#LM's translations

[la-muerta]

[Translation] Mysterious Lotus Casebook Wrap Ceremony:

Comedic behind-the-scenes from Shunyao's last day of filming, Shunyao's MLC filming vlog, and Shunyao surprising Cheng Yi and Shunxi at the final wrap ceremony 🥰

[pilferingapples]

I am not sure why this happened but I am just now noticing that Wilbour took it upon himself to assign Yaoi Hands to Grantaire

from Enjolras and His Lieutenants, 4.1.6:

French: Puis, d'un plat de main énergique, il appuya sur sa poitrine les deux pointes écarlates du gilet.

( "Then, with an energetic palm, he pressed the two scarlet points of the waistcoat to his chest." )

Wilbour:

Then, with the flat of his huge hand, he smoothed the two scarlet points of his waistcoat over his breast.

Wilbour. Wilbour Why XD

[the-wraxall-illustrations]

[syrupsyche]

in honour of our boys appearing yet again for Les Mis Letters, here is a look at their names + my favourite lines from the Chinese translation of Les Mis (by Li Dan and Fang Yu)

Enjolras = 安灼拉 (Ān zhuó lā)

安 meaning peace

灼 meaning burning/bright

“他有天使那么美。” = He was as pretty as an angel

“他在欢乐中也不苟言笑” = He did not smile even when he was happy.

“他是自由女神云石塑像的情人” = He was lady liberty's marble lover.

Combeferre = 公白飞 (Gōng bái fēi)

公 can be found in the word 公平, meaning just

白 meaning white (which makes me think of: "Combeferre was as gentle as Enjolras was severe, through natural whiteness.")

飞 meaning flight

安灼拉近于义，公白飞近于仁。= Enjolras was closer to righteousness, Combeferre was closer to kindness.

如果这两个青年当年登上了历史舞台，也许一个会成为公正无私的人，而另一个则成为慎思明辨的人 = If these two young men had ascended the stage of history, one would have been a fair and just man, and the other a careful and discerning man.

公白飞也许能双膝着 地，两手合十，以待未来天真无邪地到来，希望人们去恶��善的巨大 进化不至于受到任何阻扰。= Combeferre would have gone on his knees, hands clasped, and bring about the innocent arrival of the future, and hoped that nothing would impede the evolution of the people.

Jean Prouvaire/Jehan = 让·勃鲁维尔 (Ràng·bó lǔ wéi'ěr) / 热安 (Rè ān)

shares an 安 with Enjolras, meaning peace

让·勃鲁维尔是个多情种子 = Jean Prouvaire was the affectionate type

他说起话来语调轻缓，俯首低眉，腼腆地微笑着，举动拘束，神气笨拙，无缘无故地脸羞得通红，胆怯。然而，猛不可当 = He spoke in a soft and tender tone, bowed his head and lowered his gaze, smiled shyly, moved reservedly, had a clumsy air, his face would flush red for no reason, and was timid. But his ferocity was undaunted.

Feuilly = 弗以伊 (Fú yǐ yī)

他只有一个念头：拯救世界。他还另外有种愿望：教育自己，他说这也是拯救自己 = He only had one thought: to rescue the world. He also had another wish, to educate himself, which he said was also to rescue himself.

弗以伊是个性情豪放的人。他有远大的抱负。这孤儿让人民为父母 = Feuilly had a bold temperament. He had great ambitions. This orphan took the people in, and became their parent.*

Courfeyrac = 古费拉克 (Gǔ fèi lākè)

克 meaning overcome or subdue

古费拉克确实具有人们称为鬼聪明的那种青春热力。这种热力，和小猫的可爱一样 = Courfeyrac had what one might describe as the cleverness and passion of youth. This passion can also be found in the cuteness of a kitten

不过古费拉克是个诚实的孩子 = However, Courfeyrac was an honest boy.

