關於 still with you english lyrics easy ，我們在網路上蒐集到這些相關的討論、資訊與評價

《悄然改變的臉》
The Face That Changes Quietly (English version below)

依稀記得，有首歌是這樣唱的：妳你看，妳你看，月亮的臉偷偷地在改變，月亮的臉偷偷地在改變。其實啊！改變的並不是月亮，而是人的心。有一則禪宗公案，是這樣的。有位禪師與其弟子在室外，禪師突然問其弟子：你仰頭看見什麼？其弟子仰了頭看了一下，回曰：有雲幾朵。禪師接著問：那雲在做什麼？其弟子回曰：雲在飄動。禪師聞後，就朝其弟子頭上棒打一下。這弟子痛得呱呱叫，一臉茫然地不知錯在何處。接著禪師又問其弟子，那現在雲還在飄動嗎？其弟子胸有成竹地回曰，現在雲已飄過。哪知依然逃不過，其師父犀利的棒打。哈！哈！哈！

上段引述了禪宗公案，是要教導大家不可隨境轉。凡是隨境轉的，就是迷者，迷者就是凡夫，就是俗子凡夫。俗子就會有苦惱，有苦惱自然就不會常樂我淨。相由心生，想要有張美麗、和悅、莊嚴的面貌，但看妳你自個的心，是否有真善。不祇要有真善哦！真善還得加上善念相繼哦！吾可以跟妳你打包票，妳你若真實的，依吾所教的行持下去，不久的將來，必會有人「難以抗拒妳你容顏」的。

吾，玳瑚師父，發現所有來見吾的客人，或是吾的門生及學生，在約一小時內，臉上的氣色，會由暗轉為亮，甚至還紅潤哦！而這發現已多年矣。近期有位「大媽」跟吾學佛，吾就向她提及，凡是接近吾的人，臉上的氣色，會越來越好看一事，她事前當然不置可否。于是，吾就請她做個試驗。這試驗是請她來見吾之前，先用鏡子打量自己一番，然後在與吾見面後的約一小時左右，再重新打量自己的氣色，跟著吾就立刻問她是否滿意與吾見了面的氣色？她回回滿意。事實上，在她之後，吾還有在做「臨牀實驗」。

至於未有因緣接近吾的眾生，吾在此傳授妳你，一個非常簡單加有效的方法，改善妳你容顏。這簡單的方法就是，每天多唸佛號，如南無阿彌陀佛、南無本師釋迦牟尼佛、南無觀世音菩薩、南無地藏王菩薩，等等。天天虔心恭敬地唸，但不可在臥房，不可在牀上唸，端坐蒲團，端坐椅上合掌地唸。當有一天，妳你偶然打量自己於境上時，妳你會非常歡喜境中的妳你，因妳你的臉，已悄然的改變。

........................

I vaguely remembered the lyrics of a Chinese song that go something like this, "The face of the moon is secretly changing, the face of the moon is secretly changing." Fact is, the face of the moon is not changing, it is the heart of man that changes. There is this Zen koan that goes like this: A Zen Master was with his disciple outdoors when the Master suddenly asked his disciple, "What do you see when you raise your head?"

"Just a few clouds", the disciple replied after looking upwards.

"What are the clouds doing?", the Master continued.

"The clouds are floating", came the answer.

Upon hearing it, the Master knocked on the disciple's head with a stick, and had him withering in pain, wondering what he did wrong.

"Are the clouds still floating?", the Master went on to ask.

This disciple replied confidently that the clouds had passed. But he still could not escape the stick beating from his Master! Ha ha ha!

The above koan tells us not to allow our mind to be influenced by our surroundings. Those who fall into this trap are yet to be awaken, and still a mortal being. A mortal will experience afflictions, and can never enjoy pure bliss.

All things with form stems from the heart. If you always wish for a beautiful,amiable and regal-looking face, look deep into your heart to see if you are truly kind. And it must be thoughts of kindness in every moment. If you follow my teachings 100% consistently, I can guarantee that in the near future, you will have a face which others will find it hard to resist.

I discovered that those who came to see me, be it my clients or my students, experienced a marked improvement in their facial aura within an hour of being with me. The aura changes from dim to radiant, with rosiness. I had realised this situation many years ago.

