The game here is to post funny translating errors. Use google translate and post each iteration of translating. Post which languages you translate to.
I figured out this might be funny when I ran this script for Spanish class back and forth between English and Spanish a few times... D: ¿Cómo es tú habitación? E: Mi habitación es muy grande. Las paredes son blancas y azules. D: ¿Qué no te gusta? E: El piso es azul y el sofá es viejo. D: ¿Qué quieres cambiar? E: Quiero un tele grande y paredes negras. D: ¡Es buena idea!
E: ¿Como es tú habitación Martin? K: Mi habitación es un poco pequeña y las paredes son verdes. E: ¿Qué no te gusta? K: Hay dos ventanas y cero sillas en mi habitación. E: ¿Qué quieres cambiar? K: Quiero tener dos sillas y una ventana mas en mi habitación. E: ¡Son buenas ideas!
K: ¿Delia, comó es tu habitación? D: Mi habitación tiene una cama grande y las paredes son amarillos y morados. K: ¿Qué no te gusta? D: Mi habitación es un poco pequeña y no hay escritorio. K: ¿Entonces, qué vas a cambia? D: Quiero tener un escritorio en mi habitación. K: Uso mi escritorio todos los dias.
D: How is your room? E: My room is very large. The walls are white and blue. D: What do you dislike? E: The floor is blue and the couch is old. D: What do you want change? E: I want a big TV and black walls. D: It's a good idea!
E: How is your room Martin? K: My room is a bit small and the walls are green. E: What do you dislike? K: There are two windows and no chairs in my room. E: What do you want change? K: I have two more chairs and a window in my room. E: They are good ideas!
K: Delia, as is your room? D: My room tine large bed and the walls are yellow and purple. K: What do you dislike? D: My room is a bit small and there is no desktop. K: So, what will you change? D: I have a desk in my room. K: Use my desk every day.
D: ¿Cómo es tu habitación? E: Mi habitación es muy grande. Las paredes son de color blanco y azul. D: ¿Qué te disgusta? E: El suelo es de color azul y el sofá es viejo. D: ¿Qué quieres cambiar? E: Quiero una televisión grande y las paredes de negro. D: Es una buena idea!
E: ¿Cómo es tu habitación Martin? K: Mi habitación es un poco pequeña y las paredes son de color verde. E: ¿Qué te disgusta? K: Hay dos ventanas y no hay sillas en mi habitación. E: ¿Qué quieres cambiar? K: Tengo dos sillas más y una ventana en mi cuarto. E: Son buenas ideas!
K: Delia, como es su habitación? D: la cama de mi habitación grande de púas y las paredes son de color amarillo y morado. K: ¿Qué te disgusta? D: Mi habitación es un poco pequeña y no hay escritorio. K: Entonces, ¿qué vas a cambiar? D: Yo tengo un escritorio de mi habitación. K: Uso mi escritorio todos los días.
D: How is your room? E: My room is very large. The walls are white and blue. D: What do you dislike? E: Soil is blue and the couch is old. D: What do you want change? E: I want a big TV and the walls black. D: It's a good idea!
E: How is your room Martin? K: My room is a bit small and the walls are green. E: What do you dislike? K: There are two windows and there are no chairs in my room. E: What do you want change? K: I have two more chairs and a window in my room. E: They are good ideas!
K: Delia, as is his room? D: the bed of my large room with spikes and the walls are yellow and purple. K: What do you dislike? D: My room is a bit small and there is no desktop. K: So what are you going to change? D: I have a desk in my room. K: Use my desk every day.
D: ¿Cómo es tu habitación? E: Mi habitación es muy grande. Las paredes son de color blanco y azul. D: ¿Qué te disgusta? E: El suelo es azul y el sofá es viejo. D: ¿Qué quieres cambiar? E: Quiero una televisión grande y las paredes negro. D: Es una buena idea!
E: ¿Cómo es tu habitación Martin? K: Mi habitación es un poco pequeña y las paredes son de color verde. E: ¿Qué te disgusta? K: Hay dos ventanas y no hay sillas en mi habitación. E: ¿Qué quieres cambiar? K: Tengo dos sillas más y una ventana en mi cuarto. E: Son buenas ideas!