在多罗米埃身上蕴藏着一个法官，在古费拉克身上蕴藏着一个武士。 = In Tholomyès' body contained a judge; in Courfeyrac's body contained a knight.

安灼拉是首领，公白飞是向导，古费拉克是中心。= Enjolras was the leader, Combeferre was the guide, Courfeyrac was the heart.

Bahorel = 巴阿雷 (Bā ā léi)

雷 meaning thunder

巴阿雷是个善于诙谐而难与相处的人，诚实，爱花钱，挥霍到近于奢侈，多话到近于悬河，横蛮到近于不择手段，是当魔鬼最好的材料 = Bahorel was a humourous man, though difficult to get along with, honest, spendthrift, spending to the point of extravagance, talking to the point of eloquence, bold to the point of brashness and had the perfect makings of a devil.**

他的父母是农民，对父母他是知道反复表示敬意的。= His parents were peasants, and he knew to often treat them with much respect.

关于他们，他常这样说：“这是些农民，不是资产阶级，正因为这样，他们才有点智慧。” = Regarding them, he often said: "These are peasants, not bourgeois; thus they are the wiser."

Lesgle/Bossuet = 赖格尔 (Lài gé ěr) / 博须埃 (Bó xū āi)

博须埃是个遭遇不好的快乐孩子。他的专长是一事无成，相反地对一切都付之一笑。= Bossuet was an unfortunate, but happy child. His specialty was to achieve nothing, and would laugh at everything.

他能很快用到他最后一个苏，却从不会笑到他的最后一声笑。= He could quickly spend his last sou, but he would never smile a last smile.

Joly = 若李 (Ruò lǐ)

他认为人和针一样，可以磁化，于是，他把卧室里的床摆成南北向，使他血液的循环不致受到地球大磁场的干扰 = He believed man and needle were the same - able to be magnetized - and so he had his bed turned facing the north and south to prevent his blood circulation from receiving any interferences from the Earth's magnetic field.

可是在所有这些人中，他是最热闹的一个 = But amongst these men, he was the liveliest of them all.

年轻，乖僻，体弱，兴致高，这一切不相连属的性格汇集在他一人身上，结果使他成了个放荡不羁而又惹人喜爱的人 = Young, eccentric, frail, and cheerful: all these individual characteristics constituted his being, resulting in a peculiar man whom people were fond of.

Grantaire = 格朗泰尔 (Gé lǎng tài ěr)

朗 meaning bright or clear

格朗泰尔是个不让自己轻信什么的人。= Grantaire was a person who did not allow himself to believe in anything.

这个乱七八糟的怀疑者在这一伙信心坚定的人中，向谁靠拢呢？向最坚定的一个 = To whom did this mess of a skeptic lean towards in this group of confident and steadfast men? To the most resolute.

没有谁比瞎子更喜爱阳光。没有谁比矮子更崇拜军鼓手。= No one could love the sunlight more than the blind man. No one could worship the drummer more than the dwarf.

这是种深深的矛盾，因为感情也是一种信念。= This is deeply contradictory, for love*** is also a form of belief.

他经常受到安灼拉的冲撞，严厉的摈斥，被撵以后，仍旧回来，他说，安灼拉“是座多美的云石塑像”！= He was often attacked and harshly rebuked by Enjolras. Still, he would return even after being driven out, and say that Enjolras "could be a beautiful, marble statue!"

—

If anyone is interested in other lines and what they have been translated to, feel free to let me know and I can dig it up for you! And thanks for reading all this way :)

*Other Chinese speakers pls help me verify if this is an accurate translation? Idk why this particular sentence is tripping me up.

