Aari: “the day our Savior comes” (in Rom 13:11) (source: Loren Bliese)
in Mairasi its is translated as “life fruit” or “life fruit all mashed out.” Lloyd Peckham explains: “In secret stories, not knowable to women nor children, there was a magical fruit of life. If referred to vaguely, without specifying the specific ‘fruit,’ it can be an expression for eternity.” And for “all masked out” he explains: “Bark cloth required pounding. It got longer and wider as it got pounded. Similarly, life gets pounded or mashed to lengthen it into infinity. Tubers also get mashed into the standard way of serving the staple food, like the fufu of Uganda, or like poi of Hawaii. It spreads out into infinity.” (See also eternity / forever)
In Lisu a poetic construct is used for this term. Arrington (2020, p. 58f.) explains: “A four-word couplet uses Lisu poetic forms to bridge the abstract concrete divide, an essential divide to cross if Christian theology is to be understood by those with oral thought patterns. Each couplet uses three concrete nouns or verbs to express an abstract term. An example of this is the word for salvation, a quite abstract term essential to understanding Christian theology. To coin this new word, the missionary translators used a four-word couplet: ℲO., CYU. W: CYU (person … save … person … save). In this particular case, the word for person was not the ordinary word (ʁ) but rather the combination of ℲO., and W: used in oral poetry. The word for ‘save’ also had to be coined; in this case, it was borrowed from Chinese [from jiù / 救]. These aspects of Lisu poetry, originally based on animism, likely would have been lost as Lisu society encountered communism and modernization. Yet they are now codified in the Lisu Bible as well as the hymnbook.”
In the Contemporary Chichewa translation (2002/2016) it is translated with chipulumutso which is used to refer to an act of helping someone who is in problems but cannot help him/herself come out of the problems because of weakness. (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
In Garifuna the second person singular pronoun (“you” in English) has two forms. One is used in women’s speech and one in men’s speech. In the Garifuna Bible the form used in men’s speech is typically used, except when it’s clear that a woman is quoted or in Psalms where the women on the translation team insisted that the form used in women’s speech (buguya) would be used throughout the whole book.
Ronald Ross (in Omanson 2001, p. 375f.) tells the story: “Throughout most of the translation, [the distinctions between the different forms of the pronouns] presented no problem. Whenever the speaker in the text was perceived as a man, the male speech forms were used; and when a woman was speaking, the female speech forms were used. True, the women members of the translation team did object on occasion to the use of the male forms when the author (and narrator) of a book was unknown and the men translators had used the male speech forms as the default. Serious discord arose, however, during the translation of the Psalms because of their highly devotional nature and because throughout the book the psalmist is addressing God. The male translators had, predictably, used the male form to address God, and the male form to refer to the psalmist, even though women speakers of Garifuna never use those forms to address anyone. The women contended that they could not as women read the Psalms meaningfully if God and the psalmist were always addressed as if the readers were men. The men, of course, turned the argument around, claiming that neither could they read the Psalms comfortably if the reader was assumed to be a woman.
“Initially there seemed to be no way out of this impasse. However a solution was found in the ongoing evolution of the language. There is a strong propensity for male speech and female speech to merge in favor of the latter, so the few remaining male forms are gradually dying out. Moreover, male children learn female speech from their mothers and only shift to the male speech forms when they reach adolescence to avoid sounding effeminate. However they use the female form buguya when addressing their parents throughout life. So the women wielded two arguments: First, the general development of the language favored the increasing use of the female forms. Secondly, the female forms are less strange to the men than the male forms are to the women, because the men habitually use them during early childhood and continue to use them to address their parents even in adulthood. Therefore, the female pronominal forms prevailed and were adopted throughout the book of Psalms, though the male forms remained the default forms in the rest of the translation.”
Following are a number of back-translations as well as a sample translation for translators of Psalm 3:3:
Chichewa Contempary Chichewa translation, 2002/2016:
“But You Jehovah, you are a shield that protects me,
You have clothed me with glory and you have lifted me.” (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
Newari:
“But O God! you have become a shield all around me.
You are my glory,
You are the one who holds my head high.” (Source: Newari Back Translation)
Hiligaynon:
“But the truth is, you (sing.) (are) like a shield that protects me.
You (sing.) cause- me -to-win against my enemies and you (sing.) strengthen-(me).” (Source: Hiligaynon Back Translation)
Eastern Bru:
“But God, surely you protect me from those who want to harm me. Surely you allow me to overcome continuously, and you make it so that I can lift my head so that my heart becomes brave instead.” (Source: Bru Back Translation)
Laarim:
“But LORD you are the shield in where I am hiding,
you give me glory, and you give my heart to be strong.” (Source: Laarim Back Translation)
Nyakyusa-Ngonde (back-translation into Swahili):
“Lakini ee BWANA, uko ngao yangu pande zote,
unanipa ushindi na kuniimarisha.” (Source: Nyakyusa Back Translation)
English:
“But Yahweh, you are like a shield that protects me.