K: Delia, como es su habitación? D: la cama de mi habitación grande con púas y las paredes son de color amarillo y morado. K: ¿Qué te disgusta? D: Mi habitación es un poco pequeña y no hay escritorio. K: Entonces, ¿qué vas a cambiar? D: Yo tengo un escritorio de mi habitación. K: Uso mi escritorio todos los días.
D: How is your room? E: My room is very large. The walls are white and blue. D: What do you dislike? E: The floor is blue and the couch is old. D: What do you want change? E: I want a big TV and the walls black. D: It's a good idea!
E: How is your room Martin? K: My room is a bit small and the walls are green. E: What do you dislike? K: There are two windows and there are no chairs in my room. E: What do you want change? K: I have two more chairs and a window in my room. E: They are good ideas!
K: Delia, as is his room? D: the bed of my large room with spikes and the walls are yellow and purple. K: What do you dislike? D: My room is a bit small and there is no desktop. K: So what are you going to change? D: I have a desk in my room. K: Use my desk every day.
Apparently, my friend's room... Well, I'll just quote for you.
the bed of my large room with spikes and the walls are yellow and purple.
Sounds painful. And wait...
Soil is blue and the couch is old.
hmmmm...
___! ___! (s)he's our (gal/man) if (s)he can't do it no one (shall/can)!
As I silently approached the masked madman, I was startled that upon closer inspection, the masked madman turned out to be a woman.
"Approximation to the crazy masked in silence, I was surprised that women are closer inspection in fact."
Twilight Zone opening monologue:
"There is a fifth dimension beyond that known to man. Is not it a dimension as vast as space and time as infinity. It is the midpoint between light and shadow, between science and superstition, and lies between the mouth of the fear of men and upper body of expertise. This is the dimension of imagination. This area is called the twilight zone."
Fuzzy numbers armored nonjas, dressed in black sharp angle, with figures in red, cloth badge and boxes of weapons, lack of fallen soldiers. That bright world, saw alternative realities and blur in his head, always capped with two of his captors. The woods and desert a barbed wire fence that separated her from starving people were forced through scenes, Clint went to cable, he died. He pushed a gun in the grass of a hill and pushed the other side, a sand dune that has permeated their clothes with an abrasive Gritti.
Two nonjas grabbed him, and took him deep into the nonja base. The fallen soldier once again drifted, this time away from earth, into a painkiller induced dream. He saw the planes of his comrades. Struggling to the surface he opened his eyes. Blurred before him was the image of his cell. It blended with his dreams. Tears clouded his vision. Reality became an important aspect of his existence, which was no longer reality. The blurred figures of armored nonjas, dressed in black with sharp angles figures of red, insignia dressing their chests and arms, dragged the fallen soldier. He saw a vivid world, alternative realities flashed and blurred in his mind, always accompanied by the two shadows of his captors. He was forced through jungles and through desert scenes, with barbed wire fences separating him from starving people, clinging to the wire as they died. He was shoved at gun point up a grassy knoll, and was pushed down the other side, a sandy dune which permeated his clothing with abrasive grit. Lava flows gently meandered past, houses were consumed as their yards were lit on fire by the slow flow. Burning fields swirled with snow and the sky was lit with green and blue lights.
