The Hebrew and Greek that is translated into English as “the wrath of God” or “God’s anger” has to be referred to in Bengali as judgment, punishment or whatever fits the context. In Bengali culture, anger is by definition bad and can never be predicated of God. (Source: David Clark)
Translations in other languages:
Quetzaltepec Mixe: “translated with a term that not only expresses anger, but also punishment” (source: Robert Bascom)
Western Bukidnon Manobo: “the coming punishment of God on mankind” (source: Western Bukidnon Manobo Back Translation)
Kankanaey: “God’s fearful/terrible future punishing of people” (source: Kankanaey Back Translation)
Tagbanwa: “the coming anger/hatred of God” (source: Tagbanwa Back Translation)
Tenango Otomi: “the punishment which will come” (source: Tenango Otomi Back Translation)
Bariai: “God’s action of anger comes forth in the open” (source: Bariai Back Translation)
Mairasi: “His anger keeps increasing (until it will definitely arrive)” (source: Enggavoter 2004)
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 to do this is through the usage (or a lack) of an honorific prefix as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. When the referent is God, the “divine” honorific prefix mi- (御) is used as in mi-ikari (御怒り) or “wrath (of God)” in the referenced verses. (Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )
In the 1852 translation of the Psalms into Javanese by Johann F.C. Gericke, the translator attempted to highlight the different voices and sections of the psalm by using different language styles or sociolects of Javanese. Ngoko , a “top-down” register, was used when senior people communicated to people junior in age or rank, and kromo , a “bottom-up” and more ornate register, was used to address superiors and elders. According to Gericke (quoted in Solleveld, cited below) “If one sought to use one and the same language in the entire Psalm, no Javanese would understand it. The difference between Kromo and Ngoko is often as big as between Dutch and Polish.”
Following are a number of back-translations as well as a sample translation for translators of Psalm 2:5:
ChichewaMawu a Mulungu mu Chichewa Chalero translation, 2002/2016:
“And he rebukes them in his anger
and threatens them in his wrath, saying that,” (Source: Chichewa Back Translation)
Newari:
“He will terrify them in anger,
In anger He will cause them to tremble.” (Source: Newari Back Translation)
Hiligaynon:
“In his anger, he warns them and they (are) afraid.” (Source: Hiligaynon Back Translation)
Eastern Bru:
“Then God feels very angry, so he warns them. He makes them very afraid of his anger.” (Source: Bru Back Translation)
Laarim:
“And from there, he shouted to them with anger
to tremble very much, and he said that,” (Source: Laarim Back Translation)
Nyakyusa-Ngonde (back-translation into Swahili):
“Basi amechukia, anawakemea,
yuko na hasira anawatisha, anasema,” (Source: Nyakyusa Back Translation)
English:
“Then, because he is angry with them, he rebukes them.
He causes them to be terrified when they realize that he will furiously punish them.” (Source: Translation for Translators)
God transcends gender, but most languages are limited to grammatical gender expressed in pronouns. In the case of English, this is traditionally confined to “he” (or in the forms “his,” “him,” and “himself”), “she” (and “her,” “hers,” and “herself”), and “it” (and “its” and “itself”).
Modern Mandarin Chinese, however, offers another possibility. Here, the third-person singular pronoun is always pronounced the same (tā), but it is written differently according to its gender (他 is “he,” 她 is “she,” and 它/牠 is “it” and their respective derivative forms). In each of these characters, the first (or upper) part defines the gender (man, woman, or thing/animal), while the second element gives the clue to its pronunciation.
In 1930, after a full century with dozens of Chinese translations, Bible translator Wang Yuande (王元德) coined a new “godly” pronoun: 祂. Chinese readers immediately knew how to pronounce it: tā. But they also recognized that the first part of that character, signifying something spiritual, clarified that each person of the Trinity has no gender aside from being God.
While the most important Protestant and Catholic Chinese versions respectively have opted not to use 祂, some Bible translations do and it is widely used in hymnals and other Christian materials. Among the translations that use 祂 to refer to “God” were early versions of Lü Zhenzhong’s (呂振中) version (New Testament: 1946, complete Bible: 1970). R.P. Kramers (in The Bible Translator 1956, p. 152ff. ) explains why later versions of Lü’s translation did not continue with this practice: “This new way of writing ‘He,’ however, has created a minor problem of its own: must this polite form be used whenever Jesus is referred to? Lü follows the rule that, wherever Jesus is referred to as a human being, the normal tā (他) is written; where he is referred to as divine, especially after the ascension, the reverential tā (祂) is used.”
In that system one kind of pronoun is used for humans (male and female alike) and one for natural elements, non-liquid masses, and some spiritual entities (one other is used for large animals and another one for miscellaneous items). While in these languages the pronoun for spiritual entities used to be employed when referring to God, this has changed into the use of the human pronoun.