In recent months, a middle-aged mother was learning the Dharma from me and I told her about this phenomenon. She did not fully believe me, thus I invited her to do an experiment.

That is, every time before she meets me, she shall go and have a good look at her face in the mirror. She will repeat the same action after an hour or so after being with me. I would ask her if she is satisfied with her facial aura after seeing me. It is a resounding yes every single time. I did more of such experiments with others before her as well.

For those sentient beings with whom I have yet to have the affinity, allow me to impart a very easy and effective technique to improve your looks. This simple method is to recite the Buddha's name every day, like Namo Amithaba, Namo Shakyamuni Buddha, Namo Guan Shi Yin Pu Sa ( Avalokiteśvara Bodhisattva ), Namo Di Zang Wang Pu Sa ( Ksitigarbha Bodhisattva) , etc. Recite it with full sincerity and respect. Do not do it in your bedroom or on your bed. Sit upright on a meditation cushion or a chair with both your palms together. One fine day, when you chance upon your reflection in the mirror, you will like what you see, because your face has been quietly changing all these while.

www.masterdaihu.com/the-face-that-changes-quietly/

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

《daydream》
蝶々結び / Chouchou Musubi / 蝴蝶結 / A Butterfly Bow
作詞 / Lyricist：野田洋次郎（RADWIMPS）
作曲 / Composer：野田洋次郎（RADWIMPS）
編曲 / Arranger：野田洋次郎（RADWIMPS）
吉他&和聲 / Guitar & Chorus：ハナレグミ
歌 / Singer：Aimer
翻譯：澄野（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation:Toria

背景 / Background - この蒼くて広い世界に - てる :
https://www.pixiv.net/artworks/58935050

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如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=4885129

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyrics/aimer/chouchou-musubi/

