Attempting a Toki Pona Translation of the Lyrics to 'Tokimeki Rendezvous': nasin sama pi pilin sin

Overall Translation Policy#

This article documents the process of translating into Toki Pona. If you only want to see the conclusion, please scroll all the way to the bottom.

Tokimeki Rendezvous#

First, let’s try translating the title.

Right from the opening move, though, I was immediately bewildered. How on earth do you translate tokimeki (flutter of excitement)…?

Looking into it, I found an example where “I am bored” was translated as mi palin sin ala (“I am not having a new feeling” [sic: palin for pilin]).

You could say that tokimeki (fluttering excitement) and boredom are pretty much polar opposites. Therefore, I decided on tokimeki = pilin sin.

Rendezvous is also an issue. Tracing its origins leads to the French rendez-vous, which means an appointment or meeting. This made its way into English, and then into Japanese, where it took on meanings like a romantic date, or the approach and docking of spacecraft.

Personally, I feel that when someone says “rendezvous” in modern Japan, it carries a meaning like “two objects approaching each other and taking the same course.” Therefore, something like nasin sama (= the same path / way) should be fitting.

Putting all of this together, I arrived at nasin sama pi pilin sin (= the same path of a new heart = the rendezvous of tokimeki).

🪄 The Heart-Pounding Starts Now!#

Below, in order, are:

• Original lyrics

• Toki Pona translation

• Dead-literal retranslation of the Toki Pona translation.

• 🪄ドキドキはこれから！ (Dokidoki wa korekara! / “The heart-pounding starts now!”)

• 🪄pilin sin li kama lon poka!

• 🪄A new heart comes to be nearby!

To begin with, if I were to translate this sentence literally, it would probably be something like tenpo kama la mi palin sin (“In the future, I feel a flutter/throbbing” [sic: palin for pilin]).

The reason I didn’t do that is because for the song’s final phrase: ときめきはこれから！ (“The excitement starts now!”) I wanted to translate it as toki musi a li lon poka!, making a pun between toki (time) and toki (Toki Pona).

Given that both original lines share the form “X wa korekara” (X is from now on), I wanted the translated version to use the same phrasing for the part corresponding to korekara (“from now on / starts now”).

Thus, this line ended up being dragged along by the final phrase. I gave up on distinguishing between tokimeki (fluttering excitement) and dokidoki (pounding heart).

🍑 A Premonition of Miracles Happening#

• 🍑奇跡起こる予感 (Kiseki okoru yokan / “Premonition of a miracle happening”)
• 🍑kama nasa pona li open.
• 🍑A good, unusual future begins.

I translated “miracle” as kama nasa pona. I found an example translation that translated “unexpected” as kama nasa.

If we modify that further with pona, it should express “a good unexpected event” = “miracle.”

🥐 With a Half-Baked Measure, It’ll Be Fine, Now Go!#

• 🥐へなちょこさじ加減で いいでしょいざ 進め！ (Henachoko sajikagen de ii desho iza susume! / “With a half-baked measure, it’ll be fine, now go!”)
• 🥐mi sona ala e nasin. taso, ken la ni li pona. o tawa!
• 🥐However, I do not know the way. Maybe that is good. Forward!

Right from the original lyrics, I had no clue what this meant. What even is a “half-baked measure” (henachoko sajikagen)? In times like this, all you can do is vibe with it.

Presumably, what Shamiko wants to say is: “I don’t really understand complicated things, but for now, action is everything.”

As a result of that interpretation, I ended up paraphrasing it as above.

🍑 Hit or Miss 🥐 We Can Go 🍑 Anywhere at All#

• 🍑いちかばちか 🥐ゆける 🍑どんな場所だって (Ichikabachika / yukeru / donna basho datte / “Hit or miss / we can go / anywhere at all”)
• 🍑tenpo kama la 🥐ken la 🍑mi tu li tawa ale.
• 🍑In the future, 🥐maybe, 🍑the two of us can go to all places.

The very first line where the difficulty of converting “Tokimeki Rendezvous” into another language rears its head. Shamiko and Momo take turns singing.

When translating, first of all, I have to ensure that words don’t get cut off across the timing of this switch.

On top of that, as an aspirational goal, this switch shouldn’t cut across semantic units either. In Toki Pona, by chaining multiple words together, you can express complex concepts from basic words. For example, tomo pi telo nasa means “room of crazy water = tavern / bar.”

Unless you ensure that the singer doesn’t change in the middle of such a modifier chain, it ends up feeling really weird as duet lyrics. In Japanese, it would be like singing 🥐Lonely Chap- 🍑-lin (Ronrī Cha-purin).

In this section, I managed to pull it off by using a construction like X la Y la Z = X if then (Y if then Z). By the way, apparently chaining multiple la particles together like this is somewhat controversial in the first place.

