εἰ οὖν ἐγὼ ἔνιψα ὑμῶν τοὺς πόδας ὁ κύριος καὶ ὁ διδάσκαλος, καὶ ὑμεῖς ὀφείλετε ἀλλήλων νίπτειν τοὺς πόδας·
14So if I, your Lord and Teacher, have washed your feet, you also ought to wash one another’s feet.
The Greek that is translated as “teacher” (also: “master”) in English is translated in the 1941 Yiddish by Einspruch as rebe (רֶבּי) or “Rabbi” in an effort to identify Jesus as a teacher of the Jews. (Source: Naomi Seidmann in Elliott / Boer 2012, p. 151ff.)
Likewise, a number of Hebrew translations, including the 2018 and 2020 editions by the The Bible Society in Israel also use “Rabbi” (רַבִּי).
See also rabbi.
Painting by Huibing He (何慧冰), used with permission by the Overseas Ministries Study Center (OMSC) at Princeton Theological Seminary. You can purchase this and many other artworks by artists in residence at the OSMC in high resolution and without a watermark via the OSMC website .
“Dr. Huibing He, 2007-2008 OMSC artist in residence, encountered Christianity when the church was ‘reopened’ in China in 1980. She pursued her artistic education as well as her theological education in China in order to share her faith. Dr. He has embraced the challenge of a dual vocation as both artist and pastor. Her work has been exhibited in Nanjing, China, in Hong Kong, in Austria, and in the United States.
The story of her life is an amazing testimony to the faithfulness of God. She was born in Guangzhou, China, five years after the Communist takeover, and for much of her childhood her father was away at a concentration labor farm to which he had been sentenced because of his political views and alleged ‘capitalist’ sympathies. She became a Christian in her early twenties, just after churches in China were permitted to reopen. ‘I had always escaped into art for consolation, but I think I had always sought God without being aware of it,’ she says. Moved by the music at the first worship service she wandered into, Huibing asked to sing in the choir and before long was involved in many church activities, including Bible study and baptismal preparation. ‘The church was so full of warmth, love, and harmony. Something really captured my whole being. So I was compelled to stay.’
Although Huibing and her seven siblings grew up materially poor, her parents were enormously supportive and encouraged the children to be ‘spiritually free’ insofar as they were able. Huibing’s parents instilled in her from an early age the importance of honesty, integrity, and kindness, and on her father’s rare visits, he urged Huibing, ‘Don’t be destroyed by circumstance.’
Huibing took this lesson to heart. School was extremely difficult for her due to the stifling impositions of the Cultural Revolution; students had been encouraged to rebel against their teachers and inherited tradition, and until high school, Huibing endured daily bullying because of her father’s status. She was even barred from participating in school activities such as the art program. Nevertheless, the school made use of her talent by assigning her to decorate the building’s bulletin boards, an activity she loved.
Huibing attended Nanjing Theological Seminary because she wanted to be able to address the questions her friends often posed about her newfound faith. She was delighted to discover that she did not have to sacrifice her art in order to pursue ministry. She eventually came to Columbia Theological Seminary in Atlanta, where she earned a doctor of ministry degree focusing on the intersection between Gospel, culture, and pastoral care.
She studied oil painting with Master Li Jianheng, drawing and art theory with Master sculptor Tang Daxi, and Chinese painting with Master Zhu Gui in Guangzhou and Nanjing, China, from 1968 to 1978. She was an instructor in Fine Arts at the Guangzhou Commercial School from 1980 to 1982, an instructor in Applied Church Art at Nanjing Theological Seminary from 1985 to 1989, and an instructor in Christian Art History there from 1986 to 1992.
She is a member of three professional artist associations, and continues to work as an artist and an ordained minister in the United Methodist Church.” (Source ).
See also Jesus Washes His Disciples’ Feet.
Following are a number of back-translations of John 13:14:
Like many languages (but unlike Greek or Hebrew or English), Tuvan uses a formal vs. informal 2nd person pronoun (a familiar vs. a respectful “you”). Unlike other languages that have this feature, however, the translators of the Tuvan Bible have attempted to be very consistent in using the different forms of address in every case a 2nd person pronoun has to be used in the translation of the biblical text.
As Voinov shows in Pronominal Theology in Translating the Gospels (in: The Bible Translator 2002, p. 210ff. ), the choice to use either of the pronouns many times involved theological judgment. While the formal pronoun can signal personal distance or a social/power distance between the speaker and addressee, the informal pronoun can indicate familiarity or social/power equality between speaker and addressee.
Here, Jesus is addressing his disciples, individuals and/or crowds with the formal pronoun, showing respect.