日文歌詞 / Japanese Lyrics :
片っぽで丸を作って　しっかり持ってて
もう片っぽでその丸の後ろを　ぐるっと回って

間にできたポッケに入って　出て来るの待ってて
出てきたところを迎えにきて　「せーの」で引っぱって

はじめはなんとも　情けない形だとしても
同じだけ力を込めて

羽根は大きく　結び目は固く
なるようにきつく　結んでいてほしいの

腕はここに　想い出は遠くに
置いておいてほしい　ほしいの

片っぽでも引っ張っちゃえば　ほどけちゃうけど
作ったもの壊すのは　遥かに　簡単だけど

だけどほどく時も　そう、ちゃんと　同じようにね
分かってるよ　でもできたらね　「せーの」で引っ張って

ほどけやしないように　と願って力込めては
広げすぎた羽根に　戸惑う

羽根は大きく　結び目は固く
なるようにきつく　結んでいてほしいの

夢はここに　想い出は遠くに
気付けばそこにあるくらいがいい

黙って引っ張ったりしないでよ　不格好な蝶にしないでよ
結んだつもりがほどいていたり　緩めたつもりが締めていたり

この蒼くて広い世界に　無数に　散らばった中から
別々に二人選んだ糸を　お互いたぐり寄せ合ったんだ

結ばれたんじゃなく結んだんだ　二人で「せーの」で引っ張ったんだ
大きくも　小さくも　なりすぎないように　力を込めたんだ

この蒼くて広い世界に　無数に　散らばった中から
別々に二人選んだ糸を　お互いたぐり寄せ合ったんだ

結ばれたんじゃなく結んだんだ　二人で「せーの」で引っ張ったんだ
大きくも　小さくも　なりすぎないように　力を込めたんだ

中文歌詞 / Chinese Lyrics :
將一端圍成一個圓，緊緊握住
再將另一端繞過那圓，轉一圈

穿進間隙中的洞口，等著它繞過來
在穿出來的洞口接住，念出「一、二」之後拉緊

即使剛開始，只能做出慘不忍睹的形狀
只知道兩手要用一樣的力氣

我希望翅膀能大一點、結能打得更緊一點
為了打出漂亮的蝴蝶結，希望你繫得更緊，越緊越好

希望你能為我握起繩結，而回憶則放在那方——
過去的回憶留在遙遠的那方就好

儘管只拉起一端，繩結便會輕易解開
儘管破壞總是遠比創造來得容易

但是在解開繩結的時候，是啊，也是同樣的道理
我明白的，但如果可以的話，希望能一同念出「一、二」之後拉開

若為使繩結不會鬆開，而用盡全力的話
只會對展開太大的翅膀感到不知所措

我希望翅膀能大一點、結能打得更緊一點
為了打出漂亮的蝴蝶結，希望你繫得更緊，越緊越好

希望你仍能抱持夢想，而回憶則留在那方——
一回過頭便能憶起的距離就好

別坑不作聲地拉緊、也不要綁出不好看的蝴蝶結
以為綁緊了卻不經意鬆開；以為鬆脫了卻不經意拉緊

在蒼穹無垠世界裡，數不清且散落各地的線繩中
兩人循著各自選下的繩線，向著彼此靠近

聯繫彼此的線並不是被迫牽起，而是由兩人綁上——由兩人一同念出「一、二」之後拉緊的
希望它不會太大、也不會太小，由兩人一起，共同將繩結繫緊

在蒼穹無垠世界裡，數不清且散落各地的線繩中
兩人循著各自選下的繩線，向著彼此靠近

聯繫彼此的線並不是被迫牽起，而是由兩人綁上——由兩人一同念出「一、二」之後拉緊的
希望它不會太大、也不會太小，由兩人一起，共同將繩結繫緊

英文歌詞 / English Lyrics :
Take one end, and make a circle—now hold it tight
Take the other end and wrap it around behind the circle

Pass it through the pocket formed in the middle, and wait for it to come back out
Go out to meet it—And with a one, two, pull the strings tight

At the beginning, it came out so pathetically
But even still, I put the same strength into it

I want to tie it tight
So that the loops would be big, and the knot would be tight

I want you, I want you
To put your arm here, and your memories far away

Even though if you pull on only one end, it’ll come untied
It’s so, so very easy to break what someone’s made

Yet that’s how it is when you untie it, it’s exactly the same
I know that’s how it goes, but once I finish it—With a one, two, I’ll pull the strings

Praying that it wouldn’t come untied, I put some strength into it
And became transfixed by the loops that I had pulled too far out

I want to tie it tight
So that the loops would be big, and the knot would be tight

So that your dreams are here, and your memories far away
If you realize it, I’m fine with you just being there

Just shut up, don’t pull on them; don’t make the strings into a lopsided butterfly
I meant to tie them, but they’re becoming loose; I meant to loosen them, but they’re becoming tight

From all the countless and scattered contents of this blue, wide world
The two of us chose the same thread independently and reeled each other in

We weren’t tied to each other, we tied ourselves to each other—With a one, two, we pulled the strings
So that they wouldn’t be too loose, or too tight, we put our strength into it

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歌词 lyrics ( English + Chinese)
故事的小黄花，从出生那年就飘着

The little yellow flower of the story floats from the year of birth

童年的荡秋千，随记忆一直晃到现在

Swing in childhood, with the memory has been shaking to the present

吹着前奏，望着天空

Blowing the prelude, looking at the sky

我想起花瓣，试着掉落

I think of the petals and try to drop them.

为你翘课的那一天，花落的那一天

The day you skip class, the day the flowers fall

教室的那一间，我怎么看不见

How can I not see that room in the classroom?

消失的下雨天，我好想再淋一遍

Lost rainy day, I want to get wet again

没想到，失去的勇气我还留着

Unexpectedly, I still have the courage to lose.

好想再问一遍，你会等待还是离开

Want to ask again, will you wait or leave?

刮风这天，我试过握着你手

On a windy day, I tried to hold your hand.

但偏偏，雨渐渐

But on the contrary, it's raining slowly.

大到我看你不见，还要多久

How long will it be before I see you?

我才能在你身边，等到放晴的那天

I can stay with you until sunny day.

也许我会比较好一点，从前从前

Maybe I'll be better. Once upon a time.

有个人爱你很久，但偏偏

Someone loves you for a long time, but on the contrary

风渐渐，把距离吹得好远

The wind gradually blows the distance away.

好不容易，又能再多爱一天

It's not easy to love for another day.

但故事的最后，你好像还是说了

But at the end of the story, you seem to have said the same thing.