Now let’s get into the main subject of translation. In this line, I first agonized over how to express ichikabachika (“hit or miss / sink or swim”) in Toki Pona. I took into account the aforementioned duet-induced constraints, as well as the fact that the original Japanese carries a nuance of future certainty (“surely / we can make it”). I intended to express the “sink or swim” element as tenpo kama la + ken la = “in the future, maybe” = “surely.”

Incidentally, while it didn’t become an issue in this Toki Pona translation, I realized there’s also a musical(?) constraint. 🥐‘s Go! (Susume!) in the previous line, and 🥐‘s We can go (Yukeru) in this line, have to be held and sustained even while 🍑 is singing. In other words, the final syllable of these parts must not end on a syllable that cannot be held long.

Fortunately, in Toki Pona, all words end in either a vowel or n. As a result, I didn’t need to worry about this constraint.

🥐 Tell Me More 🍑 Down to the Sound of Your Core#

• 🥐もっと聞かせて🍑コアの音まで (Motto kikasete / koa no oto made / “Let me hear more / down to the sound of your core”)
• 🥐mi wile kute e ni: 🍑insa pi pilin sina.
• 🥐I want to hear that: 🍑the inside of your heart.

Here, the very first translation that popped into my head happened to have just the right syllable count, so I didn’t have to agonize over it too much.

…However, the question still remains whether translating “core” as insa pi pilin sina (“the inside of your heart”) is truly appropriate.

If we treat “core” as a technical term within The Demon Girl Next Door, this ought to be translated as something like ijo Koa (= “a thing named ‘Core’”).

However, contextually, it’s probably best to think of it as representing “the depths of your heart.” And if I didn’t do it this way, there wouldn’t be enough syllables. If there are too many syllables, you can manage it with phrasing/subdivision, but if there are too few, it sounds goofy, so I tried to avoid that as much as possible.

🥐 When the Two of Us Join Hands 🪄 It’s Not Scary at All#

• 🥐ふたり手を合わせたら🪄こわくないよ (Futari te o awasetara / kowakunai yo / “When the two of us join hands / it’s not scary”)
• 🥐mi tu li wan li utala ala. 🪄ale li pona.
• 🥐The two of us become one and do not fight. 🪄Everything is fine.

My favorite part of “Tokimeki Rendezvous.” I love Shamiko’s accented fu sound.

For the 🥐 part, I started thinking from the point that the rhythm of utala ala = “(v) to not fight, (n) peace” resembles the awasetara (“when joining”) part, and is fun to hum.

The 🪄 part is my personal favorite in this entire translation. Apparently ale li pona. is a phrase frequently used in the Toki Pona community. Its meaning matches the original text perfectly. Shamiko and Momo’s harmony here is gorgeous.

🍑 When You’re in Trouble 🥐 Remember 🪄 That You Have Me#

• 🍑困った時には🥐思い出して🪄君がいるってこと (Komatta toki ni wa / omoidashite / kimi ga iru tte koto / “When you’re in trouble / remember / that you’re here [that you exist]”)
• 🍑sina pilin ike la 🥐o toki insa e ni: 🪄tenpo ale la mi lon poka sina.
• 🍑When you are feeling bad, 🥐please introspect this: 🪄that I am always by your side.

Here, the interpretation is a bit tricky right from the original Japanese lyrics.

Let’s treat “remember” (omoidashite) as an appeal to the other person. Then saying “When you’re in trouble, remember that I’m here” would make total sense, but these lyrics say “When you’re in trouble, remember that you’re here (kimi ga iru).” Demanding that the person you’re addressing remember that they themselves are here makes no sense.

Alternatively, maybe it’s correct to think of “remember” as: “When in trouble, remembering that you’re here, (I will do X).”

…After pondering various angles like that, in the end I felt it was best interpreted as: “When you’re in trouble, remember this: that ‘(by my side, there is always) you.’”

Back to the translation. In this line too, for duet reasons, I matched the sentence boundaries to the singer transitions.

For “remember,” I thought about something like sona pini, but that felt like it carried the nuance of “recalling past events.” Here, since we need to assert that this is true in the present as well, I went with toki insa (“speak inward / introspect”).

The 🪄 part ended up with considerably more syllables than the original. What was originally 8 syllables became 12. I envision singing it like: tenpo ale la mi lon poka sina~.

🪄 Looking Up at the Same Sky Together#

• 🪄同じ空ふたりで見上げて (Onaji sora futari de miagete / “Looking up at the same sky, the two of us”)
• 🪄o lukin e sewi pi ma tomo poka mi.
• 🪄Please look above the town together with me.

Diving into the chorus. In the OP visuals, during this line, the night sky floating above the town is shown. The imagery of looking at the sky absolutely had to be reflected.

Now, how should “the same sky” be translated? When thinking of “same,” sama comes to mind, but that didn’t feel right. Sure, a literal translation would be something like o lukin e kon sewi sama tomo poka mi., but the point is that two people are looking at a single sky together, not that they are “looking at similar skies.”