**Verification on his translation most welcome too; this REALLY sent me on a doozy.

***感情 can also be translated as feelings, affection, fondness etc. Used as "He has feelings for him."

[coquelicoq]

if you're wondering what the big deal is about the louis-philippe sentence in les misérables, it is, in the original french, 760 words long. the subject of the sentence doesn't appear until 95% of the way through, at word #711; the main verb is word #712. the sentence contains 91 commas and 49 semicolons and is almost entirely a list of laudatory adjectival phrases describing the erstwhile king of france. this is perhaps especially notable because les mis is, shall we say, not known for being particularly gung-ho about the monarchy.

this sentence copied and pasted into Word takes up more than one page single-spaced. in the 1800-page folio classique edition, it is fully two and a half of those 1800 pages. that means that les mis is 0.14% this single sentence. more of les mis is made up of this sentence than earth's atmosphere is made up of carbon dioxide (0.04%). if the page count of les mis stayed the same but every sentence was the length of this one, les mis would consist of only 720 sentences total.

incidentally, guess who named hugo a peer of france 17 years before the publication of les mis?

[ezdotjpg]

doodled some links from @linked-maze! + one with bonus war (and mini) i did a while back. i love your links so dearly

[la-pheacienne]

So I started rereading les mis, in french this time, and I'm sort of catching up to les mis letters (only sort of, for now, since I'm still at chapter 1.2.5 I think) and I do wanna talk about the title of the book because that title has fascinated me ever since I opened that book 14 years ago in its greek translation. So the greek translation of the title "les Misérables" mystified me. I think a big part of western languages have a variation of the word "misérable" in their vocabulary so the translation of the title is pretty much consistent (obviously not every western language, idk what happens with scandinavian translations or hungarian or russian for example). In greek we do not have the word "miserable" or "misery", we kind of use the word "mizeria" but only as a "western" variation of the greek word we have for misery, so we don't have the equivalent adjective. So the original greek translator needed to find a brand new adjective, in greek, to convey the meaning of the title, and honestly, what a task that is, finding the greek equivalent of probably the most iconic title in literature ever, just one word to encapsulate 1500 pages of text.

The word finally used is "Άθλιοι" (Athlioi) the plural form of "Athlios". It's an ancient greek word that is also commonly used in modern greek as is the case for a huge part of our vocabulary. So the ancient greek definition of "Athlioi" is "struggling, unhappy, wretched, miserable". In modern greek, the definition is more or less the same: "seedy, miserable, poor, terrible", except for the last word "terrible" that has an interesting connotation. The definition of "Athlioi" as terrible is an addition of modern greek. "Terrible" by itself maybe doesn't say much and it seems as a mere variation of the classic definition of Athlioi as "miserable, poor, wretched" etc. But from miserable and wretched to terrible there is an interesting leap. While "seedy, miserable, poor, terrible" are the english translations of the greek word "Athlioi" that I find on wordreference.com, I get very interesting results when I inverse the search, this time searching for the greek translation of the following english words (on wordreference or glosbe): despicable, nasty, vile, shady, appaling, loathsome, wicked, infamous, monstrous, horrible, lame, shabby, mangy, mean, vicious. You may have guessed it, all of the above are translated into "Athlios" in greek (among other words). The reason for that is that "Athlios" in modern greek has an extremely negative connotation. An "athlios" is not just a miserable wretched poor outcast. An "athlios" is a despicable human being, one that inspires disgust, one you should avoid in any case. A horrendous, vile, monstrous, hateful, creature. I am not sure if the word "Athlios" already had that definition at the time of the first greek translation (end of 19th century) but my bet is that it did, because that is what the word is primarily used for in Greece ever since I remember myself. When we use the word "Athlios" in greek now we rarely if ever talk about someone "miserable", "poor" or "wretched". We normally talk about someone or something despicable. If it's a person, 99% of the time this has a purely moral connotation aka, someone who is morally despicable. They could be a poor person, (a Thenardier type of vile individual) or they could be rich, doesn't matter really.

