitto matteru     tsutaetakutte matteru
dokomademo tsuzuiteyuku michi de
asu ni mukatte kagayaku     kono yume zutto oikakeru
koe wo karashite     susundeyuku

     Oh, somebody is surely waiting. With something to say, they're waiting!
     On this road, continuing to God knows where,
     Looking to tomorrow, see it shining:
     This dream that we will chase down through it all.
     As we shout 'til we're hoarse, we'll keep on our way.


無限に広がってゆく     愛に触れたい
希望溢れているよ     君と僕
この胸に愛を     それぞれの愛を
生まれてきた意味を     確かめて

mugen ni hirogatteyuku     ai ni furetai
kibou afureteiru yo     kimi to boku
kono mune ni ai wo     sore zore no ai wo
umaretekita imi wo     tashikamete

     This love spreading out, neverending... I want to know how it feels.
     Now there is hope overflowing within you and me...
     This love here within my heart, and the loves within everyone,
     And the reason for which I was born... I want to be sure of them all.


一体何をしているんだろう
一体何を見ているんだろう
一体何に生きているんだろう
"僕はもう..."     嗚呼もう     走馬灯のよう
小さいプライド守るため     誰かを不意に傷付る
昨日も今日も今日もそうだろうが     今日は今日でどうかしよう

ittai nani wo shiteirun darou
ittai nani wo miteirun darou
ittai nani ni ikiteirun darou
"boku ha mou..."     aa mou     soumatou no you
chiisai PURAIDO mamoru tame     dareka wo fui ni kizutsukeru
kinou mo kyou mo kyou mo sou darou ga     kyou ha kyou de douka shiyou

     What is it that you think that you can do?
     What is it that you think that you can see?
     What is it that you think you're living for?
     "I can't..." No more... Like a lantern spinning 'round,
     Protecting just a tiny pride, someone else always ends up hurting.
     It's like yesterday, today - today is just the same,
     But let's do something about today, today...


頭上に悠然とはためく     漠然とした夢を掲げ
この道の先はまだまだ見えず     失敗からしか何一つ学べず
空の向こう越えるための     この人生の抑揚
あの頃の未来向かい     時代に期待せずも進むmy life

zujou ni yuuzen to hatameku     bakuzen to shita yume wo kakage
kono michi no saki ha mada mada miezu     shippai kara shika nani hitotsu manabezu
sora no mukou koeru tame no     kono jinsei no yokuyou
ano koro no mirai mukai     jidai ni kitai sezu mo susumu my life

     So calmly, it's flying high overhead,
     The dream I hold, ever hard to grasp.
     What's down that road is unseen as yet.
     Not a single lesson but missteps I make.
     So that one day I can transcend the sky,
     That's the tone of this human life.
     I looked to the future way back when,
     But even without the hope of those days, I go on with my life.


そう     僕らはずっと待ってる     いつまでだって待ってる
どこまでも続いてゆく道で
心にずっと抱いてる     この夢きっと叶うはず
泣いて笑って     進んでゆく
誰かがきっと待ってる     伝えたくって待ってる
どこまでも続いてゆく道で
明日に向かって輝く     この夢ずっと追いかける
声をからして     進んでゆく

sou bokura ha zutto matteru     itsumade datte matteru
dokomademo tsuzuiteyuku michi de
kokoro ni zutto daiteru     kono yume kitto kanau hazu
naite waratte     susundeyuku
dareka ga kitto matteru     tsutaetakutte matteru
dokomademo tsuzuiteyuku michi de
asu ni mukatte kagayaku     kono yume zutto oikakeru
koe wo karashite     susundeyuku

     Oh, always, we'll be waiting. Even 'til forever, waiting!
     On this road, continuing to God knows where,
     The dream in our hearts we've held for so long,
     I know that it's certain to come true.
     As we cry and we laugh, we'll keep on our way.
     Somebody is surely waiting. With something to say, they're waiting!
     On this road, continuing to God knows where,
     Looking to tomorrow, see it shining:
     This dream that we will chase down through it all.
     As we shout 'til we're hoarse, we'll keep on our way.


This is the movement, Looking for my life, I can find myself
This is the movement, Looking for my life, I can find myself
This is the movement

[Original Japanese lyrics and music by 100+, Rap lyrics by Sakurai Shou. Performance by Arashi (J-Storm, Inc./Johnny's Entertainment). English translation and Japanese romanization made for educational purposes without authorization or approval by Skinner in association with Impetuosity Productions]

*****************************************
TRANSLATION NOTES (a.k.a. "Skinner is feeling verbose tonight")
*****************************************

Well, that took longer than I had hoped (and not just because I was subtitling Prince of Tennis), but it's finally done. To be honest, I'm still not satisfied that it's the best possible translation that can exist (haven't read those of others to check since I don't want to steal anyone's work, even accidentally), but at this point I think it's the best I can do at my current skill level. One of the things about well and eruditely composed Japanese (Sakurai...*) is that the poetry in structure and sense simply doesn't translate and the imagery has even odds of just sounding strange in other languages when taken carelessly and/or literally.

[* - Please note: Sakurai is, and probably always will be, my favorite band member - not least because rap lyrics like this are worth every ounce of effort that it takes to translate them.]

While I do feel I've at least achieved the release-standard of the translation speaking for itself in terms of comprehendability, in the interests of intellectual pursuits, I will take this time to note the grammatical or idiomatic license I've taken with various sections. And since I found my biggest general challenge with this song to be properly assigning perspective on a few lines...

