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 19 from the 1946 edition is in pentameter and the rhyme schemes are -ong, -ang, and -i and (the 1946 edition did not have verse numbers either):

乾坤與妙法

乾坤揭主榮。碧穹布化工。 朝朝宣宏旨。夜夜傳微衷。 默默無一語。教在不言中。 周行遍大地。妙音送長風。
晨曦發帝鄉。丰采似玉郎。洋洋溢喜氣。逍遙出洞房。 天行一何健。六合任翱翔。普照無私曲。萬物被其光。
妙法洵全美。我魂得歸依。靈證洵萬確。童蒙識玄機。 玉律豈有瑕。祇守心自怡。聖典何皎潔。悅目驚新奇。 天威分明在。萬古永不移。神斷剖黑白。陰隲定是非。 價值邁金石。滋味勝蜜飴。 小子知趨避。福祿盡在茲。 誰能悟其愆。惟主濯其疵。 但願遠罪戾。庶免染塵緇。或可無大過。心口莫睽違。 我是遊蕩子。願父贖我歸。永不離膝下。朝暮相追隨。

Transcription into Roman alphabet with the rhyme schemes highlighted:

qián kūn yǔ miào fǎ

qián kūn jiē zhǔ róng 。 bì qióng bù huà gōng 。 zhāo zhāo xuān hóng zhǐ 。 yè yè chuán wēi zhōng 。 mò mò wú yī yǔ 。 jiào zài bù yán zhōng 。 zhōu xíng biàn dà dì 。 miào yīn sòng cháng fēng 。
chén xī fā dì xiāng 。 fēng cǎi sì yù láng 。 yáng yáng yì xǐ qì 。 xiāo yáo chū dòng fáng 。 tiān xíng yī hé jiàn 。 liù hé rèn áo xiáng 。 pǔ zhào wú sī qū 。 wàn wù bèi qí guāng 。
miào fǎ xún quán měi 。 wǒ hún dé guī yī 。 líng zhèng xún wàn què 。 tóng mēng shí xuán jī 。 yù lǜ qǐ yǒu xiá 。 qí shǒu xīn zì yí 。 shèng diǎn hé jiǎo jié 。 yuè mù jīng xīn qí 。 tiān wēi fēn míng zài 。 wàn gǔ yǒng bù yí 。 shén duàn pōu hēi bái 。 yīn cí dìng shì fēi 。 jià zhí mài jīn shí 。 zī wèi shèng mì yí 。 xiǎo zǐ zhī qū bì 。 fú lù jìn zài zī 。 shuí néng wù qí qiān 。 wéi zhǔ zhuó qí cī 。 dàn yuàn yuǎn zuì lì 。 shù miǎn rǎn chén zī 。 huò kě wú dà guò 。 xīn kǒu mò kuí wéi 。 wǒ shì yóu dàng zǐ 。 yuàn fù shú wǒ guī 。 yǒng bù lí xī xià 。 zhāo mù xiāng zhuī suí 。

With thanks to Simon Wong.