“much work overwhelmed Martha” (Sranan Tongo) (source for all above: Reiling / Swellengrebel)
“her face kept on getting turned with her work inside the house” (Mairasi) (source: Enggavoter 2004)
“she was alone in the kitchen because she was making food for them, and there were many problems that she had with what she was doing” (Western Bukidnon Manobo) (source: Western Bukidnon Manobo Back Translation)
“Marta’s eye was here and there with the doing of tasks” (Bariai) (source: Bariai Back Translation)
The Greek that is translated as “(you) foolish people” or “(you) foolish ones” is (back-) translated in a number of ways:
San Blas Kuna: “people having a dark liver” (“incapable of intelligent, thoughtful behavior”) (See Seat of the Mind for traditional views of “ways of knowing, thinking, and feeling.”)
Batak Toba: “those short-of-mind” (“mostly referring to stupidity or ignorance in general”)
Zarma: a word indicating a person who refuses to use the intelligence he has
Chichewa, Yao: expressions implying intractability and willful opposition to common interests or commonly accepted ideas (source for this and above: Reiling / Swellengrebel)
The Hebrew, Latin and Greek that is translated as “blind” in English is translated as “(having) eyes dark/night” in Ekari or “having no eyes” in Zarma. (Source: Nida 1964, p. 200)
The Hebrew or Greek which are translated into English as “sackcloth” are rendered into Chamula Tzotzil as “sad-heart clothes.” (Source: Robert Bascom)
Pohnpeian and Chuukese translate it as “clothing-of sadness,” Eastern Highland Otomi uses “clothing that hurts,” Central Mazahua “that which is scratchy,” Tae’ and Zarma “rags” (Source: Reiling / Swellengrebel), and Tangale as “torn clothes that show contrition on the body” (source: Andy Warren-Rothlin). In the English translation by Goldingay (2018), “put on sackcloth” is translated as wrap on sack.
“In Turkana, a woman removes her normal everyday skin clothes and ornaments and wears rather poor skins during the time of mourning. The whole custom is known as ngiboro. It is very difficult to translate putting on sackcloth because even material like sacking is unfamiliar. The Haya, on the other hand, have a mourning cloth made out of the bark of a tree; and the use of this cloth is similar to the Jewish use of sackcloth. It was found that in both the Turkana and Ruhaya common language translations, their traditional mourning ceremonies were used.” (Source: Rachel Konyoro in The Bible Translator1985, p. 221ff. )
Click or tap here to see a short video clip showing what a sackcloth looked like in biblical times (source: Bible Lands 2012)
The Greek that is translated as “cross” in English is often referred to a visualization of the cross’ shape. In Mandarin Chinese and Japanese, for instance, it is translated as 十字架 (Chinese: shízìjià; Japanese: jūjika) — “10-character-frame” because the character for “10” has the shape of a cross) or in Ancient Greek manuscripts with the staurogram (⳨) a ligature of the Greek letters tau (Τ) and rho (Ρ) that was used to abbreviate stauros (σταυρός), the Greek word for cross, and may visually have represented Jesus on the cross.
Elsewhere it refers to the function, e.g. a newly coined term, like one made up of two Sanskrit words meaning “killing-pole” (Marathi NT revision of 1964), “wood to-stretch-out-with” (Toraja-Sa’dan), or “nailing pole” (Zarma). A combination of the two seems to be used in Balinese, which employs a word for the crossbeams in a house, derived from a verb that can refer both to a beam that stretches from side to side under a roof, and to a person stretched out for torture (source for this and above: Reiling / Swellengrebel). Similarly, in Lamba it is translated “with umutaliko — ‘a pole with a cross-piece, on which maize was normally tied’ from the verb ‘talika’ which, strangely enough, is used of ‘holding down a man with arms and legs stretched out, someone gripping each limb.'” (Source C. M. Doke in The Bible Translator 1958, p. 57ff. ).
