John Wu Ching-hsiung (1899-1986) was a native of Ningbo, Zhejiang, a renowned jurist who studied in Europe and the United States, and served as a professor of law at Soochow University, as a judge and the Acting President of the Shanghai Provisional Court, and as the Vice President of the Commission for the Drafting of the Constitution of the Republic of China, before becoming the Minister of the Republic of China to the Holy See. Wu has written extensively, not only on law but also on Chinese philosophy, and has also written his autobiography, Beyond East and West, in English. Wu was a devout Catholic and had a personal relationship with Chiang Kai-shek (1887-1975). Wu began translating the the Psalms in 1938, and was encouraged by Chiang to translate the entire New Testament, which he corrected in his own handwriting. (…) John Wu Ching-hsiung’s translation of the Psalms (first draft in 1946, revised in 1975) was translated into Literary Chinese in the form of poetic rhyme, with attention paid to the style of writing. According to the content and mood of the different chapters of the original psalm, Wu chose Chinese poetic forms such as tetrameter, pentameter, heptameter [4, 5 or 7 syllables/Chinese characters per stanza], and the [less formal] Sao style, and sometimes more than two poetic forms were used in a single poem. (Source: Simon Wong)

John Wu Ching-hsiung himself talks about his celebrated and much-admired (though difficult-to-understand) translation in his aforementioned autobiography: (Click or tap here to see)

“Nothing could have been farther from my mind than to translate the Bible or any parts of it with a view to publishing it as an authorized version. I had rendered some of the Psalms into Chinese verse, but that was done as a part of my private devotion and as a literary hobby. When I was in Hongkong in 1938, I had come to know Madame H. H. Kung [Soong Ai-ling], and as she was deeply interested in the Bible, I gave her about a dozen pieces of my amateurish work just for her own enjoyment. What was my surprise when, the next time I saw her, she told me, “My sister [Soong Mei-ling] has written to say that the Generalissimo [Chiang Kai-shek] likes your translation of the Psalms very much, especially the first, the fifteenth, and the twenty-third, the Psalm of the Good Shepherd!”

“In the Autumn of 1940, when I was in Chungking, the Generalissimo invited me several times to lunch with him and expressed his appreciation of the few pieces that he had read. So I sent him some more. A few days later I received a letter from Madame Chiang [Soong Mei-ling], dated September 21, 1940, in which she said that they both liked my translation of the few Psalms I had sent them. ‘For many years,’ she wrote, ‘the Generalissimo has been wanting to have a really adequate and readable Wen-li (literary) translation of the Bible. He has never been able to find anyone who could undertake the matter.’ The letter ends up by saying that I should take up the job and that ‘the Generalissimo would gladly finance the undertaking of this work.’

“After some preliminary study of the commentaries, I started my work with the Psalms on January 6, 1943, the Feast of the Epiphany.

“I had three thousand years of Chinese literature to draw upon. The Chinese vocabulary for describing the beauties of nature is so rich that I seldom failed to find a word, a phrase, and sometimes even a whole line to fit the scene. But what makes such Psalms so unique is that they bring an intimate knowledge of the Creator to bear upon a loving observation of things of nature. I think one of the reasons why my translation is so well received by the Chinese scholars is that I have made the Psalms read like native poems written by a Chinese, who happens to be a Christian. Thus to my countrymen they are at once familiar and new — not so familiar as to be jejune, and not so new as to be bizarre. I did not publish it as a literal translation, but only as a paraphrase.

“To my greatest surprise, [my translation of the Psalms] sold like hot dogs. The popularity of that work was beyond my fondest dreams. Numberless papers and periodicals, irrespective of religion, published reviews too good to be true. I was very much tickled when I saw the opening verse of the first Psalm used as a headline on the front page of one of the non-religious dailies.”

