Some key biblical terms that were directly transliterated from the Hebrew have ended up with unforeseen meanings in the lexicons of various recipient languages.
Take, for example, the English word “cherub,” from Hebrew “kĕrȗb.” Whereas the original Hebrew term meant something like “angelic being that is represented as part human, part animal” (…), the English word now means something like “a person, especially a child, with an innocent or chubby face.” Semantic shift has been conditioned in English by the Renaissance artistic tradition that portrayed cherubim in the guise of cute little Greek cupids. This development was of course impossible to foresee at the time when the first English translations borrowed this Hebrew word into the English Bible tradition, following the pattern of borrowing set by the Greek and Latin translations of the Old Testament.
In Russian, the semantic shift of this transliteration was somewhat different: the -îm ending of “kĕrūbîm,” originally signifying plurality in Hebrew, has been reanalyzed as merely the final part of the lexical item, so that the term херувим (kheruvim) in Russian is a singular count noun, not a plural one. (A similar degrammaticalization is seen in English writers who render the Hebrew plural kĕrūbîm as “cherubims.”) Apparently, this degrammaticalization of the Hebrew ending is what led the Russian Synodal translator of Genesis 3:24 to mistakenly render the Hebrew as saying that the Lord God placed a kheruvim (accusative masculine singular in Russian) to the east of the garden of Eden, instead of indicating a plural number of such beings. (Source: Vitaly Voinov in The Bible Translator 2012, p. 17ff. )
In Ngäbere the Hebrew that is translated in English as “cherub” is translated as “heavenly guard” (source: J. Loewen 1980, p. 107), in Nyamwezi as v’amalaika v’akelubi or “Cherubim-Angel” to add clarity, in Vidunda as “winged creature,” in Makonde as “winged creature from heaven” (source for this and two before: Pioneer Bible Translators, project-specific translation notes in Paratext), in Bura-Pabir as “good spirit with wings,” and in Northern Pashto it is either translated as “heavenly creature” (Afghan Pashto Bible, publ. 2023) or “winged creature” (Holy Bible in Pakistani [Yousafzai] Pashto, publ. 2020) (source for Bura-Pabir and Northern Pashto: Andy Warren-Rothlin).
Following are a number of back-translations as well as a sample translation for translators of Psalm 18:10:
Chichewa Contempary Chichewa translation, 2002/2016:
“He rode on a Cherub and flew;
and flew with wind and speed.” (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
Newari:
“He came flying, sitting on a cherub.
he came flying, sitting on the wings of the wind.” (Source: Newari Back Translation)
Hiligaynon:
“You (sing.) rode on the cherubim/[kerubin],
and this flew fast while being-blown by the wind.” (Source: Hiligaynon Back Translation)
Eastern Bru:
“God sat on the creatures called Cherubim. Then he flew down here and there following where the wind blew.” (Source: Bru Back Translation)
Laarim:
“He climbed on angel and he flew,
he flew on the wing of wind.” (Source: Laarim Back Translation)
Nyakyusa-Ngonde (back-translation into Swahili):
“Akapanda katika makerubi, akapaa haraka,
akawa juu katika mabawa ya upepo.” (Source: Nyakyusa Back Translation)
English:
“He flew, riding on the back of a creature that had wings,
traveling fast, blown along by the wind.” (Source: Translation for Translators)
God transcends gender, but most languages are limited to grammatical gender expressed in pronouns. In the case of English, this is traditionally confined to “he” (or in the forms “his,” “him,” and “himself”), “she” (and “her,” “hers,” and “herself”), and “it” (and “its” and “itself”).
Modern Mandarin Chinese, however, offers another possibility. Here, the third-person singular pronoun is always pronounced the same (tā), but it is written differently according to its gender (他 is “he,” 她 is “she,” and 它/牠 is “it” and their respective derivative forms). In each of these characters, the first (or upper) part defines the gender (man, woman, or thing/animal), while the second element gives the clue to its pronunciation.
In 1930, after a full century with dozens of Chinese translations, Bible translator Wang Yuande (王元德) coined a new “godly” pronoun: 祂. Chinese readers immediately knew how to pronounce it: tā. But they also recognized that the first part of that character, signifying something spiritual, clarified that each person of the Trinity has no gender aside from being God.
While the most important Protestant and Catholic Chinese versions respectively have opted not to use 祂, some Bible translations do and it is widely used in hymnals and other Christian materials. Among the translations that use 祂 to refer to “God” were early versions of Lü Zhenzhong’s (呂振中) version (New Testament: 1946, complete Bible: 1970). R.P. Kramers (in The Bible Translator 1956, p. 152ff. ) explains why later versions of Lü’s translation did not continue with this practice: “This new way of writing ‘He,’ however, has created a minor problem of its own: must this polite form be used whenever Jesus is referred to? Lü follows the rule that, wherever Jesus is referred to as a human being, the normal tā (他) is written; where he is referred to as divine, especially after the ascension, the reverential tā (祂) is used.”