Today's page from Japanese 101: Pronouns are almost never used.

Students of Japanese are, I'm sure, painfully aware of this already. In the majority of sentences in any setting whatsoever, the speaker will be implying (thus, the listener or translator will be at best inferring and at worst guessing) through context and association one of the most necessary parts of an English sentence: the English "subject", or figure of agency with regard to the action of the verb. After reviewing the song as a whole, I decided to translate it with a sense that this was part of a conversation between the artist and the audience on the topic of human life in general. Before I say more about that, I'll indicate where I found some of the context from which I inferred the English subject used:

Definitive Use of Pronouns:

Oh, always, we'll be waiting.


The chorus, with the line "僕らはずっと待ってる [bokura ha zutto matteru]", is one of the few places that contains an actual pronoun - "僕 [boku]", a first-person singular (I) with the plural indicator "ら [ra]" (hence 'we'). [The corresponding "Oh, somebody is surely waiting" replaces "僕ら" with "誰か [dareka]", which I'm currently putting in the pile of words that are not pronouns, but I might be persuaded otherwise. It is, however, definitive in its identification of the English sentence's subject.]

Now there is hope overflowing within you and me...

I've lyricized the grammar here, but then, Matsumoto-san's solo isn't exactly textbook either. I've taken the statement, "希望溢れているよ   君と僕 [kibou afureteiru yo, kimi to boku]", which is rather literally "Overflowing with hope, you and I", and interpreted it as: "君と僕は, 希望溢れているよ [kimi to boku ha, kibou afureteiru yo]". Please note, this does not mark anything explicitly as an English 'subject'. It's simply a way of noting clearly that the overflowing hope is in specific reference to the identified topic "You and I". One way to express this in English would be, "You and I are overflowing with hope," if one chooses to emphasize the people as the English subject. My interpretation was that the Japanese lyrics were emphasizing the "hope" aspect rather than the "who" aspect, but this still counts as a use of definitive pronouns.

[I'm skipping the "I can't..." in Sakurai's rap section, as it's a quote and not a perspective. Also, there's not much to say.]

...and that's it for definitive pronouns.

Clearly Indicative Language:

"I'll grab hold with my own hand!"


Actually, every single line that's going to go in this section is here because of the same little word: "この [kono]". This is a word that modifies a Japanese noun in order to indicate that the noun so modified is near, or as in these cases proper to, the speaker. Related words are "その [sono]" - for something near the person addressed by the speaker, "あの [ano]" - for something at a distance from both the speaker and the addressee, and "どの [dono]" - for asking that an object be identified. Certain things, when the term "この" is used, just make more sense to translate as "my" than as "this", although "this" is generally the preferred definition. Here "この手 [kono te]" must indicate the speaker's hand. Likewise, with the line rendered "This love here within my heart", "この胸 [kono mune]" is the speaker's heart (or chest). I did end up using "this" for reference to dreams and for Sakurai's "この人生 [kono jinsei]" - "this human life", but where the lyrics tie the concepts to the speaker using this kind of relative terminology, I've inferred that a first-person style is right for that part of the English translation. Of course, Sakurai also says "my life" in English as the end of the rap section, but let's save mixing up languages for another day, shall we?

What about the rest?

So that was, what, five lines? Eight? Let's be fair and say those eight lines were sufficient to give you a solid perspective on the relative point of view for eight of twelve Japanese verses, and the verses that are left are much shorter, so that's less than a third to a quarter of the song where any person-related actions or states need to be clarified, guessed, or entirely defined for the English version. (The relation of actions to the non-person entities in question is far more often clearly defined in Japanese.)

As a general rule, an undefined action or state is supposed to be tied to the speaker unless otherwise indicated (that is to say, "Default = First-Person translation"). In conversation, writing and so forth, it's true - the listener does get that impression; but I'm a fan of trying to keep a sense of vagueness or generality in the translation when there really is no clearly defining context. If you don't have one in Japanese, why invent more than you grammatically need to?

Thus, when the first two verses go by without any clear person-relative statements, I tried to keep the assignment of action as neutral as possible. "How far must one go?" might have been a more correct version of what I was trying for, but I went with the more casual generalized "you" construction for the beginning, and for the end of the first verse, a "we" construction that's meant to indicate both the speaker and the audience. Effectively, this perspective is meant to include all of humanity in a general, shared circumstance.

The following two-line verse is actually implying rather than using some normal Japanese grammatical objects, which is why I went for a somewhat broken-up English rendering. The lyrics build an image by: 1) identifying a time, 2) identifying a general action, and 3) identifying an observation dependent upon the previous action. The action in part 2 ("looking") is a conditional construction, but because it cannot be the cause of the action in part 3 (literally, "It was shining"), I chose to interpret this as a statment that one would see the effect of part 3 if one performed the action in part 2. I kept this generalized by... well... not providing a subject. For the second line, I tied the reference to a dream to the statements made in the chorus sections and made this a more explicit first-person statement. It's my hope that, just as with the Japanese lyrics, this lends a sort of growing first-person perspective to the set, which goes on to become more defined in coming verses.

By the time the second somewhat-undefined section comes around, there's been enough perspective established by those few clear references to carry through. At this point, you have a context and deciding to change it would behoove the lyricist to make a defined shift. Conversation is another matter, naturally.

Okay, that's all I've got for tonight. Any comments or questions are more than welcome. Thank you all for taking a look!
Tags: other: lyrics, other: translation, video (raw), video (streaming)
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