A contemporary researcher (Lindblom 2021) mentions this about Wu’s translation: “Wu created a unique and personal work of sacred art that bears the imprint of his own admitted love and devotion, a landmark achievement comparable to Antoni Gaudi’s Basilica of the Sagrada Família in Barcelona, Spain. Although its use is still somewhat limited today, it continues to attract readers for the aforementioned qualities, and continues to be used in prayers and music by those who desire beauty and an authentic Chinese-sounding text that draws from China’s ancient traditions.”

The translation of Psalm 18 from the 1946 edition is in the so-called Sao style (even though it’s titled a Fu style poem) and the rhyme schemes are -ian and -ang (the 1946 edition did not have verse numbers either):

凱旋賦

中心愛主兮。我生命之源泉。 主乃我之磐石與堡壘兮。亦為我之恩保與所天。藏身之窟兮。禦敵之干。仰岑樓之崔嵬兮。視兵革而彌堅。 悲我身之遭厄兮。求恩主之矜憐。竟脫我於虎口兮。信慈惠之無邊。
殺氣氤氳兮纏身。狂濤氾濫兮驚魂。 幽冥之索綯重重。死地之羅網紛紛。 身陷艱險兮求主。竭聲向主兮呼籲。主聞吾音兮宮中。哀聲上達兮宸聰。
主發怒兮乾坤震。大地顫兮眾岳崩。 鼻騰烟兮口噴火。沙石爍兮草木焚。 天幕下垂兮主親降。足踏陰霾兮雲茫茫。 駕神駒而馳騁。鼓風翼而翱翔。 披重昏以為幔兮。假靉靆而為宮。 陰陽相薄而成雹兮。絳烟起於雲中。 顯至尊之赫赫兮。震天怒之隆隆。於是噓氣叱咤。冰炭俱落。 火箭四射。敵人傾覆。 地基暴露。江海成陸。 主乃引手而相援兮。濟吾身於狂流。 脫我於頑敵兮。救我於凶仇。 固知吾主之聖心兮。恆抑強而扶柔。我既惟主是怙兮。敵雖眾而何憂。 夫其解我之倒懸兮。為愛我之故。 備承溫燠兮。所以恤我之無辜。 心地光明兮手潔。遵主之道兮翼翼。未入歧途兮居安宅。 恆懷慈訓兮無愆忒。 樂心跡之雙清兮。愼聖目之所視。 感吾主之相酬兮。實無微而不至。
盛矣哉。雅瑋之為德也。以仁報仁。以直報直。 以正報正。而以逆報逆。 蓋謙者必蒙升。而驕者必見抑。 惟主一燃吾心之燈兮。而啟吾目之矇。 雖三軍之當前兮。吾亦有所恃而無恐。既有主為之扶翼兮。應能超踰敵人之城墉。 主道純兮主言粹。能倚主兮身無危。 微雅瑋兮誰主。微天主兮何怙。 主充我兮以力。使吾路兮安固。 健吾步兮如鹿。植吾身兮高處。 教吾手兮能戰。強吾臂兮能射。 賜我以衛身之盾。佑我以聖手之力。沐我以仁。浴我以澤。滋茂條暢。實憑主德。 所履恢恢兮其有餘。脚踏實地兮而無蹶。 追逐敵蹤兮彼其潰。不予殄滅兮誓不歸。 紛紛負傷兮倒於地。僵臥足下兮不復起。 嗟夫吾之能戰兮。非吾之力也。 克服眾仇兮。仗主之德也。敵人狼狽兮逃竄。仇人就戮兮無數。 呼人人不應。籲主主不顧。 被我痛擊而粉碎兮。如飄風之揚灰。被我委棄於道旁兮。如糞壤之成堆。
主既救我於眾民之背叛兮。又立我為萬國之君。作新民以事我兮。且非我素識之人。 蓋惟同聲而相應兮。聞吾道而祇遵。苟中情其悅服兮。雖異族而猶親。 彼必泯其町畦而去其圭角兮。兢兢然棄其險固而來賓。
頌曰。欽哉雅瑋。願爾萬歲。紆貴屈尊。作我藩衛。銘心鏤骨。永懷慈惠。 相我撥亂。安撫庶類。 脫我於凶逆。拯我於暴戾。保我於萬死。登我於大位。 敢不揄揚。布芳於世。敢不歌咏。宣主之美。 主賜凱旋。於彼之王。主以膏澤。被彼元良。寵祐大維。綏以寧康。來胤後嗣。榮祚無疆。