Tveir nonjas grípa hann, ok tók honum djúpt inn í nonja stöð. The fallinn hermaður enn einu sinni rak, í þetta sinn í burtu frá jörðu, inn verkjastillandi völdum draumur. Hann sá vélarnar félagar hans. Barátta upp á yfirborðið að hann opnaði augu hans. Óskýr fyrir honum var mynd af klefi hans. Það blönduð með draumum sínum. Tears clouded framtíðarsýn hans. Reality varð mikilvægur þáttur í tilveru hans, sem var ekki lengur veruleika. The þoka tölur af brynjaður nonjas, klæddur í svarta með beittum sjónarhornum tölur í rauðu, Heiðursmerki klæða kistur þeirra og vopn, draga upp niður fallin hermaður. Hann sá skær heiminum, val raunveruleika blikkljós og þoka í huga hans, alltaf í fylgd með tveimur skuggar captors hans. Hann var neyddur í gegnum jungles og í gegnum tjöldin eyðimörk, með barbed girðingar vír sem aðskilur hann frá sveltandi fólks, clinging að vírinn sem þeir létust. Hann var shoved við brottför byssu upp grasi Hóll, og var ýtt niður öðrum megin, gulum sandi Sandalda sem permeated fötum hans við svarfefni grit. Hraun rennur mjúklega meandered fortíð, hús voru neytt sem mælistika þeirra voru kveikt á eldi sem hægt rennsli. Burning reiti swirled við snjóinn og himininn var kveikt á með grænum og bláum ljósum.
Two nonjas grabbed him and took him deep into nonja station. The fallen soldier once again drove, this time away from the ground, the pain caused by dreams. He saw members of his hosts. The struggle to the surface that he opened his eyes. Blurred for him was a picture of his cell. It mixed with dreams. Tears clouded his vision. Reality became an important part of his existence, which was no longer true. The blurred figures of armored nonjas, dressed in black, with sharp angles figures in red, Insignia clothing chests and arms, reducing the fallen soldier. He saw the bright world, alternative realities and blur flashed in his mind, always accompanied by two shadows of his captors. He was forced through the Jungle and through the desert scenes, with a barbed wire fence that separates him from starving people, Clint ging to the wire as they died. He was shoved by passing a gun up the grassy Knoll, and was pushed down the other side, a sandy Dune that permeated his clothes with abrasive Gritti. Lava flows gently meandered past, houses were forced to their yards were lit fire that can flow. Burning fields swirled with snow and the sky was lit with green and blue lights.
Dos nonjas lo agarró y lo llevó a la estación de nonja profunda. El soldado caído una vez más llevó, esta vez lejos de la tierra, el dolor causado por los sueños. Vio a los miembros de sus anfitriones. La lucha por la superficie que abrió los ojos. Borrosa para él era una foto de su celda. Se mezcla con los sueños. Las lágrimas le nublaba la visión. La realidad se convirtió en una parte importante de su existencia, que ya no era cierto. Las cifras borrosa de nonjas blindados, vestido de negro, con figuras de ángulos agudos en rojo, Insignia cofres de ropa y armas, la reducción del soldado caído. Él veía el mundo brillante, realidades alternativas y borroso brilló en su mente, siempre acompañado por dos sombras de sus captores. Se vio obligado a través de la jungla y por las escenas del desierto, con una cerca de alambre de púas que lo separa de la gente muriendo de hambre, Clint Ging al cable, ya que murió. Fue empujado por pasar una pistola en la cubierta de hierba Knoll, y fue empujado por el otro lado, una duna de arena que impregnaba su ropa con un abrasivo de Gritti. Los flujos de lava suavemente serpenteaba pasado, las casas se vieron obligados a sus patios se encendió el fuego que puede fluir. quema de los campos de nieve se arremolinaba y el cielo estaba iluminado con luces verdes y azules.
Two nonjas grabbed him and took him deep nonja station. The soldier was dropped again, this time away from the earth, the pain caused by dreams. He saw members of their hosts. The fight for the area opened his eyes. Blurred for him was a picture of his cell. Mix with dreams. Tears clouded his vision. The reality became an important part of their existence, which was not true. The blurred figures nonjas armored, dressed in black, with sharp angles figures in red, Insignia boxes of clothes and weapons, reducing the fallen soldier. He saw the bright world, alternative realities and blur flashed in his mind, always accompanied by two shadows of their captors. He was forced through the jungle and desert scenes, with a barbed wire fence that separates him from starving people, Clint Ging to cable, he died. He was pushed to pass a gun in the grassy Knoll, and was pushed on the other hand, a sand dune that permeated their clothes with an abrasive Gritti. Lava flows gently winding past the houses were forced to their yards are lit the fire that can flow. burning fields of snow swirled and the sky was lit with green and blue lights.
