5that when you hear the sound of the horn, pipe, lyre, trigon, harp, drum, and entire musical ensemble, you are to fall down and worship the golden statue that King Nebuchadnezzar has set up.
The term that is transliterated as “Nebuchadnezzar” in English is translated in American Sign Language with the signs for “king” and one signifying a wavy beard, referring to the common way of wearing a beard in Mesopotamia (see here ). (Source: Ruth Anna Spooner, Ron Lawer)
“Nebuchadnezzar” in American Sign Language, source: Deaf Harbor
In Spanish Sign Language it is translated with a sign depicting “idol in my image,” referring to Daniel 3:1. (Source: Steve Parkhurst)
The Hebrew, Aramaic and Greek terms that are often translated as “worship” (also, “kneel down” or “bow down”) are likewise translated in other languages in certain categories, including those based on physical activity, those which incorporate some element of “speaking” or “declaring,” and those which specify some type of mental activity.
Following is a list of (back-) translations (click or tap for details):
Obolo: itọtọbọ ebum: “express reverence and devotion” (source: Enene Enene)
Ngäbere: “cut oneself down before” (“This figure of speech comes from the picture of towering mahoganies in the forest which, under the woodman’s ax, quiver, waver, and then in solemn, thunderous crashing bury their lofty heads in the upstretched arms of the surrounding forest. This is the experience of every true worshiper who sees ‘the Lord, high and lifted up.’ Our own unworthiness brings us low. As the Valientes say, ‘we cut ourselves down before’ His presence. Our heads, which have been carried high in self-confidence, sink lower and lower in worship.)
Tzeltal: “end oneself before God.” (“Only by coming to the end of oneself can one truly worship. The animist worships his deities in the hope of receiving corresponding benefits, and some pagans in Christendom think that church attendance is a guarantee of success in this life and good luck in the future. But God has never set a price on worship except the price that we must pay, namely, ‘coming to the end of ourselves.'”) (Source of this and the one above: Nida 1952, p. 163)
Folopa: “die under God” (“an idiom that roughly back-translates “dying under God” which means lifting up his name and praising him and to acknowledge by everything one does and thanks that God is superior.”) (Source: Anderson / Moore, p. 202)
Chokwe: kuivayila — “rub something on” (“When anyone goes into the presence of a king or other superior, according to native law and custom the inferior gets down on the ground, takes a little earth in the fingers of his right hand, rubs it on his own body, and then claps his hands in homage and the greeting of friendship. It is a token of veneration, of homage, of extreme gratitude for some favor received. It is also a recognition of kingship, lordship, and a prostrating of oneself in its presence. Yet it simply is the applicative form of ‘to rub something on oneself’, this form of the verb giving the value of ‘because of.’ Thus in God’s presence as king and Lord we metaphorically rub dirt on ourselves, thus acknowledging Him for what He really is and what He has done for us.”) (Source: D. B. Long in The Bible Translator 1952, p. 87ff. )
In Luang it is translated with different shades of meaning:
For Mark 15:19 and Matt. 2:8 and 2:11: “uh’idma-rrama llia’ara” — “to kiss the fingernail and lick the heel”
For Acts 16:14: ra’uli-rawedi — “to praise-talk about”
Description: The exact identification of the nevel is very problematic. Some take it to be a kind of harp. The harp consisted of a neck projecting out of a soundbox. Strings were stretched from the extremity of the neck down its length and into the sound box. The body of the harp was made of wood and its strings of animal intestines (perhaps from sheep). The number of strings varied.
Others place the nevel in the category of lyres, where the strings are stretched over top of and parallel to the soundbox. While this is the interpretation preferred here, we will discuss the harp-type of instrument, since the identification is problematic and many translations have preferred “harp” for nevel.
Usage: The strings were plucked either with the fingers or with a thin piece of ivory or metal to give a resonating sound, probably in a lower register than that made by the kinor.