I am not sure if the word "misérable" or the english word "miserable" have this connotation. It is one thing to be wretched and totally another thing to be despicable and loathsome. Is this very close to the french word "misérable"? "Misérable" in french primarily means "pitiful, wretched", with one mention of "despicable", it is true. In Larousse however (the classic french dictionary) I cannot find one definition of "misérable" with the "vile, despicable" connotation that the word "Athlios" has. I am sure "misérable" can be used that way, and it can be translated that way in english, but vile and despicable are not the leading definition one thinks about when they encounter the word. When we use the word "misérable"/miserable, we normally do not immediately think of a despicable, vile, loathsome individual. So this choice of title by the greek translator takes some liberties. He could have used our greek word for "pitiful", "outcast" or one particular greek word we have for "scorned" that has a particular depth because it means scorned, neglected and forgotten by society all at the same time. Or he could have went for our word for "miserable" in the sense of "unhappy". All of these could have worked well enough. But he went for "Athlioi". Why? Athlioi is the only word that has a truly negative connotation for the morality of a person, of their moral value, and the way society percieves that moral value.

I got to the chapter "The Evening of a Day of Walking" where Valjean makes his first appearence. The english translation is this:

"It was difficult to encounter a wayfarer of more wretched appearance".

Then Hugo proceeds with a description of his appearance that is particularly unsettling, to say the least. He was literally dressed in rags with iron-shod shoes and he had holes in his clothes. At the end of the description he says:

"The sweat, the heat, the journey on foot, the dust, added I know not what sordid quality to this dilapidated whole".

So that guy is 1) certainly unhappy, 2) clearly wretched, 3) has a sordid quality and 4) a dilapidated look.

It is interesting that in french, the phrase "wretched appearance" is actually "aspect misérable". It is important to note this because this is the first time that the author gives us a description of a character that encapsulates what a "Misérable" according to the title actually is. Moving along, Valjean is not accepted in any inn or house and the people force him to leave because they are horrified by 1) his appearance and mainly 2) his profile as an ex convict that makes him a "Dangerous Man". "Dangerous Man" is literally written on his passport. A pitiful creature is maybe not that loathsome by itself, but a "Dangerous Man" is definitely something that you want to stay away from.

At the chapter "The Heroism of Passive Obedience" (1.2.3) Valjean enters the bishop's house and the bishop's sister sees him and describes him like this:

"He was hideous. It was a sinister apparition."

"Mademoiselle Baptistine turned round, beheld the man entering, and half started up in terror".

"Wretched" and "pitiful" cannot cover the impact this individual had on people, on society. That man was not just deeply unhappy, in a deplorable state, wretched and pitiful. That man was appaling. That man was loathsome. That man inspired horror, disgust, and intense, bone deep hatred. It is important to note this aspect of "misérable". The fear society has for the injustice it creates is so strong that it is far easier to dehumanize these individuals by slapping the label of "despicable", "vile", "loathsome" on them. It makes their total marginalisation easier because it justifies it. People are truly disgusted by and terrorised by Valjean. For society, there is a reason why that man is in a pathetic, deplorable, "miserable" state. It's because he is truly, irrevocably, morally hideous, loathsome and nasty. He is "dangerous". He truly is a monster inside out. And that particular manifestation of social misery is nicely conveyed by the word "Athlios" in my opinion.

[butchstabu]

the making of: zunge

[dolphin1812]

“The lion shaking off dogs” is an appropriate comparison for the barricades, bringing back the imagery of wild cats being rebellious in contrast to the law-enforcing dogs! 

Marius and Enjolras are terrifying (and Hugo even uses “terrible” for Marius here). 

It’s sad that Courfeyrac has lost his hat, but at least he jokes about it a bit! And while it’s sad on the personal level, it’s important for appearances. Without hats and cravats, the men at the barricades are much less distinguishable on the basis of class. Even death doesn’t bring equality in this book (we saw that with Fantine), but at the barricades, they might actually all die as equals, indistinguishable from one another without these class markers and all branded as disloyal rioters. 

Their “jokes” are much darker now, though, with the lightheartedness of earlier chapters vanishing.