This touches on analytical territory, but I believe the theme of The Demon Girl Next Door Season 2 (original manga volumes 3 and 4) lies in the process where Shamiko’s awareness of problems shifts from the individual and family to a larger community: the town. By inserting “town: ma tomo (= land of buildings)” into the most important spot in the chorus (the spot where the song title appears in an OP), I wanted to express that theme.

And in the lyrics following this, this section appears 3 times with almost the exact same structure:

• “Looking up at the sky”
• “Staring into the future”
• “Walking down the path”

I didn’t want to use completely different sentence structures for each occurrence. For every corresponding part, I translate it in the form o X e Y pi ma tomo poka mi = “Please [verb] the [noun] of the town together with me.”

• 🪄o lukin e sewi pi ma tomo poka mi.
• 🪄o lukin e kama pi ma tomo poka mi.
• 🪄o tawa e nasin pi ma tomo poka mi.

🍑 Laughing 🥐 Together 🍑 Through Painful 🥐 Things Too 🪄 Let’s Overcome Them#

• 🍑笑い🥐合って🍑つらい🥐ことも🪄乗り越えちゃおう (Warai / atte / tsurai / koto mo / norikoechaou / “Laughing / together / painful / things too / let’s overcome them”)
• 🍑o pilin 🥐pona e 🍑ni: kama 🥐pi ike. 🪄mi tu li ken lawa.
• Feel good about that: the bad future. The two of us can lead it. (🥐🍑 distribution impossible)

The worst part.

First off, what’s insane is that the singer switches every 3 syllables. This means you can’t use words with 4 or more syllables, like kijetesantakalu.

On top of that, there are a total of 3 similar lines, and I want their sentence patterns to be somewhat aligned.

🪄 Working Hard for Someone’s Sake#

• 🪄誰かのために頑張ること (Dareka no tame ni ganbaru koto / “Working hard for someone’s sake”)
• 🪄mi pakala e sinpin insa pi jan ale.
• 🪄I break the wall between all people.

If translated literally from the original, it would be something like mi pali pona tawa jan ale (= “I work well for other people”). However, this leaves a huge surplus of syllables. Therefore, I decided to add some originality and build a longer sentence.

Specifically, I made pali more concrete. What is it that Shamiko and the others are striving for? It’s making their wish of “may everyone get along” come true. Ultimately, that means defying the world’s system of Light Clan vs. Dark Clan and striving for the integration of light and darkness.

Looking at it that way, pali can be made concrete as li wan jan ale (= “unite all people”). Still, not enough syllables. So I made it pakala e sinpin insa pi jan ale.

insa has both the meaning of “between” and “inside.” Because of that, insa pi jan ale can be interpreted both as “between people” and as “inside people.” Both apply to Shamiko. If the former, it calls to mind the events in the second half of Volume 5; if the latter, it calls to mind the events in the second half of Volume 2 or Volume 6. A delightful side effect of Toki Pona’s ambiguity.

Also, the “working hard for” (tame ni ganbaru) part hits the highest note in all of “Tokimeki Rendezvous.” An important word needed to go here, and I think sinpin insa pi jan ale is an exceptionally fitting phrase in The Demon Girl Next Door terms.

🥐 That’s Not Bad Either 🍑 By Your Side Today Too#

• 🥐それも悪くない🍑今日もとなりで (Sore mo warukunai / kyou mo tonari de / “That’s not bad either / by your side today too”)
• 🥐taso, ni li ike ala. 🍑tenpo ni la mi lon.
• 🥐However, that is not bad. 🍑Now I exist here.

Fairly literal translation. pakala basically has a negative meaning, so negating that feels poetic.

🍑 A Sparkling, Shining World#

• 🍑きらり光る世界 (Kirari hikaru sekai / “A sparkling, shining world”)
• 🍑ma ale li suno tawa mi
• 🍑All lands shine toward me.

Entering Verse 2.

I really didn’t want to use suno if I could help it, but I had no choice.

🥐 Don’t Watch Me Cry on a Giant Screen! Hide Me#

• 🥐泣き虫大画面で見てちゃいや！隠して (Nakimushi daigamen de mitecha iya! Kakushite / “I hate you watching crybaby me on a big screen! Hide me”)
• 🥐o lukin ala e ni: mi pana e telo oko. mi len e ni.
• 🥐Do not look at that: I am emitting eye liquid. I hide it.

For “hide me” (kakushite), I noted that in context, it’s not “please hide me,” but rather “don’t look,” “I’m going to hide it.”

🍑 Wanting to Accept 🥐 Feeling Shy 🍑 Any Past at All#

• 🍑受け入れたい🥐照れる🍑どんな過去だって (Ukeiretai / tereru / donna kako datte / “Wanting to accept / feeling shy / any past at all”)
• 🍑mi wile seli e 🥐apeja 🍑pi pini sina ale
• 🍑I want to embrace 🥐the shame 🍑of all your past.