Translation: In several Psalms (33.2; 92.3; 144.9), the nevel is linked to the Hebrew word ‘asor, which could indicate it was “ten-stringed.”
Some degree of cultural adaptation must be made in the translation of these stringed instruments since cultures differ from each other in the shape, the number of strings, and the function of their instruments. Translators will have to select an equivalent instrument in the receptor language. In most passages the most accurate translation for nevel will be “guitar” or some equivalent medium-sized stringed instrument on which the strings are stretched over a sound box and are plucked.
In those passages where nevel and kinor appear together it is recommended that the translator use an instrument that can vary in size and then render the two words as “large and small X,” for example, “large and small guitars.” Alternately, it may be possible to select two stringed instruments that are similar in construction but different in size, for example, “guitar and lute.” It is also possible to say “large and small stringed instruments” or to combine the two, saying “stringed instruments.”
Psalms 33:2: “Praise the LORD with the lyre” (NRSVue) contains two major translation problems. The first problem is that in many languages, the phrase “with the lyre” must be changed into a verb phrase or clause; for example, the whole line may be rendered “Praise the LORD by playing music on the lyre” or “Make music with the lyre, and praise the LORD.” The second problem, which applies also to the second line of this verse, is the terms to be used for the musical instruments here. In languages in which there are several stringed instruments, translators may use one of the smaller ones for kinor (“lyre”) and a larger one for nevel (“harp” in NRSVue). In languages where there is little or no choice, they should use the known local stringed instrument for the kinor, and a more generic expression for the nevel. Where there are no known stringed instruments, it will often be necessary to say “small instruments with strings” for kinor and “large instruments with strings” for nevel.
Harp (source: Knowles, revised by Bass (c) British and Foreign Bible Society 1994)
German Luther translation: Posaune, today: “trombone,” originally with the meaning of a wind instrument made from cow horn (from Latin bucina [bovi- / “cow” + the root of cano / “sing”]. Incidentally, bucina is also used in the Latin Vulgate translation). By the time of Luther’s translation it referred to the natural trumpet or a fanfare trumpet (see also trumpet). Once the meaning morphed to “trombone” in the 19th century, trombone ensembles started to play a central role in Protestant German churches and do so to the present day. In 2016, “Posaunenchöre” became added to the UNESCO Intangible Cultural Heritage list . (Note that Exodus 19:13 is the only exception in the Luther Bible. From the 1956 revision on, Widderhorn or “ram’s horn” is used here) (source: Zetzsche)
Description: The horn was a wind instrument made from the horn of an animal, usually a male sheep.
Usage: The animal horn was softened so that it could be shaped. The point of the horn was cut off to leave a small opening through which the user blew. The vibration of the lips produced the sound.
The ram’s horn served two general purposes:
1. It was blown in certain religious contexts, not as musical accompaniment to worship but as a signal for important events. Some of these events were the giving of the Law on Mount Sinai, the Day of Atonement, the bringing of the Ark of the Covenant into Jerusalem, and the coronation of kings.
2. It also served as a signal or alarm when war was approaching. Such references are particularly common in the prophetic books, when the prophets are calling the people to repent (Hosea 5:8; 8:1; Joel 2:1; 2:15; Amos 3:6).
Translation: In many passages the purpose of the ram’s horn called shofar in Hebrew was to sound an alarm. This will be easy to express in those cultures where the horns of animals are used as musical instruments to give signals to large groups of people. In other cultures it may be possible to find another instrument that is used for an equivalent purpose. In some languages, for example, instruments such as bells or drums are the warnings for war. Some translations have transliterated the word shofar. Unless the instrument is well known, such a borrowing should normally be accompanied by a footnote or a glossary entry.
In some passages it will be necessary to expand the translation in order to indicate that the blowing of the ram’s horn was not just for music; for example, in Ezekiel 7:14Contemporary English Version has “A signal has been blown on the trumpet,” and the GermanContemporary English Version says “An alarm is sounded” [elsewhere, the same German version refers to the horns as Kriegshörner or “war horns.”]