In that system one kind of pronoun is used for humans (male and female alike) and one for natural elements, non-liquid masses, and some spiritual entities (one other is used for large animals and another one for miscellaneous items). While in these languages the pronoun for spiritual entities used to be employed when referring to God, this has changed into the use of the human pronoun.
Lynell Zogbo (in The Bible Translator 1989, p. 401ff. ) explains in the following way: “From informal discussions with young Christians especially, it would appear that, at least for some people, the experience and/or concepts of Christianity are affecting the choice of pronoun for God. Some people explain that God is no longer ‘far away,’ but is somehow tangible and personal. For these speakers God has shifted over into the human category.”
In Kouya, God (the Father) and Jesus are referred to with the human pronoun ɔ, whereas the Holy Spirit is referred to with a non-human pronoun. (Northern Grebo and Western Krahn make a similar distinction.)
Eddie Arthur, a former Kouya Bible translation consultant, says the following: “We tried to insist that this shouldn’t happen, but the Kouya team members were insistent that the human pronoun for the Spirit would not work.”
In Burmese, the pronoun ko taw (ကိုယ်တော်) is used either as 2nd person (you) or 3rd person (he, him, his) reference. “This term clearly has its root in the religious language in Burmese. No ordinary persons are addressed or known by this pronoun because it is reserved for Buddhist monks, famous religious teachers, and in the case of Christianity, the Trinity.” (Source: Gam Seng Shae in The Bible Translator 2002, p. 202ff. )
In Thai, the pronoun phra`ong (พระองค์) is used, a gender-neutral pronoun which must refer to a previously introduced royal or divine being. Similarly, in Northern Khmer, which is spoken in Thailand, “an honorific divine pronoun” is used for the pronoun referring to the persons of the Trinity (source: David Thomas in The Bible Translator 1993, p. 445 ). In Urak Lawoi’, another language spoken in Thailand, the translation often uses tuhat (ตูฮัด) — “God” — ”as a divine pronoun where Thai has phra’ong even though it’s actually a noun.” (Source for Thai and Urak Lawoi’: Stephen Pattemore)
The English “Contemporary Torah” addresses the question of God and gendered pronouns by mostly avoiding pronouns in the first five books of the Hebrew Bible/Old Testament (unless God is referred to as “lord,” “father,” “king,” or “warrior”). It does that by either using passive constructs (“He gave us” vs. “we were given”), by using the adjective “divine” or by using “God” rather than a pronoun.
Some Protestant and Orthodox English Bibles use a referential capitalized spelling when referring to the persons of the Trinity with “He,” “His,” “Him,” or “Himself.” This includes for instance the New American Standard Bible or The Orthodox New Testament, but most translations do not. Two other languages where this is also done (in most Bible translations) are the closely related Indonesian and Malay. In both languages this follows the language usage according to the Qur’an, which in turn predicts that usage (see Soesilo in The Bible Translator 1991, p. 442ff. and The Bible Translator 1997, p. 433ff. ).
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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 usage of an honorific construction where the morpheme rare (られ) is affixed on the verb as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. This is particularly done with verbs that have God as the agent to show a deep sense of reverence. Here, amagake-rare-ru (天翔られる) or “soaring” is used.
Psalm 104.3 has a parallel to this verse: “You use the clouds as your chariot and ride on the wings of the wind.”
The cherub (plural “cherubim”) in the Old Testament is a winged creature, guarding the heavenly throne of Yahweh; see the description in Ezekiel 1.5-14; 10.21. There were gold figures of cherubim above the Covenant Box (Exo 25.17-22), which were thought of as Yahweh’s throne (see 1 Sam 4.4; 2 Sam 6.2; 2 Kgs 19.15); and 1 Chronicles 28.18 speaks of “the golden chariot of the cherubim.” Here the cherub serves as a chariot on which Yahweh rides. The wings of the wind in line b is parallel with the cherub in line a.
The verb translated rode is related to the noun “chariot” in Hebrew. And came swiftly in line b translates a verb used of birds of prey that “swoop” down (see Deut 28.49; Jer 48.40); some translations have “gliding” (New Jerusalem Bible, Biblia Dios Habla Hoy).
He rode on a cherub presents several problems for translators. Since cherub is largely unknown or misunderstood, a descriptive phrase will be required in many cases. However, one must not give the impression that it is a variant of some locally known large bird. Translators should normally avoid transliterating the term unless it is accompanied by a descriptive phrase, and even then the transliterated form may not be helpful. In most translations a descriptive note such as is found in Good News Translation will be helpful. If the descriptive phrase is confusing for the reader, it may be better to borrow the term from a major language in the area. Phrases like “winged animal” or “flying being” may be meaningless, and “a flying thing” may be equated with anything from an insect to an airplane.