Zwei nonjas packte ihn und nahm ihn tief Nonja Station. Der Soldat war er wieder, sank dieser Zeit von der Erde entfernt, die Schmerzen verursacht durch Träume. Er sah Mitglieder ihrer Wirte. Der Kampf für den Bereich öffnete die Augen. Verschwommene war für ihn ein Bild von seiner Zelle. Mix mit Träumen. Tränen getrübt seine Vision. Die Realität wurde zu einem wichtigen Teil ihrer Existenz, die nicht wahr war. Die unscharfen Zahlen nonjas gepanzerte, schwarz gekleidet, mit scharfen Winkeln Zahlen in rot, Insignia-Boxen von Kleidung und Waffen, die Verringerung der gefallenen Soldaten. Er sah die helle Welt, alternative Realitäten und in seinen Kopf verwischen, immer von zwei Schatten ihrer Bewacher begleitet. Er durch den Dschungel und Wüste Szenen war gezwungen, mit einem Stacheldrahtzaun, der ihn trennt sich von hungernden Menschen, Clint Ging zum Kabel, starb er. Er wurde gedrängt, eine Waffe in die Grashügel Pass und war auf der anderen Seite geschoben, eine Sanddüne, dass ihre Kleidung mit einem Scheuermittel Gritti durchdrungen. Lavaströme sanft gewundene Vergangenheit waren die Häuser, ihre Höfe gezwungen sind, leuchtet das Feuer, das fließen kann. brennende Felder von Schnee wirbelte und der Himmel war erleuchtet mit grünen und blauen Lichtern.
दो nonjas उसे पकड़ा और उसे गहरी Nonja स्टेशन ले गए. सैनिक, वह फिर से था, इस बार धरती से दूर गिर गया, दर्द के कारण सपनों के द्वारा. वह अपने मेजबान के सदस्यों को देखा. क्षेत्र के लिए लड़ाई अपनी आँखें खोली. उसके लिए Blurred उसके सेल की एक तस्वीर थी. मिश्रण सपनों के साथ. आँसू उसकी दृष्टि धूमिल. वास्तविकता अपने अस्तित्व है, जो सच नहीं था का एक महत्वपूर्ण हिस्सा था. फजी संख्या बख्तरबंद nonjas, काला में तैयार तेज कोण, लाल रंग में आंकड़े के साथ, कपड़े और हथियारों का बिल्ला बक्से, गिर सैनिकों की कमी. वह चमकदार दुनिया, वैकल्पिक वास्तविकताओं को देखा और उसके सिर में कलंक, हमेशा अपने captors के दो छाया के साथ. यह जंगल और रेगिस्तान एक कांटेदार तार बाड़ कि उसे भूखे लोगों से अलग से मजबूर दृश्यों के माध्यम से किया गया था, क्लिंट केबल के पास गया, वह मर गया. वह घास में एक पहाड़ी के पास बंदूक धक्का दिया था और दूसरी तरफ धक्का दिया, एक रेत का टीला है कि उनके कपड़े एक अपघर्षक Gritti साथ रिस चुका है. लावा धीरे घरों पिछले घुमावदार प्रवाह, उनके खेतों में आग प्रवाह कर सकते हैं कि प्रकाश को मजबूर हैं. बर्फ के जल क्षेत्रों swirled और आकाश हरे और नीले रोशनी के साथ जलाया गया था.
Two nonjas grabbed him and took him deep Nonja station. Soldier, he was again, this time from the earth fell away, the pain caused by dreams. He saw members of their host. Opened my eyes to the war zone. Blurred for him was a picture of her cell. Mix with dreams. Tears clouded her vision. Reality of their existence, which was not really an important part. Fuzzy numbers armored nonjas, dressed in black sharp angle, with figures in red, cloth badge and boxes of weapons, lack of fallen soldiers. That bright world, saw alternative realities and blur in his head, always capped with two of his captors. The woods and desert a barbed wire fence that separated her from starving people were forced through scenes, Clint went to cable, he died. He pushed a gun in the grass of a hill and pushed the other side, a sand dune that has permeated their clothes with an abrasive Gritti. Lava flows slowly winding past houses, their fields are forced to light the fire that can flow. Snow swirled and the water areas of the sky with green and blue lights was lit.