Man blowing ram’s horn (source: Knowles, revised by Bass (c) British and Foreign Bible Society 1994)
The musical instrument that is most often translated as “flute” or “pipe” in English is more or less universally used, so it’s typically translated directly with the applicable term.
Since its cultural significance is sometimes different it might be translated with a different instruments is some cases (see also below). When in Matthew 11:17 and Luke 7:32 the flute is mentioned as an instrument played at a wedding, the Chichewa (interconfessional translation, 1999) translates it as “we played the wedding drum for you” (source: Wendland 1987, p. 74), the Yakan and Kankanaey translations use “gongs” (source: Yakan and Kankanaey Back Translations), in Western Bukidnon Manobo “drumming” is used (source: Western Bukidnon Manobo Back Translation), and in Tagbanwa “stringed-instruments” (source: Tagbanwa Back Translation).
Or in Jeremiah 48:36 where the flute is used for mourning, Bassa uses “funeral drum” (source: Newman / Stine) or Hiligaynon, while using “flute,” makes the meaning explicit: “like a lonely music of a flute for the dead” (source: Hiligaynon Back Translation).
Description: The flute was a wind instrument consisting of a tube with a series of finger holes used to alter the tone. Some flutes were made of reed and could take several forms: the tube could be a cylinder or it could be more in the shape of a cone. There were instruments made of a single tube, while others had two tubes side by side. Often ancient double flutes or double pipes were arranged in a V-shape, with two separate reeds. One of these pipes had several holes while the other had only one hole and acted as a kind of drone, providing an unchanging tone to accompany the varying tones coming from the first pipe. Some pipes or flutes were made of other materials, such as wood, ivory, bone, or metal.
Usage: Sound was produced with the flute by blowing across an opening leading into a hole running inside the length of the instrument; in some cases the opening hole was in the end of the instrument while in others this hole was in the side of the instrument toward one end. With the reed pipe, on the other hand, a column of air was set in motion by blowing over a reed device, causing it to vibrate.
Translation: If there is no wind instrument available to translate “flute,” a different kind of wind instrument may be used.
The Hebrew word ‘ugav is usually understood to refer to a wind instrument. It is possible, however, that it is a generic term for “instrument” or even refers to a particular stringed instrument. In Job 21:12 and Job 30:31 it is identified as an instrument that expressed joy and contentment.
Psalms 5:1: The Hebrew word nchiloth appears only here in the Old Testament, and its meaning is uncertain. It may mean “wind instruments” in general or “flutes” in particular. Extra-biblical evidence indicates that it may have been an instrument played for funeral laments.
Matthew 9:23: Here NRSVue has “flute players”: According to Jewish tradition, even the poorest people were expected to have two flute players and a wailing woman for a funeral. In order to clarify the role of the flute players Good News Translation adds “for the funeral.” This information was immediately evident to a Jewish reader who was familiar with the funeral customs, but it will not be clear to other readers. Many cultures are familiar with the flute or other instruments that are played by blowing through a wooden tube. If no such instrument exists, then translators can say “those who played musical instruments for a funeral” or, as in Good News Translation, “musicians for the funeral.” See also flute players.
Men playing flutes (source: Louise Bass (c) British and Foreign Bible Society 1994)
Description: The trumpet was a wind instrument, frequently used in signaling, especially in connection with war. It was made of metal (the trumpets mentioned in Numbers 10:2 et al. were made of silver). It was a straight, narrow tube, about 40-45 centimeters (16-18 inches) in length. One end had a mouthpiece, while the other end was widened into a bell shape.
Usage: The sound on the trumpet was made by blowing into the mouthpiece in such a way as to vibrate the lips. The vibrations were magnified as they passed along the widening body of the tube.
The purpose of the trumpet in Israel was primarily to signal. Numbers 10 lists a variety of occasions in which the trumpets were to be used, including signaling the people to break camp, calling all of the people together for a meeting, calling only the leaders together, sounding an alarm at the beginning of a battle, and blowing them for liturgical purposes during certain festivals. It is significant that it was the task of the priests to sound the trumpets.