Hugo brings up the Trojan War and epic verse here, and he seems to draw on it in writing. In the Iliad, there are long lists of names of the dead with the occasional brief description of how they died (he quotes an example). That’s how we learn of the majority of Les Amis’ deaths:

“Bossuet was killed; Feuilly was killed; Courfeyrac was killed; Combeferre, transfixed by three blows from a bayonet in the breast at the moment when he was lifting up a wounded soldier, had only time to cast a glance to heaven when he expired.”

(I’m sorry for including this line). But here, we see that there’s still no time to grieve, even as most of the group dies in quick succession. Combeferre gets a bit more detail, but only to remind us that he was a medical student, more interested in healing than in combat. And yet even as a healer, he’s not spared, killed when he was trying to treat someone (possibly an enemy, too! He’s described as a soldier). 

In epics like the Iliad, there’s a section called the “aristeia” where a hero shows his prowess on the battlefield. This is Enjolras’ aristeia. He’s the only one who hasn’t taken any blows, and he’s fiercely defending the barricade in a way that definitely reminds us why he’s “terrible.” He’s paralleled to a god, and he’s certainly “god-like” by epic poetry standards here.

[secretmellowblog]

When I say "Victor Hugo's depiction of Jean Valjean's grief over losing Cosette is a reflection of Hugo's own grief at the death of his daughter" I'm not just theorizing-- some lines from Les Mis are basically just ripped word-for-word from Hugo's poems about the death of his daughter. Here are a few of them. Leopoldine drowned horribly with her husband only a few months after they were married; she was only nineteen. Jean Valjean's paralyzing fear of Cosette's marriage, his misguided useless rage at her husband, and his violent grief over losing her and never being able to see her again, is heavily influenced by Hugo's own grief. I have trouble finding good English translations of some of Hugo’s Leopoldine poems online, and would appreciate better links to English translations if anyone has them. But In A Villequier, one of Hugo's poems addressing God with furious grief over the death of Leopoldine, he writes:

Consider again how I have, since dawn, Worked, fought, thought, walked, struggled, Explaining Nature to Man who knew nothing of it, Lighting everything with your clarity; That, facing hate and anger, I have done my task here below, That I could not expect this wage, That I could not Foresee that you too, on my yielding head, Would let fall heavily your triumphant arm, And that you who saw how little joy I have, Would take my child away so quickly!

Which is almost word for word just Jean Valjean's:

I have left my blood on every stone, on every bramble, on every mile-post, along every wall, I have been gentle, though others have been hard to me, and kind, although others have been malicious, I have become an honest man once more, in spite of everything, I have repented of the evil that I have done and have forgiven the evil that has been done to me, and at the moment when I receive my recompense, at the moment when it is all over, at the moment when I am just touching the goal, at the moment when I have what I desire, it is well, it is good, I have paid, I have earned it, all this is to take flight, all this will vanish, and I shall lose Cosette, and I shall lose my life, my joy, my soul....

And this from the same poem:

I keep seeing that moment in my life when I saw her open her wings and fly off! I will see that instant until I die, the instant, no tears needed! where I cried: the child I had a minute ago— What? I don’t have her any more?

Is a similar sentiment to this angelic description of Cosette “taking flight” away from Jean Valjean:

Cosette, as she took her flight, winged and transfigured, left behind her on the earth her hideous and empty chrysalis, Jean Valjean.

And the moment when Jean Valjean realizes she’s in love with Marius, and has been “lost” to him without him realizing it:

The unprecedented and heart-rending thing about it was that he had fallen without perceiving it. All the light of his life had departed, while he still fancied that he beheld the sun.

This from the poem Demain dès l'aube, where Victor Hugo describes visiting Leopoldine's grave:

I will walk with my eyes fixed on my thoughts, Without seeing anything outside, without hearing any noise, Alone, unknown, back bent, hands crossed, Sad, and the day for me will be like night.

