Following are a number of back-translations as well as a sample translation for translators of Psalm 24:9:
Chichewa Contempary Chichewa translation, 2002/2016:
“Lift up your heads you gates;
be opened, you ancient doors,
that the King of glory may enter.” (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
Newari:
“[O] ancient gates be opened!!
Ancient doors, be opened!!
And let the great king come in!” (Source: Newari Back Translation)
Hiligaynon:
“Open the old doors of the temple so-that the powerful King can-enter!” (Source: Hiligaynon Back Translation)
Eastern Bru:
“Open the doors wide! Open the doors that are always there! So the king who rules supremely can enter.” (Source: Bru Back Translation)
Laarim:
“You lift up your heads, you the big gates,
You lift them up, you the gates of long time ago,
so that the King of glory would come inside.” (Source: Laarim Back Translation)
Nyaneka:
“Open the-gates, heavy-doors of-heads,
the-gates eternal
so-that King who-is-glorified can-enter.” (Source: Christopher S. Tachick in Wendland / Zogbo 2019, p. 84ff.)
Nyakyusa-Ngonde (back-translation into Swahili):
“Enyi milango, fungukeni,
enyi milango ya zamani, fungukeni,
ili mfalme mtukufu aingie.” (Source: Nyakyusa Back Translation)
English:
“Open up the temple gates
in order that our glorious king may enter!” (Source: Translation for Translators)
Some languages do not have a concept of kingship and therefore no immediate equivalent for the Greek, Hebrew, Aramaic, and Latin that is translated as “king” in English. Here are some (back-) translations:
Ninia Yali: “big brother with the uplifted name” (source: Daud Soesilio in Noss 2007, p. 175)
Nyamwezi: mutemi: generic word for ruler, by specifying the city or nation it becomes clear what kind of ruler (source: Pioneer Bible Translators, project-specific translation notes in Paratext)
Ghomála’: Fo (“The word Fo refers to the paramount ruler in the kingdoms of West Cameroon. He holds administrative, political, and religious power over his own people, who are divided into two categories: princes (descendants of royalty) and servants (everyone else).” (Source: Michel Kenmogne in Theologizing in Context: An Example from the Study of a Ghomala’ Christian Hymn))
Faye Edgerton retells how the term in Navajo (Dinė) was determined:
“[This term was] easily expressed in the language of Biblical culture, which had kings and noblemen with their brilliant trappings and their position of honor and praise. But leadership among the Navajos is not accompanied by any such titles or distinctions of dress. Those most respected, especially in earlier days, were their headmen, who were the leaders in raids, and the shaman, who was able to serve the people by appealing for them to the gods, or by exorcising evil spirits. Neither of these made any outward show. Neither held his position by political intrigue or heredity. If the headman failed consistently in raids, he was superceded by a better warrior. If the shaman failed many times in his healing ceremonies, it was considered that he was making mistakes in the chants, or had lost favor with the gods, and another was sought. The term Navajos use for headman is derived from a verb meaning ‘to move the head from side to side as in making an oration.’ The headman must be a good orator, able to move the people to go to war, or to follow him in any important decision. This word is naat’áanii which now means ‘one who rules or bosses.’ It is employed now for a foreman or boss of any kind of labor, as well as for the chairman of the tribal council. So in order to show that the king is not just a common boss but the highest ruler, the word ‘aláahgo, which expresses the superlative degree, was put before naat’áanii, and so ‘aláahgo naat’áanii ‘anyone-more-than-being around-he-moves-his-head-the-one-who’ means ‘the highest ruler.’ Naat’áanii was used for governor as the context usually shows that the person was a ruler of a country or associated with kings.”
Click or tap here to see the rest of this insight.
Like a number of other East Asian languages, Japanese uses a complex system of honorifics, i.e. a system where a number of different levels of politeness are expressed in language via words, word forms or grammatical constructs. These can range from addressing someone or referring to someone with contempt (very informal) to expressing the highest level of reference (as used in addressing or referring to God) or any number of levels in-between. One way Japanese shows different degree of politeness is through the choice of a second person pronoun (“you” and its various forms) as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. The most commonly used anata (あなた) is typically used when the speaker is humbly addressing another person.
In these verses, however, omae (おまえ) is used, a cruder second person pronoun, that Jesus for instance chooses when chiding his disciples. (Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )
Click or tap here to see the rest of this insight.
Like a number of other East Asian languages, Japanese uses a complex system of honorifics, i.e. a system where a number of different levels of politeness are expressed in language via words, word forms or grammatical constructs. These can range from addressing someone or referring to someone with contempt (very informal) to expressing the highest level of reference (as used in addressing or referring to God) or any number of levels in-between.
One way Japanese shows different degree of politeness is through the usage of an honorific construction where the morpheme rare (られ) is affixed on the verb as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. This is particularly done with verbs that have God as the agent to show a deep sense of reverence. Here, ko-rare-ru (来られる) or “come” is used.
The same ritual is followed in verses 9-10 as in verses 7-8: the demand for entry (verse 9), the request for identification (verse 10a), and the final statement (verse 10b-c).
In verse 9b the Masoretic text has the active “lift up,” but a few Hebrew manuscripts, as well as the ancient versions, have the passive “be lifted up,” as in verse 7. Most translations see no need to have a textual footnote as Revised Standard Version does. The meaning in verse 9b is exactly the same as in verse 7b, regardless of the form of the Hebrew verb followed.
The final answer (verse 10b) identifies the great king as “Yahweh of hosts.” The word translated hosts means “army” (see 44.9; 60.10; 68.12; 108.11); in 1 Samuel 17.45 Yahweh is identified as the leader of the Israelite armies (see Psa 89.8). In some places in the Old Testament, hosts is used of the angels, and the idea in the title may well mean that Yahweh is sovereign over all powers, heavenly as well as earthly. The Hebrew word has been transliterated into English and other languages (“Sabaoth”; see King James Version James 5.4); it is variously translated as “almighty, all-powerful, supreme” (see Traduction œcuménique de la Bible, Biblia Dios Habla Hoy). Most English translations have used the word “hosts,” which does not mean much to the average Bible reader. LORD of hosts is sometimes rendered “LORD of the armies.” Since the focus is upon the powerfulness of the LORD, the expression may often be rendered, for example, “the LORD who is the strongest of all” or “the LORD who has more power than anyone.”
Quoted with permission from Bratcher, Robert G. and Reyburn, William D. A Handbook on the Book of Psalms. (UBS Helps for Translators). New York: UBS, 1991. For this and other handbooks for translators see here .
The following are presentations by the Psalms: Layer by Layer project, run by Scriptura . The first is an overview, the second an introduction into the poetry, and the third an introduction into the exegesis of Psalm 24.
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 24 from the 1946 edition is in tetrameter and the rhyme scheme is -u (the 1946 edition did not have verse numbers either and underlined proper names):
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