Results: Exact: Elapsed time: 55 ms. Word index: , , , More Expression index: , , , More Phrase index: , , , More Developed by Prompsit Language Engineering for Softissimo. Join Reverso, it's free and fast! Register Login. Did you mean: moonbeam. These examples may contain rude words based on your search. These examples may contain colloquial words based on your search.
See examples translated by raios da lua 4 examples with alignment. See examples translated by raios de luar 4 examples with alignment. See examples translated by raios lunares 2 examples with alignment. See examples containing os raios do luar 2 examples with alignment. Meet me tonight when moonbeams light the sanctuary. Close your eyes and think of snowflakes, and moonbeams , and whiskers on kittens.
A Senhora Viscondessa
Feche os olhos e pense em flocos de neve The moonbeams fill the mouth of the great rift, through which the sea once forced his entrance. And some moonbeams to sit under I'll lead because I know the way. E algum raio de lua para nos sentarmos Eu irei liderar porque eu sei o caminho. And the moonbeams would shoot out of your fingers and your toes and the ends of your hair. So, let's see how many Moonbeams are near the bookstore. Vamos ver quantas Moonbeams existem perto da livraria. Moonbeams existem perto da livraria. I saw the bristling and aged pine trees on the top of mountain; and at the bottom of the mountain, the flowers opening up their red calyxes.
"raio de luar" in English
Contemplating the pine trees on the mountain, the distraught flowers laugh at them filling the space around them with gay bursts of laughter. When autumn returned, I saw on the mountain my pine trees alive, white with snow, and moving their pensive branches before the wind. I turned my gaze to the place where I had heard the mocking laughter; I sought them in vain; the flowers that had laughed at the pine trees had died.
A comparison of the two versions shows that Machado de Assis at times introduces words for the sake of rhyme e. There can be little doubt that both versions display artistic merit and mastery of Language and medium on the part of both writers. Another poem, of which the identification seems certain, is one about a lady's fan.
The author of the original poem, a woman, is known as Ban Jieyu. Ban Jieyu is the title conterred upon this Imperial concubine, who lived during the Han Dynasty. Machado de Assis: Quando mais tarde. The new wife is seated in the Perfumed Bedroom, where the husband entered for the first time that eve. She has in her hand her fan on which are written these characters: "When the air is stifling the wind motionless, I am loved and my coolness is asked for; but when the wind moves and the air becomes cold, I am disdained and forgotten.
As she reads these characteres, the young woman thinks of her husband, and now sad thoughts envelop her. The wife was in the perfumed bedroom, still a bride the eve before. It was intensely hot; the poor young woman was burning, with a delicate fan she kept cooling her cheeks. The wife reads this warning, and her thought turns to her young husband. The same impression is made by a comparison of these versions; a faithfulness of interpretation, with some of the Portuguese choice of words clearly due to the desire of the poet to find appropriate rhymes.
Judging from some of the French transcriptions in other cases made by Mile Gautier, Wang seems a more probable selection than Han, but this remains guesswork. Sur ses rives, les bambous ont des formes de cabanes, et les arbres, au-dessus, font des toitures vertes. I let my boat glide gently over the water, and I smile to see nature imitate men this way. A glass of water does the agreeable lake appear: [2.
The sharp-pointed rocks amid flowers display the serious aspect of pagodas Machado de Assis has preserved almost everything essential about the poem except that the poet laughs from his boat. There exists an excellent study of the Poetry of this poet, which analyzes the translations from this writer actual and purported in Le Livre de jade, by William Hung. The book has several revised editions The book gives fourteen poems 16 attributed to Tu Fu.
Two of these are rather garbled translations of genuine poems. The rest can be said to represent only the creative imagination of a talented French lady at twenty-two. I cannot trace these twelve poems to any Chinese text among the genuine or even the pseudo poems in Tu Fu's Collection [ Professor Hung, who has devoted much time and effort to this problem, we trust completely, so that we feel safe in saying that the poem on the Emperor, attributed to Du Fu, is pseudo or spurious, whereas the one on Reflections, on the Tchou River, reflects a genuine Chinese poem by that writer.