Since in Verse 1 I had:

• 🍑いちかばちか 🥐ゆける 🍑どんな場所だって (Hit or miss / we can go / anywhere at all)
• 🍑tenpo kama la 🥐ken la 🍑mi tu li tawa ale.

I really wanted to end the sentence with ale here too.

Also, while I wanted to stick to pu vocabulary as much as possible, there was no proper way to express “feeling shy / embarrassed” (tereru), so I decided to use the ku word apeja here.

🥐 Master It More 🍑 No Matter What#

• 🥐もっと極めて🍑何はともあれ (Motto kiwamete / nani wa tomoare / “Master it more / no matter what”)
• 🥐mi kama sona pona. 🍑tenpo mute li kama.
• 🥐I learn well. 🍑Many events occur.

Even trying to translate “master” (kiwamete) literally, no suitable expression comes to mind.

Shamiko’s growth isn’t so much physical as it is deepening her knowledge of demonic beings. Therefore, I managed with the liberal translation of “learn well.”

🥐 When the Two of Us Hold Hands 🪄 It Doesn’t Hurt at All#

• 🥐ふたり手をつないだら🪄痛くないよ (Futari te o tsunaidara / itakunai yo / “When the two of us hold hands / it doesn’t hurt”)
• 🥐mi tu li wan li utala ala 🪄la ike ala.
• 🪄If the two of us become one and do not fight, it is not bad.

The 🥐 part is the same as Verse 1. Only the 🪄 part is changed. Meaning-wise, ale li pona would work just fine too, but where the lyrics in the original text are different, I wanted to assign different translations.

🍑 When You’re Weakened 🥐 Lean on Me, Okay?#

• 🍑弱った時には🥐寄りかかってね (Yowatta toki ni wa / yorikakatte ne / “When you’re weakened / lean on me, okay?”)
• 🍑sina pilin pakala 🥐la mi pona sina.
• 🍑If you become brokenhearted, 🥐I will heal you.

The 🍑 part is almost a literal translation.

The 🥐 part is a liberal translation. I couldn’t think of a good expression for “leaning on” (yorikakaru). Considering it together with the 🍑 part, what’s being said here must be: “Even if you get hurt, I’ll comfort you.” So I used pona in the sense of “cure / heal.”

As a secondary effect, I subtly managed to weave in the matter of the “Healing Wand” from the very climax of Volume 6.

🪄 A Place for You#

• 🪄君のための場所 (Kimi no tame no basho / “A place for you”)
• 🪄tenpo ale la ma ni li tawa sina.
• 🪄At all times, this place is for you.

Since in Verse 1 I had:

• 🪄君がいるってこと (That you’re here)
• 🪄tenpo ale la mi lon poka sina.

I wanted to get the sentence structure as close to that as possible.

🪄 Staring at the Same Future Together#

• 🪄同じ未来ふたりで見つめて (Onaji mirai futari de mitsumete / “Staring at the same future, the two of us”)
• 🪄o lukin e kama pi ma tomo poka mi.
• 🪄Please look at the future of the town together with me.

Using the same sentence structure as Verse 1’s:

• 🪄同じ空ふたりで見上げて (Looking up at the same sky together)
• 🪄o lukin e sewi pi ma tomo poka mi.

🍑 Joking 🥐 Around 🍑 Through Tough 🥐 Times Too 🪄 Let’s Have Fun#

• 🍑ふざけ🥐合って🍑タフな🥐ことも🪄楽しんじゃおう (Fuzake / atte / tafu na / koto mo / tanoshinjaou / “Joking / around / tough / things too / let’s have fun”)
• 🍑o toki 🥐musi e 🍑ni: tenpo 🥐pakala. 🪄mi tu li ken pona.
• Sing that: the time of failure. The two of us can fix it.

As expected, I referred to the corresponding part in Verse 1 for the sentence pattern.

The question comes down to what to insert into the three variable slots of:

o [some good verb] e ni: [some bad noun]. mi tu li ken [verb].

(= “[Verb] [some bad noun] with [some good verb]. The two of us can [verb].”)

For the good verb, I adopted toki musi. It carries meanings like “story,” “joke,” and “poem,” so the nuance of “joking around together” should come across.

For the bad noun, I adopted tenpo pakala. Translating “tough things” literally would yield something like ijo kiwen (= hard object), but that feels kind of lame. Besides, you have to use a total of 6 syllables here, so it doesn’t fit in the first place.

For the verb, I adopted pona. Combined with the translation of tenpo pakala, it becomes “even bad situations can be improved if it’s the two of us,” which makes sense.

🪄 You Can Pamper Yourself as Much as You Want#

• 🪄思いっきり甘えていいんだよ (Omoikkiri amaete ii n da yo / “You can depend on me / pamper yourself as much as you want”)
• 🪄sina ken lape mute a lon poka mi.
• 🪄You can rest very much near me.

I decided to express amaeru (to act spoiled / seek pampering / depend on someone’s affection) with lape (rest / sleep).