拜拜，为你翘课的那一天

Bye-bye, the day you skipped class

花落的那一天，教室的那一间

On the day when the flowers fall, the room in the classroom

我怎么看不见，消失的下雨天

How can I not see the disappearance of rainy days

我好想再淋一遍，没想到

I'd like to have another shower, but I didn't expect it.

失去的勇气我还留着，好想再问一遍

I still have the courage to ask again.

你会等待还是离开，刮风这天

Will you wait or leave, windy day

我试过握着你手，但偏偏

I tried to hold your hand, but on the contrary

雨渐渐，大到我看你不见

It's raining so hard that I can't see you.

还要多久，我才能在你身边

How long will it take for me to be around you?

等到放晴的那天，也许我会比较好一点

When it clears up, maybe I'll be better.

从前从前，有个人爱你很久

Once upon a time, there was a person who loved you for a long time.

偏偏，风渐渐

On the contrary, the wind is gradually blowing.

把距离吹得好远，好不容易

It's hard to blow the distance away.

又能再多爱一天，但故事的最后

Another day of love, but the end of the story

你好像还是说了，拜拜

You seem to have said that again. Bye-bye.

刮风这天，我试过握着你手

On a windy day, I tried to hold your hand.

但偏偏，雨渐渐

But on the contrary, it's raining slowly.

大到我看你不见，还要多久

How long will it be before I see you?

我才能够在你身边，等到放晴那天

I can stay with you until sunny day.

也许我会比较好一点，从前从前

Maybe I'll be better. Once upon a time.

有个人爱你很久，但偏偏

Someone loves you for a long time, but on the contrary

风渐渐，把距离吹得好远

The wind gradually blows the distance away.

好不容易，又能再多爱一天

It's not easy to love for another day.

但故事的最后，你好像还是说了

But at the end of the story, you seem to have said the same thing.

フジテレビ系ドラマ『いつかこの恋を思い出してきっと泣いてしまう』の主題歌である、手嶌葵さんの「明日への手紙」を英語で歌ってみました♪

手嶌葵さんを最近知りましたが、とてもユニークでうっとりした声がいいですね。この英語バージョンを気に入っていただけると嬉しいです(^O^)
Enjoy～♫

This song, about writing a letter to your future self, is from a newer female singer I just recently heard of called Aoi Teshima. It is currently popular for being the theme song for the Fuji TV drama "Itsuka Kono Koi wo Omoidashite Kitto Naite Shimau" ("I Know One
Day I'll Remember This Love and Cry"). The beautiful original lyrics were written by female songwriter Ayako Ikeda.

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曲情報 / SONG INFO
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Aoi Teshima / Asu e no Tegami (Letter to Tomorrow)
TV Drama "Itsuka Kono Koi wo Omoidashite Kitto Naite Shimau" Theme Song
Released Feb. 2016
Music/Lyrics: Ayako Ikeda
English Lyrics: Rebecca Butler Watanabe

■Official MV
https://youtu.be/CIx8ts2TbZA

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リンク / LINKS
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■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

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歌詞 / LYRICS
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It’s been a while, how have you been?
Have you met someone special?
Have you made many friends?
Tell me, will it be long until I come upon
The rainbow at the end of this road?

Do you remember days of old?
The swaying heads of barley, the evening sky aglow
Stretching on ahead, 'til the horizon's edge
You were always searching for the end

Now I’ll go,
As I strain to paint tomorrow in my mind,
Along the path toward my dream
Holding on so gently to the things that can't be seen
And the light shining bright out of the darkness
I’m on my way

Is there a smile upon your face
Your eyes still full of wonder just like those yesterdays?
Through cold and lonely nights, and rainy days alike
I hope you never stop having faith

If you should ever feel alone
And need someone to turn to, you'll always have a home
Waiting just the same, that will never change
Even as the years may come and go

Now I’ll go,
With a picture of tomorrow in my mind,
Along the path toward my dream
Holding on so carefully to every memory
Of the love from the ones closest to my heart
I'm on my way

As we walk
It's so easy to get lost along the way
Or doubt the path we chose
And I hope I’m always gazing back at brighter days
Priceless times I've left behind

明日を描こうともがきながら
asu wo egakou to mogaki-nagara
今夢の中へ
ima yume no naka e
形ないものの輝きを
katachi nai mono no kagayaki wo
そっとそっと抱きしめて
sotto sotto daki-shimete
進むの
susumu no