Lyrics & Translation
Discover the rich tapestry of culture and identity in Jorge Drexler's "Milonga del Moro Judío." This captivating song, blending the heartfelt milonga rhythm with profound lyrics, offers a unique opportunity to explore themes of tolerance, heritage, and the human search for belonging, inviting listeners to reflect on their own identities and the shared human experience.
Key Vocabulary
| Vocabulary | Meanings |
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muro /ˈmuro/ A2 |
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lamento /laˈmento/ B2 |
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Jerusalén /xeɾuzaˈlen/ A2 |
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vidas /ˈbiðas/ A2 |
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malgastadas /malɣasˈtaðas/ B2 |
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mandamiento /mandamiˈento/ B2 |
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polvo /ˈpolβo/ A2 |
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viento /bjento/ A2 |
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sangro /ˈsaŋɣɾo/ B2 |
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piedra /ˈpjeðɾa/ A2 |
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amor /aˈmoɾ/ A2 |
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deep /diːp/ B2 |
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pueblo /ˈpweβlo/ A2 |
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querer /keˈɾeɾ/ A2 |
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dios /ˈdjos/ A2 |
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Key Grammar Structures
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Por cada muro, un lamento
➔ Prepositional Phrase + Noun (indicating per/for each)
➔ The phrase "Por cada muro" introduces a concept of proportionality. For every wall, there is a lament. The word "cada" means 'each' or 'every'.
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Y mil vidas malgastadas
➔ Past Participle as an Adjective (vidas "malgastadas")
➔ "malgastadas" is the past participle of the verb "malgastar" (to waste). It's functioning as an adjective to describe "vidas" (lives) – wasted lives.
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Yo soy polvo de tu viento
➔ Ser + Noun Phrase with 'de' (expressing origin or nature)
➔ The phrase 'polvo de tu viento' literally means 'dust of your wind'. The 'de' connects the dust to the wind, showing it's derived from or a part of it. Using 'ser' indicates an inherent quality or essence.
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Y aunque sangro de tu herida
➔ Subjunctive Mood with 'aunque' (expressing concession)
➔ "Aunque sangro" uses the subjunctive mood. "Aunque" (although, even if) often requires the subjunctive, particularly when expressing doubt, uncertainty, or hypothetical situations. Here, it concedes that he is suffering ("sangro" - I bleed) from her wound ("tu herida").
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No hay una piedra en el mundo Que valga lo que una vida
➔ Subjunctive after a Negative Relative Clause ("que valga")
➔ The phrase "que valga lo que una vida" is a relative clause describing "una piedra en el mundo". Because the main clause is negative ("No hay una piedra"), the verb "valga" (to be worth) is in the subjunctive mood. This expresses uncertainty or lack of existence of such a stone.
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No sé qué dios es el mío Ni cuáles son mis hermanos
➔ Indirect Questions with Interrogative Pronouns ("qué", "cuáles")
➔ These are indirect questions. Instead of asking directly "¿Qué dios es el mío?", the speaker states "No sé qué dios es el mío" (I don't know what god is mine). The word order changes from the direct question to a statement. 'Cuáles' follows the same rule: '¿Cuáles son mis hermanos?' -> 'No sé cuáles son mis hermanos'.
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Y a nadie le di permiso Para matar en mi nombre
➔ Indirect Object Pronoun + Verb + Infinitive (le di permiso para matar)
➔ "Le di permiso" means "I gave permission to him/her/them/you (formal)". "Le" is an indirect object pronoun referring back to "a nadie" (to nobody). "Para matar en mi nombre" (to kill in my name) is an infinitive phrase that explains the purpose of the permission that was *not* given.
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Vale más cualquier quimera Que un trozo de tela triste
➔ Comparative Structure with 'más...que' (more...than)
➔ This line uses the comparative structure "más...que" (more...than) to express a preference. Here, any dream (cualquier quimera) is considered more valuable than a sad piece of cloth (un trozo de tela triste), symbolizing a flag.
Same Singer
Não sinto nada
ANAVITÓRIA, Jorge Drexler
Milonga del moro judio
Jorge Drexler
Al otro lado del rio
Jorge Drexler
Hong Kong
C. Tangana, Andrés Calamaro, Jorge Drexler
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