Also, to reflect the emphasized feeling of “to your heart’s content” (omoikkiri), and to match the syllable count, I made it lape mute a (rest, very, emphasis).

🥐 Isn’t That Embarrassing?#

• 🥐それは恥ずかしくない？ (Sore wa hazukashikunai? / “Isn’t that embarrassing?”)
• 🥐taso, ni li apeja, anu seme?
• 🥐However, that is embarrassing, isn't it?

As expected, expressing “embarrassing” in pu vocabulary was difficult, so I utilized the ku word apeja. The rest is a literal translation.

🍑 What You Like#

• 🍑君の好きなこと (Kimi no suki na koto / “Things that you like”)
• 🍑seme li pona tawa sina?
• 🍑What is good to you?

Heading into the bridge (C-melody).

Together with the next line, I arranged it so the context becomes “I want to know what you like” = “What is it that you like? I want to know.”

🥐 Want to Know More, Hey, More 🪄 Tell Me#

• 🥐もっと知りたいねぇもっと🪄聞かせてよ (Motto shiritai nee motto / kikasete yo / “Want to know more, hey, more / tell me”)
• 🥐mi wile sona e ni. sina o ken ni: 🪄mi kute e ni.
• 🥐I want to know that. Hey you, please make this possible: 🪄that I hear it.

With the barrage of ni at the ends of phrases, it somehow feels like it captures the coaxing, spoiled feel of the original text.

🥐 Kept Hidden Away 🍑 The Treasure Is#

• 🥐隠し持ってた🍑宝物は (Kakushimotteta / takaramono wa / “Kept hidden away / the treasure is”)
• 🥐mi len e lupa tawa 🍑mani pi mi taso.
• 🥐I close the window 🍑to the wealth of only me.

To avoid severing semantic units across the transition, I translated somewhat liberally.

🪄 I’ll Show It Only to You, Ah#

• 🪄君だけに見せてあげるよ あぁ (Kimi dake ni misete ageru yo aa / “I’ll show it only to you, ah”)
• 🪄mi wile open. sina taso li ken lukin. a.
• 🪄I open. Only you can look at it. Ah.

Corresponding to the immediately preceding len, it does open.

🪄 Walking the Same Path Together#

• 🪄同じ道ふたりで歩いて (Onaji michi futari de aruite / “Walking the same path, the two of us”)
• 🪄o tawa nasin pi ma tomo poka mi.
• 🪄Please go down the town's path together with me.

After a jazzy interlude, straight into the final chorus (grand chorus).

Same sentence pattern as Verse 1 and Verse 2.

🍑 Even 🥐 Thorns 🍑 Skipping 🥐 Along 🪄 Let’s Break Right Through#

• 🍑いばら🥐だって🍑スキッ🥐プして🪄突破しちゃおう (Ibara / datte / sukip- / -pu shite / toppachaou / “Even / thorns / skip- / -ping along / let’s break through”)
• 🍑o tawa 🥐musi a 🍑ni: nasin 🥐pi jaki. 🪄mi tu li ken pini.
• Go with great joy: the rough road. The two of us can finish it.

Same sentence pattern as Verse 1 and Verse 2.

“Thorns” (ibara) here must function to evoke “a thorny path” (ibara no michi). So I made it nasin jaki (rough / dirty path). Unfortunately, to match the syllable count, I inserted an unnecessary pi, but since it doesn’t alter the meaning, I’ll allow it.

Incidentally, for “thorns,” making it nasin pimeja (= dark path) seemed better. However, pimeja is definitely going to be used in the very next line. Having it appear twice in a row felt poetically unappealing, so I stuck with nasin jaki.

🪄 Light and Darkness Are Back to Back#

• 🪄光と闇は背中合わせ (Hikari to yami wa senakaawase / “Light and darkness are back to back”)
• 🪄suno en pimeja li tawa nasin sama.
• 🪄Light and darkness go down the same path.

The single most important spot in “Tokimeki Rendezvous.” For this line’s sake, I took care across the entire translation to avoid using suno and pimeja. Even so, I was forced to use suno in “A Sparkling, Shining World.”

I agonized over how to express “back to back” (senakaawase). Rather than intersecting, saying that they proceed in parallel is much closer. It’s not suno pimeja, it’s suno en pimeja. When I thought about how to express “in parallel,” I arrived at nasin sama.

And then, only afterwards, did I realize that when thinking up the Toki Pona translation of the title, I had translated “rendezvous” as nasin sama.

Setting aside how I got here, pulling off the title drop in the final chorus is an absolute masterstroke.

Repetition#

• 🥐taso, ni li ike ala.

• 🪄o lukin e sewi pi ma tomo poka mi.

• 🍑o pilin 🥐pona e 🍑ni: kama 🥐pi ike. 🪄mi tu li ken lawa.

• 🪄mi pakala e sinpin insa pi jan ale.

• 🥐taso, ni li ike ala. 🍑tenpo ni la mi lon.

