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Yuzu · Hunter x Hunter · Hunter x Hunter (2011) ED 5
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asa wo musabori yoru wo hakidashi
Devouring morning, vomiting out night —
Morning (obj) devour-(stem), night (obj) vomit-out-(stem) — verbs in the masu-stem form act as a literary connector chaining clauses, equivalent in feel to te-form chaining but slightly more formal.
むさぼる (gluttonously consume) and 吐き出す (spit/vomit out) are dramatically opposed verbs — pairing them in a single line frames daily existence as violent intake and expulsion.
kono kanjou wa shiro ka kuro ka
Is this feeling — white, or black?
This emotion (topic), white or black or — paired か…か constructs a binary disjunction: 'X or Y'.
白か黒か ('white or black') is the Japanese version of 'good or evil / yes or no / clear-cut answer'. Often inverted as グレーゾーン (grey zone) for ambiguity. Hunter x Hunter's Chimera Ant arc lives entirely in the grey zone.
mezasu mirai to kemuri ni shite kita kako
The future I aim for, and the past I've turned to smoke —
Aim-for future and, smoke into have-done past — 煙にする ('turn into smoke') is an idiom for 'evade, brush off, make disappear'.
煙にする / 煙に巻く is a stock phrase meaning 'distract / evade by misdirection'. So 'past turned to smoke' is double-edged: erased AND artfully evaded — very Yuzu wordplay.
hyouri-ittai yubi de hajiku koin ga sora ni mau
Two sides of one whole — a coin, flicked from a finger, dances in the sky.
Front-back-one-body, finger by flick coin (subj) sky in dance — 表裏一体 is the central title yojijukugo, made literal by the coin image.
表 (omote, front/face) and 裏 (ura, back) of a coin — and of life. 一体 here means 'one body / one whole'. The coin in the air is a perfect metaphor: in the moment of flipping, it is BOTH faces simultaneously.
nomikomu no ka terashidasu aragau yurusu
Will I swallow it? Light it up? Resist it? Forgive it all?
Swallow (Q)? Illuminate (Q)? Resist (Q)? Forgive (Q)? — chained 〜のか rhetorical questions, each presenting a possible response.
Stacking 〜のか questions is a rhetorical device: not actually waiting for answers, just laying the choices side by side. Hunter x Hunter's Gon facing Pitou had to answer all four of these at once.
tsuyoi kanjou kioku no kanata ni te wo nobashite
Strong emotions — stretching out a hand toward the far side of memory —
Strong emotion, memory's far-side to hand (obj) extend-(te) — 彼方 (kanata) is a literary noun for 'the far side, the other side, beyond'.
彼方 has a poetic, distant feel — used in 海の彼方 (across the sea), 山の彼方 (beyond the mountains). 'Reaching to the far side of memory' = trying to grasp something so old it has become a different country.
yagate subete kieyuku unmei to shita yueni
Because (we) made it fate that all would eventually fade —
Eventually all fade-go destiny made-(past) therefore — 故に is the literary 'therefore', a contrast with everyday から/ので.
故に (yueni) appears in Descartes' famous translation: 我思う、故に我あり ('I think, therefore I am'). Logic, philosophy, and judicial Japanese all use it. In song lyrics, it lifts the register markedly.
waga saga wakitatsu futatsu no mirai
My very nature surges up — two futures.
My nature boil-rise, two-of future — 我が is the literary possessive 'my'; さが (sometimes 性) is one's innate essence.
我が is the bungo/literary possessive — found in 我が国 ('my country, our country'), 我が家 ('my home'). さが is even more archaic: it's the innate, unchangeable nature you were born with — closer to 'inborn essence' than just 'character'.