“In Mongolian, the term that is used is togonoltchi mott, which is found in the top of a tent. The people on the steppes live in round felt-yurts and the round opening on the top of the tent serves as a window. The crosswood in that opening is called togonoltchi mott. ‘Crucified’ is translated ‘nailed on the crosswood.’ This term is very simple, but deep and interesting too. Light comes to men through the Cross. What a privilege to be able to proclaim such a message.” (Source: A. W. Marthinson in The Bible Translator 1954, p. 74ff. )
In Mairasi it is translated as iwo nasin ae: “chest measurement wood.” “This term refers to the process of making a coffin when a person dies. The man making the coffin takes a piece of bamboo and measures the body from head to heel. He then breaks the stick off at the appropriate point. For the width he measures the shoulders and then ties the two sticks together in the shape of a cross. As he works, he continually measures to make sure the coffin is the correct size. At the gravesite, the coffin is lowered. Then the gravecloth, palm leaves, and finally the chest measurement stick are laid on top of the coffin before the dirt is piled on. This term is full of meaning, because it is in the shape of a cross, and each person will have one. The meaning is vividly associated with death.” (Source: Enggavoter, 2004)
In Lisu it is translated as ꓡꓯꓼ ꓐꓳ ꓔꓶꓸ DU — lä bo tɯ du: “a place to stretch the arms across” (source: Arrington 2020, p. 215), in Noongar as boorn-yambo: “crossed tree” (source: Warda-Kwabba Luke-Ang), in Yagaria as malipu yava or “cross-wood,” Alekano as “cross-wise tree,” in Kuman (PNG) as endi pirake or “vertical and horizontal beam” (source for this and two above: Renck 1990, p. 81), and in Tibetan as rgyangs shing (རྒྱངས་ཤིང་།), lit. “stretch + wood” (“translators have adopted the name of this traditional Tibetan instrument of torture to denote the object on which Jesus died”) (source: gSungrab website ).
The English translation of Ruden (2021) uses “stake.” She explains (p. xlv): “The cross was the perpendicular joining of two execution stakes, and the English word euphemistically emphasized the geometry: a cross could also be an abstract cross drawn on paper. The Greeks used their word for ‘stake,’ and this carries the imagery of what was done with it, as our ‘stake’ carries images of burning and impaling. ‘Hang on the stakes’ for ‘crucify’ is my habitual usage.”
The Greek that is translated as “knock (on a door)” in English is translated as “call” (Zanaki, Yanesha’) “speak” (Tzeltal), or “clap” (Zarma).
This is sometimes due to the fact that doors are not being used in the respective cultures (as, for instance, in Yanesha’) or, as Nida (p. 45f.) explains, other cultural differences:
“One cannot say to the Zanaki people along the winding shores of sprawling Lake Victoria, ‘Behold I stand at the door and knock’ (Revelation 3:20). This would mean that Christ was declaring Himself to be a thief, for in Zanaki land thieves generally make it a practice to knock on the door of a hut which they hope to burglarize; and if they hear any movement or noise inside, they dash off into the dark. An honest man will come to a house and call the name of the person inside, and in this way identify himself by his voice. Accordingly, in the Zanaki translation it is necessary to say, ‘Behold I stand at the door and call.’ This wording might be slightly strange to us, but the meaning is the same. In each case Christ is asking people to open the door. He is no thief and He will not force an entrance; He knocks — and in Zanaki “He calls.” If anything the Zanaki expression is a little more personal than our own.”
The Greek that is translated as “acknowledge” or “confess” in English is rendered as “say openly … that they have believed” (Tzeltal), “approves” (Chichewa), “declares/mentions (my) name” (Kekchí, Sranan Tongo), “talks (my) good name” (Northern Grebo), “testifies to (me)” (Zarma, Pohnpeian), “takes (my) side” (Shona, translation of 1966), or “speaks for (me)” (Ekari). (Source: Reiling / Swellengrebel)