Lynell Zogbo (in The Bible Translator 1989, p. 401ff. ) explains in the following way: “From informal discussions with young Christians especially, it would appear that, at least for some people, the experience and/or concepts of Christianity are affecting the choice of pronoun for God. Some people explain that God is no longer ‘far away,’ but is somehow tangible and personal. For these speakers God has shifted over into the human category.”
In Kouya, God (the Father) and Jesus are referred to with the human pronoun ɔ, whereas the Holy Spirit is referred to with a non-human pronoun. (Northern Grebo and Western Krahn make a similar distinction.)
Eddie Arthur, a former Kouya Bible translation consultant, says the following: “We tried to insist that this shouldn’t happen, but the Kouya team members were insistent that the human pronoun for the Spirit would not work.”
In Burmese, the pronoun ko taw (ကိုယ်တော်) is used either as 2nd person (you) or 3rd person (he, him, his) reference. “This term clearly has its root in the religious language in Burmese. No ordinary persons are addressed or known by this pronoun because it is reserved for Buddhist monks, famous religious teachers, and in the case of Christianity, the Trinity.” (Source: Gam Seng Shae in The Bible Translator 2002, p. 202ff. )
In Thai, the pronoun phra`ong (พระองค์) is used, a gender-neutral pronoun which must refer to a previously introduced royal or divine being. Similarly, in Northern Khmer, which is spoken in Thailand, “an honorific divine pronoun” is used for the pronoun referring to the persons of the Trinity (source: David Thomas in The Bible Translator 1993, p. 445 ). In Urak Lawoi’, another language spoken in Thailand, the translation often uses tuhat (ตูฮัด) — “God” — ”as a divine pronoun where Thai has phra’ong even though it’s actually a noun.” (Source for Thai and Urak Lawoi’: Stephen Pattemore)
The English “Contemporary Torah” addresses the question of God and gendered pronouns by mostly avoiding pronouns in the first five books of the Hebrew Bible/Old Testament (unless God is referred to as “lord,” “father,” “king,” or “warrior”). It does that by either using passive constructs (“He gave us” vs. “we were given”), by using the adjective “divine” or by using “God” rather than a pronoun.
Some Protestant and Orthodox English Bibles use a referential capitalized spelling when referring to the persons of the Trinity with “He,” “His,” “Him,” or “Himself.” This includes for instance the New American Standard Bible or The Orthodox New Testament, but most translations do not. Two other languages where this is also done (in most Bible translations) are the closely related Indonesian and Malay. In both languages this follows the language usage according to the Qur’an, which in turn predicts that usage (see Soesilo in The Bible Translator 1991, p. 442ff. and The Bible Translator 1997, p. 433ff. ).
From amusement Yahweh’s emotion turns to anger. It seems better to maintain the descriptive present tense, as Good News Translation does: “he warns … and terrifies” (also Moffatt, Bible en français courant, New Jerusalem Bible, New English Bible, New American Bible). Verses 5-6 still deal with the Lord’s reaction to the rebels.
The two nouns wrath and fury describe his attitude. Such human traits are ascribed quite naturally by Old Testament writers to God, in their conviction that he “was actively, vigorously, and personally involved in man’s history” (Toombs). The noun translated fury is used in the Old Testament only with God as subject. It means literally “burning,” that is, an anger that consumes and destroys the enemy (see Exo 15.7).
He will speak to them (or “he warns them,” “he rebukes them,” or “he threatens them”) and terrify them: for this last verb see also 83.15. Moffatt translates “he … scares them.” Many languages will follow more closely the Hebrew form of speaking to them in his wrath. However, in many cases “speaking” does not carry the negative injunction implied. Furthermore, anger involves a strong emotional element which is often stated in physiological terms such as “hot heart” or “hot stomach.” It may be best then to render the warning as a negative command in direct address; for instance, “God is angry and says, ‘Do not act this way.’ ” In some languages the full line will be: “With a hot stomach God says, ‘Do not act like this.’ ”
The parallelism of verse 5 is a typical case of line b representing a dramatic intensification of line a, from the ordinary speak to the intense terrify. It may be possible to represent this movement in the parallelism; for example, “He will be angry and speak to them; he will be so angry their strength will fail,” or “He will warn them because he is angry; so angry is he that their hearts run away,” or “Being angry at them he will speak out; he will scare them to death.”
In many languages the idea terrify, used in both Good News Translation and Revised Standard Version, implies some kind of physical loss and is sometimes expressed figuratively as “the breath departed,” “the heart ran away,” “the strength ran out,” or “the strength melted.”
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 and the second an introduction into the poetry of Psalm 2.
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 2 from the 1946 edition in the so-called Sao style (the 1946 edition did not have verse numbers either and underlined proper names):
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