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English to Chinese - Rates: 0.08 - 0.10 NZD per word / 45 - 50 NZD per hour / 0.75 - 0.82 NZD per audio/video minute Chinese to English - Rates: 0.08 - 0.10 NZD per character / 45 - 50 NZD per hour / 0.75 - 0.82 NZD per audio/video minute
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Sample translations submitted: 6
English to Chinese: The Lover Pleads with His Friend for Old Friends 《知音》 General field: Art/Literary Detailed field: Poetry & Literature
Source text - English The Lover Pleads with His Friend for Old Friends
This is a poem by W.B. Yeats, the famous 20th-century poet from Ireland. The message of the poem is a simple one: our old friends are the ones we should value the most. No matter how much our new friends may give us praise and compliments, it is the old friends who will always be there by our side. They’re the ones who will see our beauty even when the years have passed and we’ve grown old.
Though you are in your shining days,
Voices among the crowd
And new friends busy with your praise,
Be not unkind or proud,
But think about old friends the most:
Time's bitter flood will rise,
Your beauty perishes and be lost
For all eyes but these eyes.
English to Chinese: For the Fallen《致倒下的战士》 General field: Art/Literary Detailed field: Poetry & Literature
Source text - English For the Fallen
These lines are from a poem by Laurence Binyon, a 20th-century British poet. He wrote this poem in 1914, when World War I was just starting. The poem expresses sadness for the deaths of the soldiers of England who have already gone to die in the war. Brave until the very end, they died facing the enemy. They did not run away. This poem is often read on Remembrance Day. On this day every year, England and other countries remember all the soldiers who have died fighting for their country.
With proud thanksgiving, a mother for her children,
England mourns for her dead across the sea.
Flesh of her flesh they were, spirit of her spirit,
Fallen in the cause of the free.
....
They went with songs to the battle, they were young,
Straight of limb, true of eye, steady and aglow.
They were staunch to the end against odds uncounted;
They fell with their faces to the foe.
They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
English to Chinese: Film Co-Production Agreement Between the Government of New Zealand and the Government of the People’s Republic of China General field: Law/Patents Detailed field: Law: Contract(s)
Source text - English Film Co-Production Agreement Between the Government of New Zealand and the Government of the People’s Republic of China
The Government of New Zealand and the Government of the People’s Republic of China (“the Contracting Parties”)
CONSIDERING that the film industries of their two countries will benefit from closer mutual co-operation in the production of films;
SEEKING to build on and expand the liberalization of trade in services between the Parties under the Free Trade Agreement Between the Government of the People’s Republic of China and the Government of New Zealand signed in Beijing on 7 April 2008 and to enhance cooperation between their two countries in the area of film;
RECALLING the Arrangement of Cooperation between the State Administration of Radio, Film and Television of the People’s Republic of China and the Ministry for Culture and Heritage of New Zealand signed in Wellington on 15 August 2005;
DESIROUS of expanding and facilitating the co-production of films which may be conducive to the film industries of both countries and to the development of their cultural and economic exchanges;
CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries;
HAVE AGREED as follow:
ARTICLE 1 Definitions
1.1 For the purposes of this agreement:
a) “Co-producer” means one or more nationals of China or one or more nationals of New Zealand involved in the making of a co-production film, or, in relation non-party co-productions under Article 6, includes co-producers from a non-party.
b) “Co-production Film” is a film made by one or more Chinese producers (“the Chinese co-producer”) in conjunction with one or more New Zealand producers (“the New Zealand co-producer”) through joint investment and copyright, and includes a film to which Article 6 applies. A Co-production Film has a minimum creative and financial contribution from each co-producer, as set out in the Annex.
c) “Film” means an aggregate of images, or of images and sounds, embodied in any material, including but not limited to animations and digital films, and which is expected to be shown in theatrical cinemas. “Film” also includes a film of a like nature to a feature film made for television (“telemovies”).
d) “Nationals” means:
i ) in relation to China, citizens of China;
ii ) in relation to New Zealand, New Zealand citizens.
e) “Residents” means:
i ) in relation to China, persons who are not citizens of China but are permanent residents of China;
ii ) in relation to New Zealand, persons who are not New Zealand citizens but are permanent residents of New Zealand.
f) “Competent authorities” means the authorities respectively designated as such by the Government of the People’s Republic of China and the Government of New Zealand.
Article 2 Recognition as a National Film and Entitlement to Benefits
2.1 A Co-production Film shall be entitled to the full enjoyment of all the benefits which are or may be accorded in China and New Zealand respectively to national films subject to the laws in force from time to time in each country.
Article 3 Competent Authorities
3.1 The competent authority of each Contracting Party shall be set out in the Annex to this agreement. Notwithstanding Article 13, if a Contracting Party wishes to designate another authority as its competent authority, that Contracting Party may notify the other Contracting Party in writing through diplomatic channels of such changes.
