Following are a number of back-translations as well as a sample translation for translators of Proverbs 3:5:
Kupsabiny: “Trust God with all your stomach/heart. Do not depend on your own thoughts alone.” (Source: Kupsabiny Back Translation)
Newari: “Trust God from [your] inmost heart. Don’t go just on your own understanding.” (Source: Newari Back Translation)
Hiligaynon: “[You (sing.)] trust in the LORD with all your (sing.) heart, and you (sing.) do- not -trust on your (sing.) own wisdom.” (Source: Hiligaynon Back Translation)
Kankanaey: “Concentrate all your (sing.) thoughts to trust in God, so-that it will not be your (sing.) own understanding that you (sing.) trust-in.” (Source: Kankanaey Back Translation)
Hdi: “In the grain grain of your heart, put your head on Yawe, do not go lean your body/self on your intelligence!” (Source: Drew Maust)
Lalana Chinantec: “as a chair where kings sit is heaven where I sit. As is a low stool where my feet rest, is the earth”
San Mateo del Mar Huave: “if I wished, heaven could serve as my seat, and I could use the earth as a place to rest my feet if I wanted” (source for this and above: Viola Waterhouse in Notes on Translation August 1966, p. 86ff.)
Kankanaey: “In heaven is where I sit to rule, and the world, that’s where-I-stretch-out-my-legs.” (Source: Kankanaey Back Translation)
Tagbanwa: “The heavens really are my seat in kingship. The world is just the stepping-stool of my feet” (Source: Tagbanwa Back Translation)
Following are a number of back-translations as well as a sample translation for translators of Proverbs 3:6:
Kupsabiny: “Put God first/ahead in everything you are doing, then it is when your ways/paths will be straight/flow well.” (Source: Kupsabiny Back Translation)
Newari: “No matter what you do, remember the Lord! He will show you the way.” (Source: Newari Back Translation)
Hiligaynon: “Remember the LORD in all you (sing.) do, and he will-guide you (sing.) in the right path.” (Source: Hiligaynon Back Translation)
Kankanaey: “He is the one you (sing.) are-to-acknowledge and follow in all you (sing.) do and he will-prepare the path-you-(sing.)-take so-that it-will-be-made-straight.” (Source: Kankanaey Back Translation)
Hdi: “In all that you do, remember him, he will attend to the edge of your foot.” (Source: Drew Maust)
Low German translation by Johannes Jessen, publ. 1933, republ. 2006: “steppe”
Yakan: “the lonely place” (source: Yakan Back Translation)
Western Bukidnon Manobo: “a land where no people lived” (source: Western Bukidnon Manobo Back Translation)
Kankanaey: “the place with no inhabitants” (source: Kankanaey Back Translation)
Cherokee: inage or “far away downstream” (source: Bender / Belt 2025, p. 16)
Matumbi uses various term: lubele (desert, sandy place without water) — used in John 11:54, lupu’ngu’ti (a place where no people live, can be a scrub land, a forest, or a savanna) — used in Mark 1:3 et al.), and mwitu (a forest, a place where wild animals live) — used in Mark 1:13 et al.) (Source: Pioneer Bible Translators, project-specific notes in Paratext)
Chichewa Contemporary translation (2002/2016): chipululu: a place uninhabited by people with thick forest and bush (source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
Adioukrou: loj or “savannah” — “land that is not village, nor forest, nor field (source: Hill 2006)
Note that in Luke 15:4, usually a term is used that denotes pastoral land, such as “eating/grazing-place,” in Tagbanwa (source: Tagbanwa Back Translation).
The Greek and Hebrew terms that are often translated as “leprosy (or: defiling/skin disease)” or “leprous (person)” in English is translated in Mairasi as “the bad sickness,” since “leprosy is very common in the Mairasi area” (source: Enggavoter 2004).
Usila Chinantec “sickness like mal de pinta” (a skin disease involving discoloration by loss of pigment) (source: B. Moore / G. Turner in Notes on Translation 1967, p. 1ff.)