___! ___! (s)he's our (gal/man) if (s)he can't do it no one (shall/can)!
Original English Text: What does "Carreg totally in the mess." mean? Translated to French: Ce qui fait le " ; Carreg totalement dans le mess." ; moyen ?
Translated back to English: What makes the " Carreg completely in the mess." means?
Translated to German: Was das " macht; Carreg vollständig im mess." Durchschnitte?
Translated back to English: Which makes " Carreg completely in mess." Intersections?
Translated to Italian: Quale fa il " Carreg completamente in mess." Intersezioni?
Translated back to English: Which ago the " Carreg completely in mess." Intersections?
Translated to Portuguese: Qual há o " Carreg completamente em mess." Interseções?
Translated back to English: Which has " Carreg completely in mess." Intersections?
Translated to Spanish: Cuál tiene " Carreg totalmente en mess." ¿Intersecciones?
Translated back to English: Which has " Carreg totally in mess." Intersections?
Which has " Carreg totally in mess." Intersections?
Original English Text: Why? 42. Why not? 42. 42 obviously isn't the answer to life, the universe, and everything. Translated to Japanese: なぜか。 42。 なぜないか。 42。42明らかにisn' t生命への答え、宇宙、およびすべて。
Translated back to English: Why? 42. Why it isn't? 42. 42 clearly isn' Answering to t life, outer space, and everything.
Translated to Chinese: 为什么? 42. 它为什么不是? 42个. 42个明显地isn' 答复对t生活,外层空间和一切。
Translated back to English: Why? 42. Why isn't it? 42. 42 obviously isn' The answer lives to t, outer space and all.
Translated to French: Pourquoi ? 42. Pourquoi n'est-ce pas? 42. 42 évidemment isn' ; La réponse vit à t, à espace extra-atmosphérique et à tous.
Oops. The babel fish is being particularly unreliable right now. Perhaps try again after a cup of tea?
Oops. The babel fish is being particularly unreliable right now. Perhaps try again after a cup of tea?
I don't think that is the answer.
EDIT: Second time.
Why? 42. Why not? 42. 42 obviously isn't the answer to life, the universe, and everything.
Original English Text: Why? 42. Why not? 42. 42 obviously isn't the answer to life, the universe, and everything. Translated to French: Pourquoi ? 42. Pourquoi pas ? 42. 42 évidemment isn' ; t la réponse à la vie, l'univers, et tout.
Translated back to English: Why? 42. Why not? 42. 42 obviously isn' T the answer to the life, universe, and all.
Translated to German: Warum? 42. Warum nicht? 42. 42 offensichtlich isn' T die Antwort zur Lebensdauer, zum Universum und zu den allen.
Translated back to English: Why? 42. Why not? 42. 42 obviously isn' T the response to the life span, to the universe and to all this.
Translated to Italian: Perché? 42. Perché non? 42. 42 ovviamente isn' T la risposta alla durata, all'universo ed al tutto questo.
Translated back to English: Why? 42. Why not? 42. 42 obviously isn' T the answer to the duration, the universe and all this.
Translated to Portuguese: Por que? 42. Por que não? 42. 42 obviamente isn' T a resposta à duração, o universo e todo o isto.
Translated back to English: Why? 42. Why not? 42. 42 obviously isn' T the response to the length, the universe and all this.
Translated to Spanish: ¿Por qué? 42. ¿Por qué no? 42. 42 obviamente isn' T la respuesta a la longitud, el universo y todo el esto.
Translated back to English: Why? 42. Why no? 42. 42 obvious isn' T the answer to the length, the universe and all this.
Why? 42. Why no? 42. 42 obvious isn' T the answer to the length, the universe and all this.