And Jean Valjean walking to Cosette's house, but never able to enter or speak to her:

There [Jean Valjean] walked at a slow pace, with his head strained forward, seeing nothing, hearing nothing, his eye immovably fixed on a point which seemed to be a star to him

This bit where Hugo talks about his faith weakening/cursing God in vain after Leopoldine’s death:

Consider how one doubts, O God! when one suffers, how the eye that weeps too much is blinded, how a being plunged by grief into the blackest pit, seeing you no more, cannot contemplate you.

Is similar to Jean Valjean’s spirtual self weakening and his consience “taking flight” at the idea of losing Cosette:

Any one who had beheld his spiritual self would have been obliged to concede that it weakened at that moment. (...) Grief, when it attains this shape, is a headlong flight of all the forces of the conscience. These are fatal crises. Few among us emerge from them still like ourselves and firm in duty.

Victor Hugo agonizing over his dreams of growing old with his daughter in A Villequier:

You make loneliness return always around all his footsteps.(...) As soon as he owns something, fate takes it away. Nothing is given to him, in his speedy days, for him to make a home and say: Here is my house, my field and my loved ones!

Jean Valjean:

“As one family! No. I belong to no family. I do not belong to yours. I do not belong to any family of men. In houses where people are among themselves, I am superfluous. There are families, but there is nothing of the sort for me. I am an unlucky wretch; I am left outside.

Victor Hugo's poetry in A Villequier again:

in the midst of cares, hardships, miseries, and of the shadow our fate casts over us, how a child appears, a dear sacred head, a small joyful creature, so beautiful one thinks a door to heaven has opened when it arrives; when for sixteen years one has watched this other self grow in loveable grace and sweet reason, when one has realized that this child one loves makes daylight in our soul and in our home,

Jean Valjean:

this man, who had passed through all manner of distresses, who was still all bleeding from the bruises of fate, (...) merely asked of Providence, of man, of the law, of society, of nature, of the world, one thing, that Cosette might love him! That Cosette might continue to love him! That God would not prevent the heart of the child from coming to him, and from remaining with him! Beloved by Cosette, he felt that he was healed, rested, appeased, loaded with benefits, recompensed, crowned. Beloved by Cosette, it was well with him! He asked nothing more! Had any one said to him: “Do you want anything better?” he would have answered: “No.” God might have said to him: “Do you desire heaven?” and he would have replied: “I should lose by it.”

Victor Hugo begging God to talk to his daughter again:

Let me lean over this cold stone and say to my child: Do you feel that I am here? Let me speak to her, bent over her remains, in the evening when all is still, as if, reopening her celestial eyes in her night, this angel could hear me!

Jean Valjean thanking God for letting him speak to Cosette one more time:

The good God says: “‘You fancy that you are about to be abandoned, stupid! No. No, things will not go so. Come, there is a good man yonder who is in need of an angel.’

I think the ending of Les Mis never made complete sense to me until I realized that Jean Valjean isn't grieving like a parent who has watched their child grow up; he is grieving like a parent who has just watched their child die.

[la-muerta]

《也且由他》 Translation

On 14 March 2024, 藤萍 Teng Ping-laoshi (author of Auspicious Pattern Lotus House) and 严艺丹 Yan Yidan-laoshi (music director for Mysterious Lotus Casebook, who also wrote most of the songs for the OST) posted the lyrics for a song that did not make it to recording eventually.

It's clearly written about Di Feisheng and Li Lianhua/Li Xiangyi, and I've translated the lyrics below:

--

"Even In This, I’ll Leave It Up To Him"

I've been on a reckless journey of a thousand miles How many times going back and forth have I asked for directions?  How many people have lost hope in the desolate fog and under the waning moon? Shoulder to shoulder, we have faced many dangers and difficulties

I didn’t understand the wind and the moon [1] even when the city was destroyed  My eyes are heavy as I stared into the darkness of the night I fulfilled my promise to meet you for our battle of life and death  By ending the delusions and obsessions [2] of love and hate Fulfilling our final farewell to each other