🪄 The Excitement Starts Now!#

• 🪄ときめきはこれから！ (Tokimeki wa korekara! / “The excitement starts now!”)
• 🪄toki musi a li lon poka!
• 🪄A very fun story is nearby!

I wanted to make a pun between toki (time) and toki (Toki Pona). The wa (topic marker) and a (emphasis) are also rhymed.

Considering that “Tokimeki Rendezvous” is the OP of The Demon Girl Next Door, this shouldn’t be too far off the mark.

Summary#

Original Lyrics

1
『ときめきランデヴー』
2

3
🪄ドキドキはこれから！
4

5
🍑奇跡起こる予感
6
🥐へなちょこさじ加減で いいでしょいざ 進め！
7
🍑いちかばちか 🥐ゆける 🍑どんな場所だって
8

9
🥐もっと聞かせて🍑コアの音まで
10
🥐ふたり手を合わせたら🪄こわくないよ
11
🍑困った時には🥐思い出して
12
🪄君がいるってこと
13

14
🪄同じ空ふたりで見上げて
15
🍑笑い🥐合って🍑つらい🥐ことも🪄乗り越えちゃおう
16
🪄誰かのために頑張ること
17
🥐それも悪くない🍑今日もとなりで
18

19
🍑きらり光る世界
20
🥐泣き虫大画面で見てちゃいや！隠して
21
🍑受け入れたい🥐照れる🍑どんな過去だって
22

23
🥐もっと極めて🍑何はともあれ
24
🥐ふたり手をつないだら🪄痛くないよ
25
🍑弱った時には🥐寄りかかってね
26
🪄君のための場所
27

28
🪄同じ未来ふたりで見つめて
29
🍑ふざけ🥐合って🍑タフな🥐ことも🪄楽しんじゃおう
30
🪄思いっきり甘えていいんだよ
31
🥐それは恥ずかしくない？
32

33
🍑君の好きなこと
34
🥐もっと知りたいねぇもっと🪄聞かせてよ
35
🥐隠し持ってた🍑宝物は
36
🪄君だけに見せてあげるよ あぁ
37

38
🪄同じ道ふたりで歩いて
39
🍑いばら🥐だって🍑スキッ🥐プして🪄突破しちゃおう
40
🪄光と闇は背中合わせ
41
🥐それも悪くない
42

43
🪄同じ空ふたりで見上げて
44
🍑笑い🥐合って🍑つらい🥐ことも🪄乗り越えちゃおう
45
🪄誰かのために頑張ること
46
🥐それも悪くない🍑今日もとなりで
47

48
🪄ときめきはこれから！

Toki Pona

1
"nasin sama pi pilin sin"
2

3
🪄 pilin sin li kama lon poka!
4

5
🍑 kama nasa pona li open.
6
🥐 mi sona ala e nasin. taso, ken la ni li pona. o tawa!
7
🍑 tenpo kama la 🥐 ken la 🍑 mi tu li tawa ale.
8

9
🥐 mi wile kute e ni: 🍑 insa pi pilin sina.
10
🥐 mi tu li wan li utala ala. 🪄 ale li pona.
11
🍑 sina pilin ike la 🥐 o toki insa e ni:
12
🪄 tenpo ale la mi lon poka sina.
13

14
🪄 o lukin e sewi pi ma tomo poka mi.
15
🍑 o pilin 🥐 pona e 🍑 ni: kama 🥐 pi ike. 🪄 mi tu li ken lawa.
16
🪄 mi pakala e sinpin insa pi jan ale.
17
🥐 taso, ni li ike ala. 🍑 tenpo ni la mi lon.
18

19
🍑 ma ale li suno tawa mi
20
🥐 o lukin ala e ni: mi pana e telo oko. mi len e ni.
21
🍑 mi wile seli e 🥐 apeja 🍑 pi pini sina ale
22

23
🥐 mi kama sona pona. 🍑 tenpo mute li kama.
24
🥐 mi tu li wan li utala ala 🪄 la ike ala.
25
🍑 sina pilin pakala 🥐 la mi pona sina.
26
🪄 tenpo ale la ma ni li tawa sina.
27

28
🪄 o lukin e kama pi ma tomo poka mi.
29
🍑 o toki 🥐 musi e 🍑 ni: tenpo 🥐 pakala. 🪄 mi tu li ken pona.
30
🪄 sina ken lape mute a lon poka mi.
31
🥐 taso, ni li apeja, anu seme?
32

33
🍑 seme li pona tawa sina?
34
🥐 mi wile sona e ni. sina o ken ni: mi kute e ni.
35
🥐 mi len e lupa tawa 🍑 mani pi mi taso.
36
🪄 mi wile open. sina taso li ken lukin. a.
37

38
🪄 o tawa nasin pi ma tomo poka mi.
39
🍑 o tawa 🥐 musi a 🍑 ni: nasin 🥐 pi jaki. 🪄 mi tu li ken pini.
40
🪄 suno en pimeja li tawa nasin sama.
41
🥐 taso, ni li ike ala.
42

43
🪄 o lukin e sewi pi ma tomo poka mi.
44
🍑 o pilin 🥐 pona e 🍑 ni: kama 🥐 pi ike. 🪄 mi tu li ken lawa.
45
🪄 mi pakala e sinpin insa jan ale.
46
🥐 taso, ni li ike ala. 🍑 tenpo ni la mi lon.
47

48
🪄 toki musi a li lon poka!