You greatly honor me, and you encourage me (OR, enable me to triumph over my enemies).” (Source: Translation for Translators)
Translators of different languages have found different ways with what kind of formality God is addressed. The first example is from a language where God is always addressed distinctly formal whereas the second is one where the opposite choice was made.
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Like many languages (but unlike Greek or Hebrew or English), Tuvan uses a formal vs. informal 2nd person pronoun (a familiar vs. a respectful “you”). Unlike other languages that have this feature, however, the translators of the Tuvan Bible have attempted to be very consistent in using the different forms of address in every case a 2nd person pronoun has to be used in the translation of the biblical text.
As Voinov shows in Pronominal Theology in Translating the Gospels (in: The Bible Translator2002, p. 210ff. ), the choice to use either of the pronouns many times involved theological judgment. While the formal pronoun can signal personal distance or a social/power distance between the speaker and addressee, the informal pronoun can indicate familiarity or social/power equality between speaker and addressee.
In these verses, in which humans address God, the informal, familiar pronoun is used that communicates closeness.
Voinov notes that “in the Tuvan Bible, God is only addressed with the informal pronoun. No exceptions. An interesting thing about this is that I’ve heard new Tuvan believers praying with the formal form to God until they are corrected by other Christians who tell them that God is close to us so we should address him with the informal pronoun. As a result, the informal pronoun is the only one that is used in praying to God among the Tuvan church.”
In Gbaya, “a superior, whether father, uncle, or older brother, mother, aunt, or older sister, president, governor, or chief, is never addressed in the singular unless the speaker intends a deliberate insult. When addressing the superior face to face, the second person plural pronoun ɛ́nɛ́ or ‘you (pl.)’ is used, similar to the French usage of vous.
Accordingly, the translators of the current version of the Gbaya Bible chose to use the plural ɛ́nɛ́ to address God. There are a few exceptions. In Psalms 86:8, 97:9, and 138:1, God is addressed alongside other “gods,” and here the third person pronoun o is used to avoid confusion about who is being addressed. In several New Testament passages (Matthew 21:23, 26:68, 27:40, Mark 11:28, Luke 20:2, 23:37, as well as in Jesus’ interaction with Pilate and Jesus’ interaction with the Samaritan woman at the well) the less courteous form for Jesus is used to indicate ignorance of his position or mocking (source Philip Noss).
In Dutch and Western Frisian translations, however, God is always addressed with the formal pronoun.
Shield is a common metaphor for protection, often used of God (see 7.10; 18.2). The phrase about me completes the idea of protection. The large shield was big enough to protect the whole body from the enemy’s sword or arrows. The translation here can be “you are my protecting shield,” “you are a shield to protect me.” If the metaphor does not make sense, a simile may be used: “you are like a shield that protects me,” “you protect me like a shield.” In languages which lack a term for shield or any other protective device used in battle, the translator may employ a descriptive phrase; for example, “the thing that protects.” On the other hand a nonfigurative expression may be better; for example, “You, LORD, are the one who protects me from danger.”
It is more common in parallel lines for the first line to be nonfigurative and the second to contain the figure. Verse 3 is an exception with figures in both lines. If one takes both lines as a unit, the meaning may be expressed “LORD, you are not only a shield for me, but you also make me victorious and give me courage” or “LORD, you are like a shield, you even give me the victory and renew my strength.”
Yahweh is also called my glory. The Hebrew word for glory has a variety of meanings, one of which is “honor, reputation,” which fits well in this context. Since the king’s honor was dependent upon his being victorious over his enemies, it is possible that here this specific meaning is intended; so Good News Translation “you give me victory.” New International Version has “you bestow glory on me.” Simply to translate “my glory,” as New Jerusalem Bible, New English Bible, and New Jerusalem Bible do, carries no meaning in English. Briggs proposes “the one in whom I glory”; Moffatt “thou whom I do glorify”; Knox “my champion.” Toombs takes it to mean the psalmist’s “worth as a man,” for which he is indebted to the LORD. It is more likely, however, that the meaning is “victory” (Good News Translation) or “honor,” which can be expressed by “you give me great honor.”
The lifter of my head: “you hold my head high.” This phrase is a metaphor for restoring confidence, courage, and hope to one who is discouraged. Delitzsch comments: “He comforts and helps him.” Briggs takes it to mean victory, while Kirkpatrick thinks it means that the LORD saves him and restores him to his throne. Biblia Dios Habla Hoy translates “You are the one who encourages me.” Bible en français courant says “you supply me with dignity and pride.” Another possibility is “you maintain my honor and hold my head high.”
The translator is encouraged always to use meaningful figures of speech, provided they translate correctly the meaning of the text. Sometimes metaphors which are newly made or have become obsolete are of little communicative value and may give the reader an entirely wrong understanding. Many languages use metaphors to express “to comfort” or “to encourage”; for example, “to make the heart cool” or “to strengthen the insides.” In such cases it will be necessary to add a causative element; for example, “You cause my insides to rest” or “You make my heart sit coolly.”
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 .
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 3 from the 1946 edition is in tetrameter and pentameter (the 1946 edition did not have verse numbers either):
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