Article 4 Approval of Projects
4.1 Co-production films must receive joint provisional approval from the competent authorities before they are put into production. It is the responsibility of the co-producers to provide any documentation required by the competent authorities to enable the competent authorities to compete their provisional approval processes.
4.2 Co-production Films must be made in accordance with the terms of the provisional approval which has been given by the competent authorities.
4.3 Upon completion of production, it is the responsibility of the co-producers to submit to the competent authorities the completed Co-production Film (and any documentation required by the competent authorities) to enable the competent authorities to complete their final approval processes before the Co-production Film receives the benefits of final approval, pursuant to Article 2.1.
4.4 In determining both provisional and final approval, the competent authorities shall apply the Annex to this Agreement to Co-production Films.
4.5 The competent authorities shall consult with each other to enable them to determine whether a project conforms with the provisions of the Agreement. Each competent authority, in deciding whether to grant or refuse provisional or final approval, shall apply its own policies and guidelines.
4.6 When approving a Co-production Film, each competent authority may stipulate conditions of approval framed in order to achieve the general aims and objects of this Agreement. In the event of a disagreement between the competent authorities about the giving of such an approval or the inclusion of such a condition, the project concerned shall not be approved under this Agreement.
4.7 In relation to China, a Co-production Film will be recognized as having completed the provisional approval process once the Chinese competent authority has granted it “Project Establishment” status. A Co-production Film will be recognized as having completed the final approval process once the Chinese competent authority has granted it the “Film Public Screening Permit”.
4.8 In relation to New Zealand, a Co-production Film will be recognized as having completed the provisional approval process once the New Zealand competent authority provides written notification to the New Zealand co-producer that provisional approval has been granted. A Co-production Film will be recognized as having completed the final approval process once the New Zealand competent authority provides written notification to the New Zealand co-producer that final approval has been granted.
English to Chinese: Japan and Racial Equality from Gentlemen Bankers: The World of J. P. Morgan by Susie Pak, 1st Edition, Harvard University Press General field: Social Sciences Detailed field: History
Source text - English Japan’s need for capital stemmed from a long history of nation-building. Before 1868, Japan was a preindustrial country and subordinated to the United States and Western European powers in a manner to which China, its primary competitor in East Asia, had also been subjected. Starting in the late nineteenth century, Japan sought to establish its own empire in East Asia, which it saw as the only way of undoing unequal treaties with the other powers. Japan’s expansion was pursued and justified in the context of American and European imperialism. Its rationale was that Japan had to secure the East Asian region to protect the area from western imperialists.
In 1904, Japan went to war with Russia over territory in Manchuria and Korea. The outcome of the Russo-Japanese War, which was widely seen as a race war between a white and non-white nation, shocked the world. Japan’s defeat of Russia made it the world’s only non-white imperial nation. Following the war, the other imperial powers, including the United States, agreed to recognize Japan’s claims to Korea. In 1905, Korea was made a protectorate of Japan. In 1910, it was formally annexed as a Japanese colony. That same year, Japan gained tariff autonomy from the imperial powers.
After the Russo-Japanese War, the American government became sensitive to the way in which anti-Asian discrimination in the United States strained U.S.-Japanese relations. Since the late nineteenth-century, Japan had been unhappy with American discriminatory policies based on race, particularly with regard to immigration. In 1907, President Theodore Roosevelt and Elihu Root, his secretary of state, also convinced the San Francisco Board of Education that it would not be in the national interest to segregate Japanese American children in public schools. The same year, Roosevelt reached an
important informal agreement with Japan where the United States agreed not to pass exclusionary legislation barring the immigration of Japanese to the United States and the Japanese government agreed to restrict emigration to the United States. This pact became known as “the Gentleman’s Agreement.”
As is becoming more and more apparent, the definition of “gentlemen” appears to have meant the observance of separate spheres of influence. As was the case with the social and economic spheres of private bankers, however, the divisions between the separate spheres of influence in the national and international spheres were also subject to change and could be disturbed. Despite Roosevelt’s efforts, which the Japanese government watched closely, the executive branch of the American government was not successful
in stemming anti-Asian legislation and agitation in the United States at the local and state levels. In the post-World War I period, Japan’s unhappiness grew as nativist groups in the United States rallied the legislative bodies against Asian immigration using the term “aliens ineligible for citizenship,” which was essentially a code for persons of Asian descent.
After the First World War, Japan felt it was in a stronger position to
negotiate for its interests, having sided with the Allies early on in the war. During the Paris Peace conference, the Japanese delegation led by Baron Nobuaki Makino and Sutemi Chinda, the Japanese ambassador to London, twice attempted to pass an amendment to be included in the League of Nations covenant on the issue of racial equality. At the conference, Makino stated that Japan could not join the League of Nations if it was not an equal party with the other nations. He stated, “No Asiatic nation could be happy in the League of Nations in which sharp racial discrimination is maintained.”
