ikusenmono yoruwo koete
ikutsudukeru aiga arukara
kono karadaga horobirumade
ikusen: a few thousands. iku- can be a few to several.
koeru: to pass, to go beyond, to transcend
-mo, literally "also", is used here as an intensifier
※1 "(passing) through several thousands of nights"
iki-tsudukeru: serialized verb. live-continue: continue to live.
※2 "because there is love that continues to live"
line 1 as a whole is a subordinate clause to line 2:
※1-2 "because there is a love that continues to live for thousands of nights"
※3 "until this body falls apart"
※5A "until (it) disappear"
※5B "I go, continue protecting/preserving it"
5B has the same serialization with -tsuduku, don't ask why this time it's kana-only. it's arbitrary.
yuku is a variant of "iku" (to go), it's used either when describing train destination or metaphorical sense. 5B basically translates to "I'll keep preserving it"
※3-5 "I'll keep it until this body falls apart, until this life disappears"
hitomino okuni hikaru
akai namida afurete
※1 shining in the depth of pupil
※2 moon that looks like it's about to cry
※1 is again the subordinate clause to "moon".
nakidasu: naku + -dasu, here it means "starts to cry" or "bursts out crying." -dasu "to let (something) out, to externalize"
nakidashi-sou-na : -sou adds the sense "it appears to be, it looks like"
※1-2 the moon that is shining deep in your pupil, which looks like it's about to cry out
> notice two subordinate clauses which makes literal translation awkward in english
※3 (the moon) sheds red tears
※4 (the moon) goes coloring/dying the night sky
yozora: yoru + sora. why yozora instead of yoruzora? don't ask.
the entire ※1-2 forms the subject to ※3-4.
kizutsuita yaiba sashimukai
※1 in the middle of silence
seijaku is the kind of silence that comes with solemnity. think of a funeral, that's seijaku.
※2 hurt, i draw a blade and face
here it is a bit ambiguous. technically, "kizutsuita" (which is hurt) can either mean the narrator or the blade (yaiba), though it's more common sensical to think of it as the narrator. just mentioning.
kizutsuku: kizu (wound), tsuku (to stick, to add, to plaster, to inflict, etc.)
sashimukai: sasu+mukai. sasu can either "to point" or "to draw (a sword, etc.)
※3 loneliness as well as uncertainty
※4 cut through, as well as/until heart
-mo -mo "both ... as well as ..."
kiritsuku: kiru already means "to cut" by itself, adding -tsuku is more of an intensifier. "cut through" if you will.
kokoro-made: another ambiguous point, -made can be "as well as" (in this case, the narrator is cutting through his/her/whoever's heart as well) or "up to, until" (cutting through negative emotions until she discovers her true emotional state, etc.)
*same as above
sugiteyuku tokino naka
hitomiwo tojita mama
kono teni nagareru akai ito kiretemo
※1 in the middle of time that continues passing
※2 while my pupils are closed
※3 the red string that flows through this hand, even when it's cut
※4 i'm still feeling it, the connection
sugu is "pass" as in "the time is passing." -yuku is the same construction.
-ta mama: while ...ing. "while my eyes are closed"
akai ito: red string. it's a common metaphor for interpersonal relationship, especially a romantic one.
kirete-mo: passive. -mo here is an intensifier, "even when" - even if the red string is cut - that is, her relationship with someone is now over.
kizuna: personal connection, comradeship, companionship, etc.
kanjiteiru - imperfect/continuous of kanjiru "to feel."
*same as above
*inochiga itsuka kierumade
only the last line is slightly different, with "itsuka" - at some time (in the future)
*akaku somare makkani somare
akai "red", akaku "red" (adverb) - english doesn't make the distinction, here it means "dye it red", in imperative.
makka "true red"; "makka-ni" is the adverbial form. unlike "akai", "makka" is treated as if it's nominal so it takes the particle -ni.
Hopefully it helps?