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eilishbillie987
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03 Apr 2019, 4:24 am

"soda" is verb .



Fnord
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03 Apr 2019, 8:33 am

Does not parse. Please re-state.



Prometheus18
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03 Apr 2019, 8:41 am

"Soda" would be the third person singular present indicative of the verb "sodare" in Italian - and perhaps Spanish.



eilishbillie987
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04 Apr 2019, 4:50 am

"cows" is verb too.



eilishbillie987
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06 Apr 2019, 7:30 pm

Prometheus18 wrote:
"Soda" would be the third person singular present indicative of the verb "sodare" in Italian - and perhaps Spanish.


it is! which was from arabic , where verbs and nouns share the same stem like in all semetic languages



Prometheus18
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06 Apr 2019, 7:33 pm

Aren't you Russian? Or am I thinking of someone else here? If so, then ochen' khorosho!



Last edited by Prometheus18 on 06 Apr 2019, 7:50 pm, edited 1 time in total.

eilishbillie987
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06 Apr 2019, 7:37 pm

imagine engish is trimmed into chinese

colorless green ideas sleep furiously

would become


col le geen de see fur

or


le col geen de fur see



Last edited by eilishbillie987 on 06 Apr 2019, 7:51 pm, edited 2 times in total.

eilishbillie987
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06 Apr 2019, 7:40 pm

Глокая куздра штеко будланула бокра и курдячит бокрёнка



eilishbillie987
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06 Apr 2019, 7:40 pm

eilishbillie987 wrote:
Глокая куздра штеко будланула бокра и курдячит бокрёнка


would become



eilishbillie987
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12 Apr 2019, 10:18 pm

eilishbillie987 wrote:
eilishbillie987 wrote:
Глокая куздра штеко будланула бокра


would become


in tamil would be ..



eilishbillie987
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12 Apr 2019, 10:37 pm

drink and eat share the same root as intake ..


drink
/ \
intake [liquid

eat
/ \
intake [solid


intake
/ | \
drink eat etc..



what the difference between teach me and give me knowledge

if someone says she gives me a book . an addition could be an adjective, or i mean descriptive .. she goovs [to¿] me.

she paints me red. she reds me .



ollychan
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28 Apr 2019, 9:39 am

yo bebe agua
tu bebe agua
el ella bebe agua
nosotros bebe agua
vosotros bebe agua
[email protected] bebe agua

verbs require existence of nouns , not vice versa.. normally.



ollychan
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28 Apr 2019, 9:41 am

u menya bolit golova.
wo tou teng.
my head hurts.


u menya
wo
my



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28 Apr 2019, 10:07 am

Image



ollychan
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28 Apr 2019, 10:25 am

Quote:
Я помню чудное мгновенье

I have rendered the syllables by the nearest English sounds I could find; their mimetic disguise makes them look rather ugly; but never mind; the “chew” and the “vain” are associated phonetically with other Russian words meaning beautiful and important things, and the melody of the line with the plump, golden-ripe “chewed-no-yay” right in the middle and the “m’s” and “n’s” balancing each other on both sides, is to the Russian ear most exciting and soothing—a paradoxical combination that any artist will understand.

Now, if you take a dictionary and look up those four words you will obtain the following foolish, flat and familiar statement: “I remember a wonderful moment.” What is to be done with this bird you have shot down only to find that it is not a bird of paradise, but an escaped parrot, still screeching its idiotic message as it flaps on the ground? For no stretch of the imagination can persuade an English reader that “I remember a wonderful moment” is the perfect beginning of a perfect poem. The first thing I discovered was that the expression “a literal translation” is more or less nonsense. “Yah pom-new” is a deeper and smoother plunge into the past than “I remember,” which falls flat on its belly like an inexperienced diver; “chewed-no-yay” has a lovely Russian “monster” in it, and a whispered “listen,” and the dative ending of a “sunbeam,” and many other fair relations among Russian words. It belongs phonetically and mentally to a certain series of words, and this Russian series does not correspond to the English series in which “I remember” is found. And inversely, “remember,” though it clashes with the corresponding “pom-new” series, is connected with an English series of its own whenever real poets do use it. And the central word in Housman’s “What are those blue remembered hills?” becomes in Russian “vspom-neev-she-yesyah,” a horrible straggly thing, all humps and horns, which cannot fuse into any inner connection with “blue,” as it does so smoothly in English, because the Russian sense of blueness belongs to a different series than the Russian “remember” does.