Transcription into Roman alphabet with the particle xī, that is characteristic for the Sao style, highlighted:

kǎi xuán fù

zhōng xīn ài zhǔ xī 。 wǒ shēng mìng zhī yuán quán 。 zhǔ nǎi wǒ zhī pán shí yǔ bǎo lěi xī 。 yì wéi wǒ zhī ēn bǎo yǔ suǒ tiān 。 cáng shēn zhī kū xī 。 yù dí zhī gān 。 yǎng cén lóu zhī cuī wéi xī 。 shì bīng gé ér mí jiān 。 bēi wǒ shēn zhī zāo è xī 。 qiú ēn zhǔ zhī jīn lián 。 jìng tuō wǒ yú hǔ kǒu xī 。 xìn cí huì zhī wú biān 。
shā qì yīn yūn xī chán shēn 。 kuáng tāo fàn làn xī jīng hún 。 yōu míng zhī suǒ táo zhòng zhòng 。 sǐ dì zhī luó wǎng fēn fēn 。 shēn xiàn jiān xiǎn xī qiú zhǔ 。 jié shēng xiàng zhǔ xī hū xū 。 zhǔ wén wú yīn xī gōng zhōng 。 āi shēng shàng dá xī chén cōng 。
zhǔ fā nù xī qián kūn zhèn 。 dà dì chàn xī zhòng yuè bēng 。 bí téng yān xī kǒu pēn huǒ 。 shā shí shuò xī cǎo mù fén 。 tiān mù xià chuí xī zhǔ qīn jiàng 。 zú tà yīn mái xī yún máng máng 。 jià shén jū ér chí chěng 。 gǔ fēng yì ér áo xiáng 。 pī zhòng hūn yǐ wéi màn xī 。 jiǎ guā chén ér wéi gōng 。 yīn yáng xiāng báo ér chéng báo xī 。 jiàng yān qǐ yú yún zhōng 。 xiǎn zhì zūn zhī hè hè xī 。 zhèn tiān nù zhī lóng lóng 。 yú shì xū qì chì zhà 。 bīng tàn jù luò 。 huǒ jiàn sì shè 。 dí rén qīng fù 。 dì jī bào lù 。 jiāng hǎi chéng lù 。 zhǔ nǎi yǐn shǒu ér xiāng yuán xī 。 jì wú shēn yú kuáng liú 。 tuō wǒ yú wán dí xī 。 jiù wǒ yú xiōng chóu 。 gù zhī wú zhǔ zhī shèng xīn xī 。 héng yì qiáng ér fú róu 。 wǒ jì wéi zhǔ shì hù xī 。 dí suī zhòng ér hé yōu 。 fū qí jiě wǒ zhī dǎo xuán xī 。 wéi ài wǒ zhī gù 。 bèi chéng wēn yù xī 。 suǒ yǐ xù wǒ zhī wú gū 。 xīn dì guāng míng xī shǒu jié 。 zūn zhǔ zhī dào xī yì yì 。 wèi rù qí tú xī jū ān zhái 。 héng huái cí xùn xī wú qiān tè 。 lè xīn jì zhī shuāng qīng xī 。 shèn shèng mù zhī suǒ shì 。 gǎn wú zhǔ zhī xiāng chóu xī 。 shí wú wēi ér bù zhì 。