Wings of the wind may require adjustment in languages where wind is not spoken of as having wings. In some cases this expression must be rendered as “the wind blew him there swiftly like a bird flies.”
Quoted with permission from Bratcher, Robert G. and Reyburn, William D. A Handbook on the Book of Psalms. (UBS Helps for Translators). New York: UBS, 1991. For this and other handbooks for translators see here .
John Wu Ching-hsiung (1899-1986) was a native of Ningbo, Zhejiang, a renowned jurist who studied in Europe and the United States, and served as a professor of law at Soochow University, as a judge and the Acting President of the Shanghai Provisional Court, and as the Vice President of the Commission for the Drafting of the Constitution of the Republic of China, before becoming the Minister of the Republic of China to the Holy See. Wu has written extensively, not only on law but also on Chinese philosophy, and has also written his autobiography, Beyond East and West, in English. Wu was a devout Catholic and had a personal relationship with Chiang Kai-shek (1887-1975). Wu began translating the the Psalms in 1938, and was encouraged by Chiang to translate the entire New Testament, which he corrected in his own handwriting. (…) John Wu Ching-hsiung’s translation of the Psalms (first draft in 1946, revised in 1975) was translated into Literary Chinese in the form of poetic rhyme, with attention paid to the style of writing. According to the content and mood of the different chapters of the original psalm, Wu chose Chinese poetic forms such as tetrameter, pentameter, heptameter [4, 5 or 7 syllables/Chinese characters per stanza], and the [less formal] Sao style, and sometimes more than two poetic forms were used in a single poem. (Source: Simon Wong)
John Wu Ching-hsiung himself talks about his celebrated and much-admired (though difficult-to-understand) translation in his aforementioned autobiography: (Click or tap here to see)
“Nothing could have been farther from my mind than to translate the Bible or any parts of it with a view to publishing it as an authorized version. I had rendered some of the Psalms into Chinese verse, but that was done as a part of my private devotion and as a literary hobby. When I was in Hongkong in 1938, I had come to know Madame H. H. Kung [Soong Ai-ling], and as she was deeply interested in the Bible, I gave her about a dozen pieces of my amateurish work just for her own enjoyment. What was my surprise when, the next time I saw her, she told me, “My sister [Soong Mei-ling] has written to say that the Generalissimo [Chiang Kai-shek] likes your translation of the Psalms very much, especially the first, the fifteenth, and the twenty-third, the Psalm of the Good Shepherd!”
“In the Autumn of 1940, when I was in Chungking, the Generalissimo invited me several times to lunch with him and expressed his appreciation of the few pieces that he had read. So I sent him some more. A few days later I received a letter from Madame Chiang [Soong Mei-ling], dated September 21, 1940, in which she said that they both liked my translation of the few Psalms I had sent them. ‘For many years,’ she wrote, ‘the Generalissimo has been wanting to have a really adequate and readable Wen-li (literary) translation of the Bible. He has never been able to find anyone who could undertake the matter.’ The letter ends up by saying that I should take up the job and that ‘the Generalissimo would gladly finance the undertaking of this work.’
“After some preliminary study of the commentaries, I started my work with the Psalms on January 6, 1943, the Feast of the Epiphany.
“I had three thousand years of Chinese literature to draw upon. The Chinese vocabulary for describing the beauties of nature is so rich that I seldom failed to find a word, a phrase, and sometimes even a whole line to fit the scene. But what makes such Psalms so unique is that they bring an intimate knowledge of the Creator to bear upon a loving observation of things of nature. I think one of the reasons why my translation is so well received by the Chinese scholars is that I have made the Psalms read like native poems written by a Chinese, who happens to be a Christian. Thus to my countrymen they are at once familiar and new — not so familiar as to be jejune, and not so new as to be bizarre. I did not publish it as a literal translation, but only as a paraphrase.
“To my greatest surprise, [my translation of the Psalms] sold like hot dogs. The popularity of that work was beyond my fondest dreams. Numberless papers and periodicals, irrespective of religion, published reviews too good to be true. I was very much tickled when I saw the opening verse of the first Psalm used as a headline on the front page of one of the non-religious dailies.”
A contemporary researcher (Lindblom 2021) mentions this about Wu’s translation: “Wu created a unique and personal work of sacred art that bears the imprint of his own admitted love and devotion, a landmark achievement comparable to Antoni Gaudi’s Basilica of the Sagrada Família in Barcelona, Spain. Although its use is still somewhat limited today, it continues to attract readers for the aforementioned qualities, and continues to be used in prayers and music by those who desire beauty and an authentic Chinese-sounding text that draws from China’s ancient traditions.”
The translation of Psalm 18 from the 1946 edition is in the so-called Sao style (even though it’s titled a Fu style poem) and the rhyme schemes are -ian and -ang (the 1946 edition did not have verse numbers either):
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