스크랩 [탱고음악/가사번역] Despues del carnaval - Osvaldo Fresedo con Ricardo Ruiz

Fue una noche que

lloraban los violines

un triste vals de

promesas olvidadas...

mientras la luna plateaba los jardines

un beso ardiente en la noche palpitó.

바이올린들이 잊혀진 약속들에 대한 슬픈 발스곡을 구슬프게 연주하던 밤이었다...

(바이올린이 울다(llorar)라는 표현을 했기에 구슬프게 연주했다라고 의역을 했습니다)

달이 정원을 온통 은빛으로 물들이는 동안

두근두근 설레이는 밤에 뜨거운 키스....

Mas el encanto

de aquellas horas,

al morir Momo

se diluyó.

Y con mi dolor

a solas

lloré la muerte

de mi ilusión.

그시간 파티의 환희는 모모의 퇴장으로 점점 분위기가 가라앉고

오직 안타까운 마음만이 남아 나의 환상(기쁨)이 사라진 것에 대해 슬퍼했다....

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King Momo (Carnival character)

King Momos, King Momus, (Rei Momo in Portuguese or Rey Momo in Spanish) is considered the king of Carnivals in numerous Latin American festivities, mainly in Brazil and Colombia. His appearance signifies the beginning of the Carnival festivities. Each carnival has its own King Momo, who is often given the key to the city. Traditionally, a tall, fat man is chosen to fulfill the role because the original King Momo was of that physical stature.

In Argentina Rey Momo is more often represented by a big, sometimes monumental, doll made of Papier-mâché over a wooden or wire structure. In these cases it is carried in a tow or at the top of a truck, and presides the carnival with a royal court of dancers. While a doll, it conserves its traditional features: flamboyant and colorful clothing, a smiling or joyful face and a prominent belly. It used to be burnt at the end of the festivities, also being its climax, but this practice is being discouraged in recent times for safety reasons.

Despues del carnaval - Osvaldo Fresedo con Ricardo Ruiz-1.wma