Here I am, my dao is weeping blood While you charged ahead alone on the quest for innocence Only on a snowy day in the crumbling ruins will I be able to meet you again I look back, and the road behind is filled with raging wind and biting cold

The path ahead is uncertain again I'm always gazing at the crows circling at sunset [3] Favours owed and resentment grow together Life is more unpredictable than death A thousand piles of snow drowns ten thousand waves [4]

--

Translation notes:

[1] literal translation, but 风月 also means romantic entanglements

[2] 痴嗔; referring to two of the three “poisons” in Buddhist teaching that are the cause of all mortal suffering and obstacles to enlightenment

[3] crows mate for life, at sunset they return to their nests; likely a reference to Yuan Dynasty poem 《天净沙·秋思》 describing the melancholy sound of their cries

[4] the snowfall represents inevitability, and the tides are obstacles in life

Thanks to @kingsandbastardz for sharing the lyrics!

P/S: 14 March is White Day (when guys give their partners reciprocal Valentine's Day presents) so happy V-day to DiHua nation I guess 🥲

(Image from weibo post and transcription of original Chinese text under cut)

《也且由他》 

千里莽征途 几番来回问去路  荒烟残月下几人还凋零了期盼 并肩共度了重重危难 

城破湮灭也不知风月 眼眸沉沉望尽了黑夜  赴君一战生死约  痴嗔爱恨终结 是同奔赴了诀别 

此处有我长刀在啼血 你自去闯清白戒 残垣断壁大雪天才能与你相见 潇潇回首一路凛列

前路又茫茫  总凝望昏鸦夕阳 恩与怨共长 生比死更近于无常 千堆雪淹没万重浪 

[gavroche-le-moineau]

Time to talk about Tholomyès' horse poem again!

The form of the poem is taken directly from a 1599 poem by François de Malherbe titled "Consolation à M. Du Périer - Stances sur la mort de sa fille" (Consolation to M. Du Périer - Stanzas about the death of his daughter). The lines within the poem that Tholomyès is referencing are:

Mais elle était du monde, où les plus belles choses Ont le pire destin ; Et rose¹ elle a vécu ce que vivent les roses, L'espace d'un matin. But she was of the world, where the most beautiful things Have the worst destiny; And rose (pink)¹ she lived what roses live, The space of a morning.

1. It's not uncommon in French to refer to someone as "rose" much like how in English you would refer to someone as "rosy cheeked." Cosette many times, and even young Marius, get described with just the adjective "rose" in Les Mis.

Tholomyès' parody reads:

Elle¹ était de ce monde où coucous et carrosses Ont le même destin, Et, rosse², elle a vécu ce que vivent les rosses, L'espace d'un : mâtin!³ She¹ was of this world where horse-drawn coaches and carriages Have the same destiny, And, nag², she lived what nags live, The space of a: morning!³

1. "She" referring to the horse that just fell 2. The word "rosse" in French means a nag, as in a pejorative word for a horse (as well as a nasty, unpleasant person) and is a pun on the word "rose" (the color pink or the flower) used in the original. Thanks to @persefoneshalott for bringing that one to my attention last year! 3. The word in French here sounds exactly like "morning" (matin) but is written as "mâtin," the word the cart driver yelled while cracking his whip at his horse. Mâtin means "mastiff" as well as "boar, oaf" and can also be an exclamation like "heavens!" In the text it refers to it as a "sacramental word."

[the-wraxall-illustrations]

[ruedesfillesducalvaire]

the 'thanks!' at the end of gillenormand's joyful little outburst kinda cracked me up

i'm not sure why hapgood decided to go with 'thanks' rather than 'thank you'; it seems so anti-climactic lol

[cliozaur]

Marius to Courfeyrac: "I have come to sleep with you." Best translation ever! Thank you, Hapgood!

[psalm22-6]

Yugoslavian posters advertising Jean-Paul Le Chanois's Les Misérables (1958) [Source 1, 2, 3]