وغَانِيةٍand a lovely maiden تُغَنِّيناsings to us فَتُغْنيand so suffices
وغَانِيةٍ تُغَنِّينا فَتُغْني
بِمَنْطِقِهاwith her voice الأغَنِّnasally resonant عَنِin place of الأغانِيsongs
بِمَنْطِقِها الأغَنِّ عَنِ الأغانِي
And a lovely maiden sings to us, sparing us
And a songstress sings to us, so she sings
The need for songs with her mellow, resonant voice.
With her most melodious voice beyond songs
تَثَنَّتْshe swayed فانَثَنتْand so they swayed مَثْنىin pairs شُجونٍsorrows
تَثَنَّتْ فانَثَنتْ مَثْنى شُجونٍ
تُهيِّجُهاarouse them المَثالثُthe third strings والمَثانيand the second strings
تُهيِّجُها المَثالثُ والمَثاني
She swayed, and sorrows swayed in pairs,
She sways and so sways in paired sorrows
Stirred by the third and second strings.
Stirred by the triads and octaves
وَشَىembroidered قَلَمُthe pen الجَمالbeauty بِوَجْنَتَيْهاupon her two cheeks
وَشَى قَلَمُ الجَمال بِوَجْنَتَيْها
لقَدْindeed ضَلَّتْhave gone astray مَساعِيefforts مَنْwhoever يَرانيsees me
لقَدْ ضَلَّتْ مَساعِي مَنْ يَراني
Beauty's pen embroidered upon her cheeks:
And the pen of beauty has adorned her cheeks
“Truly, the efforts of whoever sees me have gone astray.”
Lost are the efforts of those who see me
Claude 2 is inferred from the historical translator configuration. The original record does not identify its model.