Literal Retranslation

1
"The Same Path of a New Heart"
2

3
🪄 A new heart comes to be nearby!
4

5
🍑 A good, unusual future begins.
6
🥐 However, I do not know the way. Maybe that is good. Forward!
7
🍑 In the future, 🥐 maybe, 🍑 the two of us can go to all places.
8

9
🥐 I want to hear that: 🍑 the inside of your heart.
10
🥐 The two of us become one and do not fight. 🪄 Everything is fine.
11
🍑 When you are feeling bad, 🥐 please remember that:
12
🪄 that I am always by your side.
13

14
🪄 Please look above the town together with me.
15
Feel good about that: the bad future. The two of us can lead it.
16
🪄 I break the wall between all people.
17
🥐 However, that is not bad. 🍑 Now I exist here.
18

19
🍑 All lands shine toward me.
20
🥐 Do not look at that: I am emitting eye liquid. I hide it.
21
🍑 I want to embrace 🥐 the shame 🍑 of all your past.
22

23
🥐 I learn well. 🍑 Many events occur.
24
🪄 If the two of us become one and do not fight, it is not bad.
25
🍑 If you become brokenhearted, 🥐 I will heal you.
26
🪄 At all times, this place is for you.
27

28
🪄 Please look at the future of the town together with me.
29
Sing that: the time of failure. The two of us can fix it.
30
🪄 You can rest very much near me.
31
🥐 However, that is embarrassing, isn't it?
32

33
🍑 What is good to you?
34
🥐 I want to know that. Hey you, please make this possible: 🪄 that I hear it.
35
🥐 I close the window 🍑 to the wealth of only me.
36
🪄 I open. Only you can look at it. Ah.
37

38
🪄 Please go down the town's path together with me.
39
Go with great joy: the rough road. The two of us can finish it.
40
🪄 Light and darkness go down the same path.
41
🥐 However, that is not bad.
42

43
🪄 Please look above the town together with me.
44
Feel good about that: the bad future. The two of us can lead it.
45
🪄 I break the wall between all people.
46
🥐 However, that is not bad. 🍑 Now I exist here.
47

48
🪄 A very fun story is nearby!

sitelen pona

1
""
2

3
🪄!
4

5
🍑.
6
🥐.,.!
7
🍑🥐🍑.
8

9
🥐:🍑.
10
🥐.🪄.
11
🍑🥐:
12
🪄.
13

14
🪄.
15
🍑🥐🍑:🥐.🪄.
16
🪄.
17
🥐,.🍑.
18

19
🍑
20
🥐:..
21
🍑🥐apeja🍑
22

23
🥐.🍑.
24
🥐🪄.
25
🍑🥐.
26
🪄.
27

28
🪄.
29
🍑🥐🍑:🥐.🪄.
30
🪄.
31
🥐,apeja,?
32

33
🍑?
34
🥐.:.
35
🥐🍑.
36
🪄...
37

38
🪄.
39
🍑🥐🍑:🥐.🪄.
40
🪄.
41
🥐,.
42

43
🪄.
44
🍑🥐🍑:🥐.🪄.
45
🪄.
46
🥐,.🍑.
47

48
🪄!

