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Linked Horizon · Attack on Titan · Attack on Titan Final Season: The Final Chapters
Tap words in the lyrics for meaning, then use Practice when the verse is in your ears.
Synced lyrics
meguru kisetsu ni urami utaedo anata wa nido to kaette konai
Though I sing of resentment to the turning seasons — you'll never come back
Turning season-to resentment although-sing, you as-for, twice-and don't-come-back
唄えど uses 〜えど, the literary contrastive 'although' — modern equivalent: 〜けれども or 〜のに. The form attaches to the verb's hypothetical stem (唄え). 巡る季節 ('turning seasons') is poetic for 'time passing.' The line frames lament-as-cycle: no matter how many times the seasons turn, the addressee remains absent.
saigo no kuchizuke wo akaku someta no wa watashi hoka no dare demo nai
The one who dyed the last kiss red — was me, no one else
Last-of-kiss (obj) redly dyed thing-as-for, I, other-of-anyone-not
他の誰でもない ('no one other than') is the absolute self-attribution structure: 'no one but me.' The 〜のは...だ cleft (covered in Glory Days) focuses 'me' as the answer to the question 'who?'. 赤く染める ('dye red') in this context implies blood — staining the kiss with violence.
furueru kubisuji wo tsutsumi-komu nukumori
Warmth that wraps around the trembling nape of my neck
Trembling neck-nape (obj) wrap-completely warmth
首筋 ('neck-line / nape') is anatomical — the back of the neck. 包み込む ('wrap-into' = envelop) is the same compound suffix 〜込む we saw in 刻み込む / 飲み込む. The warmth is doing the wrapping — a memory or imagined touch.
watashi wa nan-do demo kono samusa ni tachi-mukau
I'll face this cold as many times as it takes
I as-for, how-many-times-even, this cold-against, stand-face
立ち向かう ('stand-face') is the compound for confronting an opponent or obstacle: 'face it head-on, not backing down.' The verb takes に (the target). Common in shounen vocabulary.
tatakae to kuri-kaesu anata no kotoba
Your words, repeating: 'fight, fight'
Fight-imp. (quote) fight-imp. (quote), repeats your words
闘え is the imperative of 闘う ('fight'). The doubled imperative + と + 繰り返す ('repeat') captures the haunted quality of remembered orders — words still echoing from someone gone. The structure: '"X" と 繰り返す' = 'keep saying X.'
odayaka na hibi tamuketa hana no you ni himeta kotoba wa dare ni mo tsukezu
Calm days, like an offered flower — the hidden words I gave to no one
Calm days, offered flower-like, hidden words as-for, anyone-to-also without-giving
たむける ('to offer in tribute / lay before a grave') is the formal/literary verb for offering flowers at a Buddhist altar or grave — different from the everyday 上げる. Choosing this verb makes the calm days into funerary offerings. つけず uses the bungo 〜ず ('without V-ing') — same construction we saw with 恐れずに in HERO!!.
fuku rekuiemu jitsugetsu ni wa kimi ga aishita hana
A requiem blowing through — in sun and moon, the flowers you loved
Blowing requiem, sun-moon-in-as-for, you (subj) loved flower
日月 (jitsugetsu, 'sun-moon') is a literary compound for 'time / passing days' — the kanji-noun cycle of light. レクイエム is the borrowed Latin/English 'requiem' (mass for the dead) — sets the song's funerary register.
inochi wo yurusu nara akatsuki wo terase
If you'll forgive life — light up the dawn
Life (obj) forgive-if, dawn (obj) illuminate-imp.
暁 (akatsuki, 'dawn before sunrise') is the literary alternative to 夜明け or 明け方 — the most poetic 'first light.' The line offers a deal: forgive the act of living, and we'll light the new day.
nan-do mo kuri-kaesu nan-kai saki shi wo shirazu ni iru okubyou na ore-tachi ga mi-ageta
Repeating many times — we cowards, ignorant of how many deaths lay ahead, looked up
Many-times repeat, how-many-times-ahead death (obj) without-knowing-staying, cowardly we (subj) looked-up
知らずにいる ('remain ignorant of' / 'without knowing') is bungo 〜ず + にいる ('be in a state of'). Together: 'be in the state of not knowing.' The construction emphasizes ongoing ignorance, not a moment of not-knowing. The cowardly 'we' kept looking up at the sky without realizing what was coming.
kikoeru ka mori wo dero
Can you hear me? — Leave the forest!
Audible-question, forest (obj) leave-imp.
聞こえるか is the rhetorical-yet-direct 'can you hear me?' — a soldier's call across a battlefield. 森を出ろ ('leave the forest') is the imperative of 出る — the song's command to exit the metaphorical forest of stagnation.
nan-do michi ni mayotte mo yake-nohara ni mo kusaki wa mebuita
No matter how many times I lost the way — even on the scorched wasteland, plants sprouted
How-many-times road-on get-lost-even, burned-field-on-also, grass-and-trees as-for sprouted
焼け野原 ('burned-field' = scorched wasteland) is the post-disaster image — used for war ruins, fire zones. 草木 ('grasses and trees' = plants generally) is the literary collective. The line is the song's hope-line: nature outlasts catastrophe.
unmei ga motsu kage to hikari subete wo mite ita
Shadow and light that fate holds — I'd been watching it all
Fate (subj) holds shadow-and-light, all (obj) had-been-watching
運命が持つ影と光 ('shadow and light fate holds') compresses cosmic ambivalence into seven syllables — fate as a vessel for both. 見ていた is past continuous: 'had been watching all along.' The narrator speaks from the perspective of someone who saw everything coming.
nisen-nen moshikuwa ni-man-nen go no kimi e
To you — 2,000 or 20,000 years from now
2000-years or 2-10000-years after-of-you to
もしくは ('or') is the formal alternative to や / または — used in legal/written contexts. 2000年後 vs 2万年後 = 'after 2,000 years' vs 'after 20,000 years' — using 万 (10,000) as the higher base. The song's address-to-the-future is Attack on Titan's whole metaphysics in one line: a letter that has to last.