This interrelation of words and non-correspondence of verbal series in different tongues suggest yet another rule, namely, that the three main words of the line draw one another out, and add something which none of them would have had separately or in any other combination. What makes this exchange of secret values possible is not only the mere contact between the words, but their exact position in regard both to the rhythm of the line and to one another. This must be taken into account by the translator.

Finally, there is the problem of the rhyme. “Mg-no-vainyay” has over two thousand Jack-in-the-box rhymes popping out at the slightest pressure, whereas I cannot think of one to “moment.” The position of “mg-no-vain-yay” at the end of the line is not negligible either, due as it is to Pushkin’s more or less consciously knowing that he would not have to hunt for its mate. But the position of “moment” in the English line implies no such security; on the contrary he would be a singularly reckless fellow who placed it there.

Thus I was confronted by that opening line, so full of Pushkin, so individual and harmonious; and after examining it gingerly from the various angles here suggested, I tackled it. The tackling process lasted the worst part of the night. I did translate it at last; but to give my version at this point might lead the reader to doubt that perfection be attainable by merely following a few perfect rules.



ollychan
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28 Apr 2019, 10:47 am

ollychan wrote:
Quote:
Я помню чудное мгновенье

I have rendered the syllables by the nearest English sounds I could find; their mimetic disguise makes them look rather ugly; but never mind; the “chew” and the “vain” are associated phonetically with other Russian words meaning beautiful and important things, and the melody of the line with the plump, golden-ripe “chewed-no-yay” right in the middle and the “m’s” and “n’s” balancing each other on both sides, is to the Russian ear most exciting and soothing—a paradoxical combination that any artist will understand.

Now, if you take a dictionary and look up those four words you will obtain the following foolish, flat and familiar statement: “I remember a wonderful moment.” What is to be done with this bird you have shot down only to find that it is not a bird of paradise, but an escaped parrot, still screeching its idiotic message as it flaps on the ground? For no stretch of the imagination can persuade an English reader that “I remember a wonderful moment” is the perfect beginning of a perfect poem. The first thing I discovered was that the expression “a literal translation” is more or less nonsense. “Yah pom-new” is a deeper and smoother plunge into the past than “I remember,” which falls flat on its belly like an inexperienced diver; “chewed-no-yay” has a lovely Russian “monster” in it, and a whispered “listen,” and the dative ending of a “sunbeam,” and many other fair relations among Russian words. It belongs phonetically and mentally to a certain series of words, and this Russian series does not correspond to the English series in which “I remember” is found. And inversely, “remember,” though it clashes with the corresponding “pom-new” series, is connected with an English series of its own whenever real poets do use it. And the central word in Housman’s “What are those blue remembered hills?” becomes in Russian “vspom-neev-she-yesyah,” a horrible straggly thing, all humps and horns, which cannot fuse into any inner connection with “blue,” as it does so smoothly in English, because the Russian sense of blueness belongs to a different series than the Russian “remember” does.

This interrelation of words and non-correspondence of verbal series in different tongues suggest yet another rule, namely, that the three main words of the line draw one another out, and add something which none of them would have had separately or in any other combination. What makes this exchange of secret values possible is not only the mere contact between the words, but their exact position in regard both to the rhythm of the line and to one another. This must be taken into account by the translator.

Finally, there is the problem of the rhyme. “Mg-no-vainyay” has over two thousand Jack-in-the-box rhymes popping out at the slightest pressure, whereas I cannot think of one to “moment.” The position of “mg-no-vain-yay” at the end of the line is not negligible either, due as it is to Pushkin’s more or less consciously knowing that he would not have to hunt for its mate. But the position of “moment” in the English line implies no such security; on the contrary he would be a singularly reckless fellow who placed it there.

Thus I was confronted by that opening line, so full of Pushkin, so individual and harmonious; and after examining it gingerly from the various angles here suggested, I tackled it. The tackling process lasted the worst part of the night. I did translate it at last; but to give my version at this point might lead the reader to doubt that perfection be attainable by merely following a few perfect rules.



是誰的眼神鎖定我 卻怕咬一口這蘋果
城市叢林戀愛生物 別當壁花和壁樹
美人計點起這愛火 別站在原地没動作
我只洩漏一點線索 是誰為愛走鋼索

誰在偷窺我的秘密 心裡在打什麼主意
我只不過補個唇蜜 你也不用注目禮
再沒有任何的禁忌 別抗拒我的美人計
戀愛動物的誘捕器 男孩女孩要注意