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 10 from the 1946 edition is in pentameter and the rhyme scheme is -ong (the 1946 edition did not have verse numbers either and underlined proper names):
預祝勝利
惟願主雅瑋。眷爾患難中。惟願雅谷主。聖名保爾躬。 願主自聖殿。錫爾恩寵隆。願主自聖山。錫爾福履充。 念爾禋祀勤。悅爾燔祭豐。 心願悉獲償。謀為皆成功。 行見爾凱旋。萬民喜氣沖。會當樹長旌。共慶主名崇。 願主成爾志。使爾樂融融。固知受命王。酣暢主春風。主在諸天上。安然居九重。援爾以右手。帝力寧有窮。 徒誇車馬力。敵人何夢夢。吾人恃主名。不與彼人同。 彼皆仆在地。我立猶挺胸。 惟願主雅瑋。保王徹始終。聽我此日禱。鑒我區區衷。
Transcription into Roman alphabet with the rhyme scheme highlighted:
yù zhù shèng lì
wéi yuàn zhǔ yǎ wěi 。 juàn ěr huàn nán zhōng 。 wéi yuàn yǎ gǔ zhǔ 。 shèng míng bǎo ěr gōng 。 yuàn zhǔ zì shèng diàn 。 xī ěr ēn chǒng lóng 。 yuàn zhǔ zì shèng shān 。 xī ěr fú lǚ chōng 。 niàn ěr yīn sì qín 。 yuè ěr fán jì fēng 。 xīn yuàn xī huò cháng 。 móu wéi jiē chéng gōng 。 xíng jiàn ěr kǎi xuán 。 wàn mín xǐ qì chōng 。 huì dāng shù cháng jīng 。 gòng qìng zhǔ míng chóng 。 yuàn zhǔ chéng ěr zhì 。 shǐ ěr lè róng róng 。 gù zhī shòu mìng wáng 。 hān chàng zhǔ chūn fēng 。 zhǔ zài zhū tiān shàng 。 ān rán jū jiǔ zhòng 。 yuán ěr yǐ yòu shǒu 。 dì lì níng yǒu qióng 。 tú kuā chē mǎ lì 。 dí rén hé mèng mèng 。 wú rén shì zhǔ míng 。 bù yǔ bǐ rén tóng 。 bǐ jiē pū zài dì 。 wǒ lì yóu tǐng xiōng 。 wéi yuàn zhǔ yǎ wěi 。 bǎo wáng chè shǐ zhōng 。 tīng wǒ cǐ rì dǎo 。 jiàn wǒ qū qū zhōng 。
With thanks to Simon Wong.