Emoji

1
"🚞👯🎒💗🌲"
2

3
🪄💗🌲🔺🐴🙇👭!
4

5
🍑🐴😜😄🔺🔦.
6
🥐👈🐲🙅🔸🚞.🗿,📥🔹🙌🔺😄.👋🏃!
7
🍑⌛️🐴🔹🥐📥🔹🍑👈🍂🔺🏃🌏.
8

9
🥐👈🐺👂🔸🙌:🍑🌀🎒💗👉.
10
🥐👈🍂🔺🍁🔺✊🙅.🪄🌏🔺😄.
11
🍑👉💗😱🔹🥐👋💬🌀🔸🙌:
12
🪄⌛️🌏🔹👈🙇👭👉.
13

14
🪄👋👓🔸💫🎒🌄🏡👭👈.
15
🍑👋💗🥐😄🔸🍑🙌:🐴🥐🎒😱.🪄👈🍂🔺📥👴.
16
🪄👈👹🔸👚🌀🎒👶🌏.
17
🥐🗿,🙌🔺😱🙅.🍑⌛️🙌🔹👈🙇.
18

19
🍑🌄🌏🔺🌞🏃👈
20
🥐👋👓🙅🔸🙌:👈📤🔸🌊👀.👈👘🔸🙌.
21
🍑👈🐺🔥🔸🥐🙈🍑🎒🌽👉🌏
22

23
🥐👈🐴🐲😄.🍑⌛️🌆🔺🐴.
24
🥐👈🍂🔺🍁🔺✊🙅🪄🔹😱🙅.
25
🍑👉💗👹🥐🔹👈😄👉.
26
🪄⌛️🌏🔹🌄🙌🔺🏃👉.
27

28
🪄👋👓🔸🐴🎒🌄🏡👭👈.
29
🍑👋💬🥐💖🔸🍑🙌:⌛️🥐👹.🪄👈🍂🔺📥😄.
30
🪄👉📥💤🌆😅🙇👭👈.
31
🥐🗿,🙌🔺🙈,🎏👐?
32

33
🍑👐🔺😄🏃👉?
34
🥐👈🐺🐲🔸🙌.👉👋📥🙌:👈👂🔸🙌.
35
🥐👈👘🔸⭕️🏃🍑💰🎒👈🗿.
36
🪄👈🐺🔦.👉🗿🔺📥👓.😅.
37

38
🪄👋🏃🚞🎒🌄🏡👭👈.
39
🍑👋🏃🥐💖😅🍑🙌:🚞🥐🎒💩.🪄👈🍂🔺📥🌽.
40
🪄🌞🍒🌚🔺🏃🚞👯.
41
🥐🗿,🙌🔺😱🙅.
42

43
🪄👋👓🔸💫🎒🌄🏡👭👈.
44
🍑👋💗🥐😄🔸🍑🙌:🐴🥐🎒😱.🪄👈🍂🔺📥👴.
45
🪄👈👹🔸👚🌀👶🌏.
46
🥐🗿,🙌🔺😱🙅.🍑⌛️🙌🔹👈🙇.
47

48
🪄💬💖😅🔺🙇👭!

Word-for-Word English Conversion

1
"way same [rebracket] feel new "
2

3
 🪄 feel new [verb] come in/on/at side !
4

5
 🍑 come crazy good [verb] begin .
6
 🥐 me know no [object] way . only , able [context] this [verb] good . [imperative] go_to !
7
 🍑 time come [context] 🥐 able [context] 🍑 me two [verb] go_to all .
8

9
 🥐 me desire kute [object] this : 🍑 inside [rebracket] feel you .
10
 🥐 me two [verb] one [verb] fight no . 🪄 all [verb] good .
11
 🍑 you feel bad [context] 🥐 [imperative] talk inside [object] this :
12
 🪄 time all [context] me in/on/at side you .
13

14
 🪄 [imperative] look [object] high [rebracket] land room side me .
15
 🍑 [imperative] feel 🥐 good [object] 🍑 this : come 🥐 [rebracket] bad . 🪄 me two [verb] able head .
16
 🪄 me break [object] front inside [rebracket] person all .
17
 🥐 only , this [verb] bad no . 🍑 time this [context] me in/on/at .
18

19
 🍑 land all [verb] sun go_to me
20
 🥐 [imperative] look no [object] this : me give [object] water eye . me fabric [object] this .
21
 🍑 me desire heat [object] 🥐 apeja 🍑 [rebracket] end you all
22

23
 🥐 me come know good . 🍑 time many [verb] come .
24
 🥐 me two [verb] one [verb] fight no 🪄 [context] bad no .
25
 🍑 you feel break 🥐 [context] me good you .
26
 🪄 time all [context] land this [verb] go_to you .
27

28
 🪄 [imperative] look [object] come [rebracket] land room side me .
29
 🍑 [imperative] talk 🥐 play [object] 🍑 this : time 🥐 break . 🪄 me two [verb] able good .
30
 🪄 you able rest many ah in/on/at side me .
31
 🥐 only , this [verb] apeja , or [question] ?
32

33
 🍑 [question] [verb] good go_to you ?
34
 🥐 me desire know [object] this . you [imperative] able this : me kute [object] this .
35
 🥐 me fabric [object] hole go_to 🍑 wealth [rebracket] me only .
36
 🪄 me desire begin . you only [verb] able look . ah .
37

38
 🪄 [imperative] go_to way [rebracket] land room side me .
39
 🍑 [imperative] go_to 🥐 play ah 🍑 this : way 🥐 [rebracket] dirt . 🪄 me two [verb] able end .
40
 🪄 sun and dark [verb] go_to way same .
41
 🥐 only , this [verb] bad no .
42

43
 🪄 [imperative] look [object] high [rebracket] land room side me .
44
 🍑 [imperative] feel 🥐 good [object] 🍑 this : come 🥐 [rebracket] bad . 🪄 me two [verb] able head .
45
 🪄 me break [object] front inside person all .
46
 🥐 only , this [verb] bad no . 🍑 time this [context] me in/on/at .
47

48
 🪄 talk play ah [verb] in/on/at side !