English to Chinese: a chapter from Museum of Secrets General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English Presumed Portrait of Gabrielle d’Estrées and Her Sister, the Duchess of Villars
POLITICS AND GABRIELLE’S BREASTS
Two naked women are sitting in a bath doing something
strange. This may be an erotic picture, but that is not all it
is: it had a symbolic role and there is far more to the two
sisters than first meets the eye. The picture was aimed
at King Henri IV and has a story to tell, for those able
to decipher it, about a particular episode in the history
of France. The allusions and hidden signs appeal to the
viewer’s wit and culture and make it more of an intellectual
work than a lascivious one.
On the right of the picture is Gabrielle d’Estrées, Henri IV’s mistress;
on the left, a woman who is almost certainly her sister, the Duchess
of Villars, is shown pinching Gabrielle’s nipple. This strange gesture
is generally interpreted as indicating that Gabrielle is pregnant by her royal lover; in the background, a servant is sewing what could well be a layette for the baby. In the foreground, the ring prominently on display could be a reminder of a promise of marriage made by the king.
What can have been the point of a picture like this, which makes such a play of the relationship between Henri IV and his mistress? To answer this we have to look more closely at Gabrielle d’Estrées and her fairytale romance with the king. Henri met her when he was nearly forty and she was only eighteen, and was immediately captivated by her extraordinary beauty. Though Gabrielle did not immediately yield to his desires, she eventually became his mistress
and remained so until her death in 1599, when she was still only twenty-six. She bore him three children, including a boy in 1594. It was this child that she was expecting when this picture was painted.
Confident of the king’s love, and empowered by having provided him with an heir, Gabrielle set about trying to supplant the famous Queen Margot, Marguerite de Navarre, who, unlike her, had not managed to bear Henri IV a child. The ambitious mistress had a tough battle on her hands, however: it was not easy to make a king divorce.
The picture was almost certainly designed to remind the king of his mistress’s finest assets, which included not only being young and attractive but also having produced a male heir. The king was renowned as a womanizer, and nicknamed the “Green Gallant” as a result, and the sensuality of the scene must surely have been calculated to sway him. Whether or not there was a deliberately erotic intention behind the picture, let alone a suggestion of a lesbian encounter, is quite another matter.
Translation - Chinese 《考据为加布里埃尔·黛丝特蕾和她的姐妹维拉尔公爵夫人的肖像》
French to Chinese: extrait de Bouvard et Pécuchet General field: Art/Literary Detailed field: Poetry & Literature
Source text - French « D’abord une immense nappe d’eau, d’où émergeaient
des promontoires, tachetés par des lichens ;
et pas un être vivant, pas un cri. C’était un monde
silencieux, immobile et nu. Puis de longues plantes
se balançaient dans un brouillard qui ressemblait à la
vapeur d’une étuve. Un soleil tout rouge surchauffait
l’atmosphère humide. Alors des volcans éclatèrent,
les roches ignées jaillissaient des montagnes ; et la
pâte des porphyres et des basaltes, qui coulait, se
figea. Troisième tableau : dans des mers peu profondes,
des îles de madrépores ont surgi ; il y a des
coquillages pareils à des roues de chariot, des tortues
qui ont trois mètres, des lézards de soixante pieds.
Enfin, sur les grands continents, de grands mammifères
parurent, les membres difformes comme des
pièces de bois mal équarries, le cuir plus épais que
des plaques de bronze, ou bien velus, lippus, avec
des crinières, et des défenses contournées.
« Toutes ces époques avaient été séparées les unes
des autres par des cataclysmes, dont le dernier est
notre déluge. C’était comme une féerie en plusieurs
actes, ayant l’homme pour apothéose. »
Gustave Flaubert, Bouvard et Pécuchet
Translation - Chinese “先是一片浩瀚的水面，从水面上露出几块岬角，苔藓斑驳；没有一个生灵，没有一声呐喊。这世界沉默、禁止而赤裸。然后长长的植物在烘箱蒸汽一样的雾气里摇摆。红红的太阳使潮湿的大气变得过热。同时火山爆发，火成岩从群山中喷射而出；斑岩和玄武岩流淌的岩浆凝结。第三幅图景：在不怎么深的海水中，冒出了一些石珊瑚岛；还有像板车轮子一样的贝壳、三米的海龟、六十英尺的蜥蜴。最后，在大陆上，大型哺乳动物出现，像被劈歪了的木块一样畸形的肢体，比铜板还厚的表皮，或者毛茸茸、厚嘴唇，有着浓密的毛发和变形的獠牙。
Adobe Acrobat, Adobe Photoshop, Indesign, Microsoft Excel, Microsoft Office Pro, Microsoft Word, Powerpoint
As a freelance translator specialized in English/French to Chinese (my native language), I offer my clients accuracy and clarity that comes from careful research of the subject area and terminology.
6 years’ professional experience as an editor in Publishing houses have contributed to my sense of responsibility, commitment to deadline, attention to detail and writing fluency in a range of styles. In the past, I worked mainly in the fields of books, comics, arts and cultural exchange, and I am willing to explore new areas upon my clients’ requests.
My translation related work includes:
* Jiangsu Phoenix Litterature and Art Publishing, Nanjing: editorial work and promotion copywriting for simplified Chinese version of Naruto novels and books by designer Kashiwa Sato;
* Editions FEI, Paris: assuring communication and cultural exchange between French scenarists and Chinese cartoonists in comics creating process;
* Edition de La Martinière, Paris: assistance in the Foreign Rights Department for multilingual coedition.
My published translation work includes:
* Simplified Chinese version of The Museum of Illusions (Celine Delavaux, Prestel, ISBN 9783791347776),《幻影艺术博物馆》(ISBN 9787515512570), English to Chinese;
* Simplified Chinese version of The Museum of Mysteries (Elea Baucheron & Diane Routex, Prestel, ISBN 9783791349206),《神秘艺术博物馆》(ISBN 9787515512563), English to Chinese;
* Simplified Chinese version of Le Monde d'Edena, Tome 1: sur l’étoile (Moebius, Casterman, ISBN 9782203345201), 《伊甸园世界01：星之上》(ISBN 9787559601339), French to Chinese.
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