In Nepali translations, Jesus addresses his disciples and other people with the medium honorific pronoun timīlē (तिमीले) or timīlēharū (तिमीलेहरू). This disciples respond with a high honorific pronoun. (Source: Chitra Chhetri in The Bible Translator 2009, p. 73ff. )
In most Dutch translations, Jesus addresses his disciples and common people with the informal pronoun, whereas they address him with the formal form.
The Hebrew adonai in the Old Testament typically refers to God. The shorter adon (and in two cases in the book of Daniel the Aramaic mare [מָרֵא]) is also used to refer to God but more often for concepts like “master,” “owner,” etc. In English Bible translations all of those are translated with “Lord” if they refer to God.
In English Old Testament translations, as in Old Testament translations in many other languages, the use of Lord (or an equivalent term in other languages) is not to be confused with Lord (or the equivalent term with a different typographical display for other languages). While the former translates adonai, adon and mare, the latter is a translation for the tetragrammaton (YHWH) or the Name of God. See tetragrammaton (YHWH) and the article by Andy Warren-Rothlin in Noss / Houser, p. 618ff. for more information.
In the New Testament, the Greek term kurios has at least four different kinds of use:
In the first and fourth case, it is also translated as “Lord” in English.
Most languages naturally don’t have one word that covers all these meanings. According to Bratcher / Nida, “the alternatives are usually (1) a term which is an honorific title of respect for a high-ranking person and (2) a word meaning ‘boss’, ‘master’, or ‘chief.’ (…) and on the whole it has generally seemed better to employ a word of the second category, in order to emphasize the immediate personal relationship, and then by context to build into the word the prestigeful character, since its very association with Jesus Christ will tend to accomplish this purpose.”
When looking at the following list of back-translations of the terms that translators in the different languages have used for both kurios and adonai to refer to God and Jesus respectively, it might be helpful for English readers to recall the etymology of the English “Lord.” While this term might have gained an exalted meaning in the understanding of many, it actually comes from hlaford or “loaf-ward,” referring to the lord of the castle who was the keeper of the bread (source: Rosin 1956, p. 121).
Following are some of the solutions that don’t rely on a different typographical display (see above):
We have come to rely on another term which emphasizes God’s essential nature as YHWH, namely jukurrarnu (see tetragrammaton (YHWH)). This word is built on the same root jukurr– as is jukurrpa, ‘dreaming.’ Its basic meaning is ‘timelessness’ and it is used to describe physical features of the land which are viewed as always being there. Some speakers view jukurrarnu in terms of ‘history.’ In all Genesis references to YHWH we have used Kaatu Jukurrarnu. In all Mark passages where kurios refers to God and not specifically to Christ we have also used Kaatu Jukurrarnu.
New Testament references to Christ as kurios are handled differently. At one stage we experimented with the term Watirirririrri which refers to a ceremonial boss of highest rank who has the authority to instigate ceremonies. While adequately conveying the sense of Christ’s authority, there remained potential negative connotations relating to Warlpiri ceremonial life of which we might be unaware.
Here it is that the Holy Spirit led us to make a chance discovery. Transcribing the personal testimony of the local Warlpiri pastor, I noticed that he described how ‘my Warlaljamarri called and embraced me (to the faith)’. Warlaljamarri is based on the root warlalja which means variously ‘family, possessions, belongingness’. A warlaljamarri is the ‘owner’ or ‘possessor’ of something. While previously being aware of the ‘ownership’ aspect of warlaljamarri, this was the first time I had heard it applied spontaneously and naturally in a fashion which did justice to the entire concept of ‘Lordship’. Thus references to Christ as kurios are now being handled by Warlaljamarri.” (Source: Stephen Swartz, The Bible Translator 1985, p. 415ff. )
Law (2013, p. 97) writes about how the Ancient Greek Septuagint‘s translation of the Hebrew adonai was used by the New Testament writers as a bridge between the Old and New Testaments: “Another case is the use of kurios referring to Jesus. For Yahweh (in English Bibles: ‘the Lord‘), the Septuagint uses kurios. Although the term kurios usually has to do with one’s authority over others, when the New Testament authors use this word from the Septuagint to refer to Jesus, they are making an extraordinary claim: Jesus of Nazareth is to be identified with Yahweh.”
See also Father / Lord.
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 first person singular and plural pronoun (“I” and “we” and its various forms) as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. The most commonly used watashi/watakushi (私) is typically used when the speaker is humble and asking for help. In these verses, where God / Jesus is referring to himself, watashi is also used but instead of the kanji writing system (私) the syllabary hiragana (わたし) is used to distinguish God from others.
(Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )
See also pronoun for “God”.
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).
(Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )
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