By bringing up the issue of the existence of racial discrimination, Japan had created a difficult situation. The French delegation representative Léon Bourgeois called the racial equality clause an “indispensable principle of justice.” Prime Minister Vittorio Orlando of Italy argued that the issue should not have been raised at all but that it had to be supported because it had been made public. Postwar era nationalism could not openly advocate racial discrimination even if it was widely practiced. Ultimately, though the racial equality clause was passed by a majority of league representatives, it was not included in the covenant. President Wilson, who was not a progressive on race issues, wanted to shelve the issue and was able to defeat the proposal by requiring the ruling to be unanimous.
Though the Japanese were unsuccessful in their immediate goal, they
managed to place the issue of racial equality on an international stage. They used this pulpit to critique American and European imperialism in Asia and racial discrimination in the United States and the British colonies. In a reversal of roles, Japan appeared to capture the moral high ground and gained many allies by presenting itself as the champion of the colored races. W. E. B. Du Bois, for example, became an ardent “apologist for Japan. ”African American views of Japan were not completely supportive, however. Prominent African American critics included A. Philip Randolph and Adam Clayton Powell Sr., who argued that Japan, like the other imperial nations, was capitalist and working together at the expense of nations like India, China, and Egypt.
Translation - Chinese 日本自从要构建现代民族国家开始，就长期地、持续地需要外资。在1868 年以前日本是一个未工业化地区，如同其在东亚的主要竞争对手中国，也屈服于美国及西欧国家的影响力下。从19 世纪末开始，日本在东亚地区推行帝国主义，视此为避免其他势力强加不平等条约的唯一方法。在美国和欧洲推行帝国主义的大环境下，日本合理化了自己的扩张。背后的逻辑是日本必须保护东亚地区，使得这些地区免于西方帝国主义威胁。
尽管日本没在当时马上达到目标，但还是成功让种族平等议题呈现在国际舞台上。他们运用此平台来批判美国与欧洲在亚洲的帝国主义行径，还有美国和英国殖民领地内的种族歧视。日本通过调转角色把握住了道德高地，并以有色人种国家优等生身份，赢得了许多同情者。比如W·E·B·杜波伊斯（W. E. B Du Bois），一下子化身成了“热衷向道歉日本的狂人”。但非裔美国人对日本并不完全支持，当中重要的批评家A·菲利普·兰道夫（A. Philip Randolph）和老亚当·克莱顿·鲍威尔（Adam Clayton Powell Sr.）评论到，日本跟其他帝国主义国家一样，采用资本主义制度，并且一道剥削印度、中国和埃及这些国家。
English to Chinese: The Song of Wandering Aengus 《游荡爱神的歌 》 General field: Art/Literary Detailed field: Poetry & Literature
Source text - English The Song of Wandering Aengus
This is a poem by W.B. Yeats, the famous 20th-century Irish poet. This poem was written early in Yeats’ career. Most of Yeats’ early poems, like this one, were inspired by stories from Irish myth. This poem is told from the point of view of Aengus, an old Irish god. Aengus goes into a wood and catches a trout from a stream. He goes to make a fire (to cook the trout), but comes back to find that the trout has turned into a girl! Aengus falls in love. The girl goes away, calling his name. Aengus decides that he will find her no matter what.
I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.
When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.
Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun.
English to Chinese: On Monsieur’s Departure 《与安茹公爵的道别 》 General field: Art/Literary Detailed field: Poetry & Literature
Source text - English On Monsieur’s Departure
This is part of a difficult poem by Elizabeth I, who was queen of England from 1558 to 1603. She wrote several poems, including this one. She wrote this poem after she was supposed to marry a man named Francis, Duke of Anjou, who was the son of the King of France. Unfortunately, the two countries couldn’t come to an agreement, and Francis had to go away. In this poem, the Queen writes about how she is not allowed to express her emotions, even if she feels sad to see him go. As the queen, she needs to stay calm and composed. But even though she must stay quiet, or “stark mute,” her heart is talking wildly on the inside. The pain of being separated from a loved one even makes her feel like she’s freezing and burning at the same time. Can you imagine that?
I grieve and dare not show my discontent,
I love and yet am forced to seem to hate,
I do, yet dare not say I ever meant,
I seem stark mute but inwardly do prate.
I am and not, I freeze and yet am burned,
Since from myself another self I turned.
English to Chinese (Master of Intercultural Communication & Applied Translation, Victoria University of Wellington, New Zealand) Chinese to English (Master of Intercultural Communication & Applied Translation, Victoria University of Wellington, New Zealand)
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Cultural and detail wise translator with a proven record in translating books and marketing materials from Chinese to English and vice versa; provides linguistic supports and services over the internet. Academically trained for reading and comprehension, and writing creative and communicative materials in both Chinese and English. Dedicated to ethical work and good time-management.
Keywords: Modern & Classical Chinese, Cantonese & Mandarin, English, Computers, Software, Gaming, Social Science, Journalism, Asian Studies, Arts & Music
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