Os Mandarins discutem gravemente Cousas muito mais graves. On a throne of new gold, the Son of Heaven, resplendent with gems, is seated amidst the Mandarins; he seems like a sun surrounded by stars.
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The Mandarins speak gravely of serious matters; but the thought of the Emperor has run off through the open window. In her pavilion of porcelain, like a dazzling flower surrounded by foliage, the Empress is seated amidst her women.
She thinks that her beloved is tarrying too long in the council, and, with vexation, she waves her fan. The Son of Heaven, on a throne of gold, and adorned with rich gems, listens to the Mandarins: - he looks like a sun surrounded with stars. And he?
His restless and distracted thought flees through the open window. A comparison of the two prose versions in English shows how similar they are, and yet one corresponds to French prose, and the other to Portuguese verse. Le ciel est aussi dans le fleuve; quand un nuage passe sur la lune, je le vois passer dans l'eau;. The sky also is in the river; when a cloud passes over the moon, I see it pass in the water;. I go gliding down the river in my boat and by the light of the moon; fixing my glance, fixing my glance on the clear waters.
I see into the depth of the waters, as through a white veil intense, calm, profound, the blue of the sky. A cloud that floats in the sky, floats also in the water; if it covers the moon, it comes to cover the other moon. Thus, in burning passion, my heart copies the rare graces of the lover who makes me ecstatic.
While the thought of this poem is fairly clear, the Portuguese verses seem slightly less free than French prose. The repetition of the word fitando, the addition of words like intenso, calmo, profundo," intense, calm, profound,' gives the impression of vigor which does not harmonize with the languid understatement of Mlle Gautier's version. It may be that this change in tone is not a flaw in the Portuguese version, but it is my feeling that in his other versions, Machado de Assis has captured not only the ideas, but also the general mood of the French original. Gautier: I sung to you songs accompanying myself on my ebony flute, songs in which I told you of my sadness; [2.www.cantinesanpancrazio.it/components/giqizig/1187-come-leggere-la.php
I have composed verses in which I celebrated your beauty; but in swinging your head, you threw into the water the glorious [4. Then I gave you a huge sapphire, a sapphire like the night sky, and, in exchange for the dark sapphire, you showed me the tiny pearls of you mouth. I sang songs accompanied by the flute, by my ebony flute; in them my soul whispered to yours deep, heart-felt sorrows.
You closed your ears to me. You looked, and, shaking your comely head, with your hands most pure, threw into the trembling waves leaves on which I had written my poor verses.
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I then sought in order to enchant your soul a splendid sapphire, I went to place it at your feet In a comparison of the two versions we note again the use of a shorter, less specific title on the part of Machado de Assis; a reader would have no idea that the woman addressed was a beauty on a 'flower boat'. In any case, the lack of response and understanding on the part of the woman addressed is clear. Whether or not the elimination of the 'flower boat' detail makes the poem less culturally relevant, it is certain that the change of the word for characters to the vaguer word for verses makes the Portuguese poem less immediately suggestive of Chinese culture.
The seventh poem to be considered seems to be attributed fairly clearly by Mile Gautier to Zhang Jiuling, who lived in the years Its subject is the leaf from the willow tree. Et la petite feuille de saule, je ne l'aime pas parce qu'elle me rappelle le tendre printemps qui vient de refleurir;.
Among the most noteworthy differences is the ross of definiteness of the geographical references; the "Fleuve Jaune" in the French is the specific Yellow River, and the "Montagne Orientale" also suggests a definite place, whereas in the Portuguese poem, it is simply "o largo rio", "the broad river", and, "Da montanha oriental", "the Tung Shan". To make clear the difference, in our English version of the French original, we include the Chinese equivalents for these places, since they are attested geographical names.