Hiligaynon: “dangerous skin disease” (source: Hiligaynon Back Translation)
Kankanaey: “fearful skin disease” (source: Kankanaey Back Translation)
Tenango Otomi: “terrible rotting” (source: Tenango Otomi Back Translation)
Newari: “infectious skin disease” (source: Newari Back Translation)
Targumim (or: Targums) are translations of the Hebrew Bible into Aramaic. They were translated and used when Jewish congregations increasingly could not understand the biblical Hebrew anymore. Targum Onqelos (also: Onkelos) is the name of the Aramaic translation of the Torah (the first five books of the Hebrew Bible) probably composed in Israel/Palestine in the 1st or 2nd century CE and later edited in Babylon in the 4th or 5th century, making it reflect Jewish Babylonian Aramaic. It is the most famous Aramaic translation and was widely used throughout the Jewish communities. In Leviticus 13 and 14 it translates tzaraat as a “quarantining affliction” — focusing “on what occurs to individuals after they suffer the affliction; the person is isolated from the community.” (Source: Israel Drazin in this article ). Similarly, the English Jewish Orthodox ArtScroll Tanach translation (publ. 2011) transliterates it as tzaraat affliction.
The Hebrew that is translated as “Lord of hosts” in English (or: “Yahweh of Armies” [translation by John Goldingay, 2018], “Hashem, Master of Legions” [ArtScroll Tanach translation, 2011]) is translated in various ways:
Kankanaey: “God the Highest Ruler” (source: Kankanaey Back Translation)
Newari: Lord Almighty” (source: Newari Back Translation)
Kutu: Mndewa Imulungu or “Lord with all power” (source: Pioneer Bible Translators, project-specific translation notes in Paratext)
Mandarin Chinese: Wànjūnzhī Yēhéhuá / Shàngzhǔ (万军之耶和华 / 上主) or “Jehovah / Lord of 10,000 [=all] armies”
Mandinka: “Yawe God of the universe” (source: Rob Koops)
German (Luther) Bible the second part of the name is transliterated: Herr Zebaoth or “Lord Zebaoth” (Swedish, Finnish and Latvian use the same translation strategy). The Russian Orthodox Synod translation uses a transliteration of the second part of the designation as well: Господь Саваоф / Gospod’ Savaof.
The traditional French translation of l’Eternel/Yahve/le Seigneur/Seigneur des armées (“Lord of the armies”) presents a problem when listened to, as Jean-Marc Babut explains (in The Bible Translator 1985, p. 411ff. ):
“For the hearer, the traditional translation l’Eternel/Yahvé/le Seigneur des armées can easily be taken in a bad sense: there is nothing, in fact, to prevent the listener from hearing l’Eternel désarmé, ‘the Eternal One disarmed’ or ‘stripped of his power’! (…). Thus the Bible en français courant [publ. 1997] has decided to use the expression Seigneur/Dieu de l’univers, “Lord/God of the Universe”. This formula, which has an undeniably liturgical ring, seems to have been favorably received by users.”
Other, later French Bibles who have chosen a similar strategy, include Parole de Vie (publ. 2017) with Seigneur de l’univers or Bible Segond 21 (publ. 2007) with l’Eternel, le maître de l’univers.
The Greek in John 1:1 that is typically translated in English as “was with God” is translated in Aguaruna as “lived with God.” (Source: M. Larson / B. Moore in Notes on Translation February 1970, p. 1-125.)
In Kankanaey, it is translated as “(He) was God’s companion” (source: Kankanaey back-translation) and in the German New Testament translation by Berger / Nord (publ. 1999) as Gott nahe or “near (to) God.”
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 for this and above: M. Larson / B. Moore in Notes on Translation February 1970, p. 1-125.)
Uma: “My heart boiled, because I love your (sing.) House, Lord.” (Source: Uma Back Translation)
Yakan: “My love for your house o God, is like a fire in my liver which is destroying me.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “Very great is my cherishing of your house, God, and that’s why it has become a reason for giving me a very painful breath.” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “My extreme concern-for (lit. hurting-for) your (sing.) house, that will be my death.” (Source: Kankanaey Back Translation)
Tagbanwa: “I really uphold/stand-up-for very much your house where you are worshiped even if it will cause my life/breath to be severed.” (Source: Tagbanwa Back Translation)
Tenango Otomi: “I look with respect on your house, even though I lose my life.” (Source: Tenango Otomi Back Translation)
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.”