Translation: Generally speaking, translators may distinguish between the Hebrew words chatsotsrah and shofar by rendering chatsotsrah as “trumpet” or “bugle” and shofar with a more generic word for “horn” or with “ram’s horn.” Note the following comment in Translation commentary on Psalm 98:4 – 98:6: “In some languages it will not be possible to make a distinction between the two Hebrew terms translated trumpets and horn. In such cases the local term for a horn will be used. The Greek Old Testament used only one term.”
The exact meaning of the Aramaic word qeren in Daniel 3:5 and following is debated. It probably refers to a brass wind instrument and is best rendered “horn.”
The present-day equivalent for the Greek word salpigx is “bugle.” A bugle is generally smaller than a trumpet and is often associated with the sounding of military signals.
Man blowing a trumpet (source: Horace Knowles (c) British and Foreign Bible Society 1954, 1967, 1972)
Some languages do not have a concept of kingship and therefore no immediate equivalent for the Greek, Hebrew, Aramaic, and Latin that is translated as “king” in English. Here are some (back-) translations:
Ninia Yali: “big brother with the uplifted name” (source: Daud Soesilio in Noss 2007, p. 175)
Nyamwezi: mutemi: generic word for ruler, by specifying the city or nation it becomes clear what kind of ruler (source: Pioneer Bible Translators, project-specific translation notes in Paratext)
Ghomála’: Fo (“The word Fo refers to the paramount ruler in the kingdoms of West Cameroon. He holds administrative, political, and religious power over his own people, who are divided into two categories: princes (descendants of royalty) and servants (everyone else).” (Source: Michel Kenmogne in Theologizing in Context: An Example from the Study of a Ghomala’ Christian Hymn))
Faye Edgerton retells how the term in Navajo (Dinė) was determined:
“[This term was] easily expressed in the language of Biblical culture, which had kings and noblemen with their brilliant trappings and their position of honor and praise. But leadership among the Navajos is not accompanied by any such titles or distinctions of dress. Those most respected, especially in earlier days, were their headmen, who were the leaders in raids, and the shaman, who was able to serve the people by appealing for them to the gods, or by exorcising evil spirits. Neither of these made any outward show. Neither held his position by political intrigue or heredity. If the headman failed consistently in raids, he was superceded by a better warrior. If the shaman failed many times in his healing ceremonies, it was considered that he was making mistakes in the chants, or had lost favor with the gods, and another was sought. The term Navajos use for headman is derived from a verb meaning ‘to move the head from side to side as in making an oration.’ The headman must be a good orator, able to move the people to go to war, or to follow him in any important decision. This word is naat’áanii which now means ‘one who rules or bosses.’ It is employed now for a foreman or boss of any kind of labor, as well as for the chairman of the tribal council. So in order to show that the king is not just a common boss but the highest ruler, the word ‘aláahgo, which expresses the superlative degree, was put before naat’áanii, and so ‘aláahgo naat’áanii ‘anyone-more-than-being around-he-moves-his-head-the-one-who’ means ‘the highest ruler.’ Naat’áanii was used for governor as the context usually shows that the person was a ruler of a country or associated with kings.”
Click or tap here to see the rest of this insight.
Like a number of other East Asian languages, Japanese uses a complex system of honorifics, i.e. a system where a number of different levels of politeness are expressed in language via words, word forms or grammatical constructs. These can range from addressing someone or referring to someone with contempt (very informal) to expressing the highest level of reference (as used in addressing or referring to God) or any number of levels in-between.
One way Japanese shows different degree of politeness is through the choice of a formal plural suffix to the second person pronoun (“you” and its various forms) as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. In these verses, anata-gata (あなたがた) is used, combining the second person pronoun anata and the plural suffix -gata to create a formal plural pronoun (“you” [plural] in English).
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