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Akihisa Kondou · Naruto Shippuden · Naruto Shippuden ED 27
Tap words in the lyrics for meaning, then use Practice when the verse is in your ears.
Synced lyrics
gozen rei-ji akari kieta machi koyoi wa odore diipu shiizun
Midnight — a city with its lights gone — tonight, dance, Deep Season
0am light-vanished city, tonight as-for, dance-imp., Deep Season
今宵 (koyoi) is the literary word for 'tonight' — more atmospheric than 今夜 or 今晩. The imperative 踊れ (dance!) directed at no one in particular is a stage-direction to the listener and the city both.
tsuki-akari mo todokanu basho ni wa kodoku sae mo utau machi ga aru
In a place where not even moonlight reaches, there's a city where even loneliness sings
Moonlight even doesn't-reach-classical place-as-for, loneliness even-also sings city (subj) exists
届かぬ uses the bungo negative 〜ぬ in attributive position — modern equivalent: 届かない. The literary form makes 'not-reaching' feel timeless.
kurui sou na furue sou na itami dake ga
Only a pain that feels like driving you mad, like making you tremble
Go-mad-about-to-and tremble-about-to-and pain only (subj)
〜そうな is the auxiliary for 'about to V / on the verge of V-ing' — distinct from quotative 〜そう ('I heard that'). Verb stem + そう = imminent observable: 狂う → 狂いそう ('looks like going mad'). The attributive な lets it modify a noun: 痛み.
koware sou na nakushi sou na
About to break — about to be lost
About-to-break, about-to-lose
Two more 〜そうな in series — same imminent-observable construction. The chain (狂いそうな + 震えそうな + 壊れそうな + 失くしそうな) describes a stack of edge-state verbs: every verb that could go wrong, on the verge of going wrong.
kuraberareru koto nado ubawareru nai
There's no such thing as being compared, no such thing as being taken from
Be-compared things-like, be-taken things-like, exist-not
比べられる is the passive 'to be compared (by others)' — common when describing the social-pressure side of comparison. 奪う ('to seize / steal') passive is 奪われる ('to be deprived of'). 〜ことなど is the dismissive nominalizer: 'things like ~ — don't even count.'
kimi wa kimi de ii saa waratte misete
You can be you — come on, give me a smile
You as-for, you as fine, come-on, smile-show-please
君は君でいい ('you-as-yourself is fine') is the song's thesis — affirmation as permission to be unchanged. 笑ってみせて = 笑う + 〜てみせる ('show by V-ing') in soft request form: 'show me your smile.'
nani mo kangaezu tomo soto ni riyuu ga nakutomo sore koso ga subarashii hajimari
Even without thinking about anything, even with no reason out there — that itself is a wonderful beginning
Anything not-think-even-without, outside-at reason (subj) not-being-even, that-very (subj) wonderful beginning
考えずとも is bungo: verb negative stem (考え) + ずとも ('even without') — modern equivalent: 考えなくても. それこそが ('that very thing is') uses 〜こそ as the focus particle ('precisely / exactly that') intensifying the subject.
saa yoake da
Come — it's dawn
Come-on, dawn is
夜明け ('night-opening' = dawn) is the first light of day — distinct from 朝 ('morning'), which arrives later. The さあ + dawn-announcement is hopeful: a new day, ready to start.
gozen san-ji hitoke kara kakure kodoku no ai kawasu piiku shiin
3 a.m. — hidden from people, exchanging the love of solitude — Peak Scene
3am, person-presence-from hidden, solitude-of-love exchange, Peak Scene
人気 normally read にんき ('popularity') — here read ひとけ ('signs of human presence'), the same kanji different reading. The verb 交わす is for exchanged glances, words, kisses — anything traded mutually.
nodo wo yaku hodo kanashii kotoba to tomo ni utaou
Together with words sad enough to burn the throat — let's sing
Throat (obj) burn extent sad words with together let's-sing
喉を焼くほど ('to the extent that they burn the throat') uses 〜ほど to set 'throat-burning' as the measurement bar for sadness. The verb-clause + ほど + adjective is a classic J-pop intensifier.
yami to yobareta machi ni hikari wo tozashita no nara
If you've shut the light out of a city named Darkness…
Darkness (quote) was-called city-from light (obj) shut-out if-the-case-that
閉ざす ('shut out / seal') is more emphatic than 閉める ('close') — used for closing-out as exclusion. The 〜のなら ending is the full hypothetical conditional: 'IF it really is the case that you've ~, then [the next clause].' The next clause comes in the verse below.
koko ni yami wa nai saa sono me wo tojite
Here there is no darkness — come, close those eyes
Here-in darkness as-for, doesn't-exist, come-on, those eyes (obj) close
Counter-claim of the previous verse's hypothetical: 'IF you've sealed out the light, THEN come here, where there is no darkness.' The song's self-rescue logic: the dark city is being reframed as a refuge.
soko ni ukabu mono dake ima hanasanu you ni
So that you won't release the only things that surface there, even now
There-in surfaces things only now release-not-classical so-that
離さぬ uses the literary 〜ぬ negative attributive (modern: 離さない). The 〜ように closes the purpose clause: 'so that you don't release ~.' The image: when you close your eyes, things rise to the surface — hold them.
sore koso ga utsukushii machi owari saa yoake da My Town
That very thing is the city's beautiful end — come, it's dawn, My Town
That-very (subj) beautiful city-end, come-on, dawn is, My Town
それこそが ('that very thing is') uses 〜こそ for emphasis: 'precisely / exactly THIS.' Distinct from neutral それが — こそ raises the focus. My Town in English is the song's affectionate name for the dark city.
zouka no kaori ni sasowareru mayoi-konda machi
Drawn in by the scent of artificial flowers — a city I wandered into
Artificial-flower-of-scent-by drawn, wandered-into city
造花 ('made-flower' = artificial flower / fake flower) — the kanji compound makes the artifice explicit. 迷い込む ('wander-enter') is the verb for entering somewhere by getting lost — accidentally arriving rather than choosing.
shiro-hige no roujin tachi ga toshi wo kasane midare-zaku
White-bearded old men, years stacking up, bloom in disarray
White-beard-of old-people-plural (subj), years (obj) stacking, in-disarray-bloom
歳を重ねる ('stack the years' = grow older) is the standard idiom for aging — distinct from 年を取る ('take age'). 乱れ咲く ('bloom-in-disarray') is for flowers blooming all at once, irregularly — applied to old men, it creates a surreal floral image.