Lloyd Peckham explains the Mairasi translation: “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.”
The Greek in John 10:10 that is translated as “I came that they might have life, and have it abundantly” or similar in English has been translated in a a variety of ways:
Huehuetla Tepehua: “I came so that people might have life, and that they might be happy in their lives.”
Aguaruna: “But I, on the other hand, came saying ‘That they might live; that they might live contentedly, lacking nothing.'”
Yatzachi Zapotec: “I came in order to give eternal life and so that they would be extremely happy.”
Shipibo-Conibo: “I have come so that the sheep will live, and so that they will live very well.”
Asháninka: “I came to give them life, to really give them all life.”
Yanesha’: “For this I came, so that you will live, completely exceedingly.”
Xicotepec De Juárez Totonac: “I have come in order to give them their new life, which is better life.” (Source for this and above: John Beekman in Notes on Translation 12, November 1964, p. 1ff.)
Mairasi: “As for Me Myself My coming is so that people will receive very good life-fruit life.” (Source: Enggavoter 2004)
The following story about John 11:43b is relayed by Martha Duff Tripp as she led the translation of the New Testament into Yanesha’ (p.277):
Casper Mountain [an Amuesha translator] insists on giving full accounts of actions in a specific event. For example, when we read how Jesus calls Lazarus forth from the tomb, he insists, “Jesus would not just say, ‘Lazarus, come out’.” — “Why would Jesus not say that?” I ask in amazement. “Because he would know that Lazarus would have to get up first before he would come out. We need to say ‘Lazarus, I say to you, get up and come out’.” So be it! This is the way that Amusheas would express it.
The Greek in John 14:6 that is translated as “no one comes to the father, but by me” is translated in various ways:
Huehuetla Tepehua: “one can’t go to my Father unless he is saved by me”
Aguaruna: “no one, just by himself, is able to arrive where my Father is, but with me he is able to arrive”
Asháninka: “no one just goes to my Father. I am the one who will take you”
Yanesha’: “no one approaches to where Father is if they do not first come to me”
Chol: “there is no one who will arrive where my Father is, except those who are in my care
Alekano: “by passing me there is no way to approach my Father” (source for this and above: John Beekman in Notes on Translation 12, November 1964, p. 1ff.)
Kupsabiny “nobody can go to my Father’s Homestead if he does not pass through me” (source: Kupsabiny Back Translation)
Tagbanwa: “There’s no-one who can go there to God the Father unless I am the trail he travels” (source: Tagbanwa Back Translation)
Tenango Otomi: “Only those who believe in me will arrive where my Father is” (source: Tenango Otomi Back Translation)
The Greek in 1 John 5:12 that is translated as “(whoever) has the Son” or similar in English was translated in Yanesha’ as “(whoever) the son.” (Source: Duff Tripp 2007, p. 260)
The Greek (and Hebrew) that is translated on many English versions as “Zeal for your house will consume me” is translated in various ways in other languages:
Yanesha’: “My protectiveness for your house completely possesses me.”
Xicotepec De Juárez Totonac: “So very much I want the house of God to be honored. And because of this I am treated with contempt.”
Tenango Otomi: “I look with respect on your house, even though I lose my life.”
Lalana Chinantec: “I cannot stand it, so much do I value the house where they worship You.”
(Source: M. Larson / B. Moore in Notes on Translation February 1970, p. 1-125.)
In Gbaya, the notion of “consume” (or “burn like a fire” in the Good News Translation) is emphasized with lɛk-lɛk, an ideophone “that is often used to describe the flames of a fire.”
Philip Noss (in The Bible Translator 1976, p. 100ff. ) explains: “A descriptive device common to Gbaya oral literature that is often found in translations of the Psalms is the ideophone. The ideophone may be identified with onomatopoeia and other sound words frequently seen in French and English comic strips, but in Gbaya and other African languages it comprises a class of words with a very wide range of meaning and usage. They may function verbally, substantively, or in a modifying role similar to adverbs and adjectives. They describe anything that may be experienced: action, sound, color, quality, smell, or emotion. In oral literature they are used not only with great frequency but also with great creativity.
Conforming to Gbaya literary style, the team used ideophones in its translation of the Psalms, although an average of less than two per psalm is a considerably lower rate of occurrence than in Gbaya narrative. There were two reasons for this limited usage. The first was that the Psalms are poetry rather than action narrative where their occurrence would be more common. The second was that in a tale being performed for artistic reasons, the ideophone may predominate over the action, whereas in the psalm the ideophone must complement without dominating or overshadowing the message. However, since the ideophone is an integral part of Gbaya literary expression, it could not be omitted. To do so would have rendered the translation colorless and unliterary.”