shèng yǐ zāi 。 yǎ wěi zhī wéi dé yě 。 yǐ rén bào rén 。 yǐ zhí bào zhí 。 yǐ zhèng bào zhèng 。 ér yǐ nì bào nì 。 gài qiān zhě bì mēng shēng 。 ér jiāo zhě bì jiàn yì 。 wéi zhǔ yī rán wú xīn zhī dēng xī 。 ér qǐ wú mù zhī mēng 。 suī sān jūn zhī dāng qián xī 。 wú yì yǒu suǒ shì ér wú kǒng 。 jì yǒu zhǔ wéi zhī fú yì xī 。 yīng néng chāo yú dí rén zhī chéng yōng 。 zhǔ dào chún xī zhǔ yán cuì 。 néng yǐ zhǔ xī shēn wú wēi 。 wēi yǎ wěi xī shuí zhǔ 。 wēi tiān zhǔ xī hé hù 。 zhǔ chōng wǒ xī yǐ lì 。 shǐ wú lù xī ān gù 。 jiàn wú bù xī rú lù 。 zhí wú shēn xī gāo chǔ 。 jiào wú shǒu xī néng zhàn 。 qiáng wú bì xī néng shè 。 cì wǒ yǐ wèi shēn zhī dùn 。 yòu wǒ yǐ shèng shǒu zhī lì 。 mù wǒ yǐ rén 。 yù wǒ yǐ zé 。 zī mào tiáo chàng 。 shí píng zhǔ dé 。 suǒ lǚ huī huī xī qí yǒu yú 。 jiǎo tà shí dì xī ér wú jué 。 zhuī zhú dí zōng xī bǐ qí kuì 。 bù yú tiǎn miè xī shì bù guī 。 fēn fēn fù shāng xī dǎo yú dì 。 jiāng wò zú xià xī bù fù qǐ 。 jiē fū wú zhī néng zhàn xī 。 fēi wú zhī lì yě 。 kè fú zhòng chóu xī 。 zhàng zhǔ zhī dé yě 。 dí rén láng bèi xī táo cuàn 。 chóu rén jiù lù xī wú shù 。 hū rén rén bù yīng 。 xū zhǔ zhǔ bù gù 。 bèi wǒ tòng jī ér fěn suì xī 。 rú piāo fēng zhī yáng huī 。 bèi wǒ wěi qì yú dào páng xī 。 rú fèn rǎng zhī chéng duī 。
zhǔ jì jiù wǒ yú zhòng mín zhī bèi pàn xī 。 yòu lì wǒ wéi wàn guó zhī jūn 。 zuò xīn mín yǐ shì wǒ xī 。 qiě fēi wǒ sù shí zhī rén 。 gài wéi tóng shēng ér xiāng yīng xī 。 wén wú dào ér qí zūn 。 gǒu zhōng qíng qí yuè fú xī 。 suī yì zú ér yóu qīn 。 bǐ bì mǐn qí tǐng qí ér qù qí guī jiǎo xī 。 jīng jīng rán qì qí xiǎn gù ér lái bīn 。
sòng yuē 。 qīn zāi yǎ wěi 。 yuàn ěr wàn suì 。 yū guì qū zūn 。 zuò wǒ fān wèi 。 míng xīn lòu gǔ 。 yǒng huái cí huì 。 xiāng wǒ bō luàn 。 ān fǔ shù lèi 。 tuō wǒ yú xiōng nì 。 zhěng wǒ yú bào lì 。 bǎo wǒ yú wàn sǐ 。 dēng wǒ yú dà wèi 。 gǎn bù yú yáng 。 bù fāng yú shì 。 gǎn bù gē yǒng 。 xuān zhǔ zhī měi 。 zhǔ cì kǎi xuán 。 yú bǐ zhī wáng 。 zhǔ yǐ gāo zé 。 bèi bǐ yuán liáng 。 chǒng yòu dà wéi 。 suí yǐ níng kāng 。 lái yìn hòu sì 。 róng zuò wú jiāng

With thanks to Simon Wong.