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 21 from the 1946 edition is in pentameter and the rhyme scheme is -ong (the 1946 edition did not have verse numbers either):

勝利謝恩

仰賴主大德。吾王喜氣冲。荷恩樂無極。陶然醉春風。 心願悉已償。所求靡不從。 先意介景福。寵遇一何隆。更以純金冕。殷勤加其首。 王求保其命。主錫無量壽。 英名仗神助。光榮仰天佑。沐浴芳澤中。美德萃其躬。 優游恩光下。天樂湧其衷。 王惟主是怙。慈惠貫始終。 行見我聖主。奮臂逐群凶。 群凶懾主威。若處紅爐中。天威震霹靂。燒盡妖魔蹤。 斬草在除根。一掃謬種空。 若輩懷叵測。對主施頑攻。奸圖焉能逞。分散如飄蓬。 主必對眾逆。從容挽神弓。 赫赫天地宰。稜威萬古同。吾人當引吭。高歌造化功。

Transcription into Roman alphabet with the rhyme scheme highlighted:

shèng lì xiè ēn

yǎng lài zhǔ dà dé 。 wú wáng xǐ qì chōng 。 hé ēn lè wú jí 。 táo rán zuì chūn fēng 。 xīn yuàn xī yǐ cháng 。 suǒ qiú mí bù cóng 。 xiān yì jiè jǐng fú 。 chǒng yù yī hé lóng 。 gēng yǐ chún jīn miǎn 。 yīn qín jiā qí shǒu 。 wáng qiú bǎo qí mìng 。 zhǔ xī wú liáng shòu 。 yīng míng zhàng shén zhù 。 guāng róng yǎng tiān yòu 。 mù yù fāng zé zhōng 。 měi dé cuì qí gōng 。 yōu yóu ēn guāng xià 。 tiān lè yǒng qí zhōng 。 wáng wéi zhǔ shì hù 。 cí huì guàn shǐ zhōng 。 xíng jiàn wǒ shèng zhǔ 。 fèn bì zhú qún xiōng 。 qún xiōng shè zhǔ wēi 。 ruò chǔ hóng lú zhōng 。 tiān wēi zhèn pī lì 。 shāo jìn yāo mó zōng 。 zhǎn cǎo zài chú gēn 。 yī sǎo miù zhǒng kōng 。 ruò bèi huái pǒ cè 。 duì zhǔ shī wán gōng 。 jiān tú yān néng chěng 。 fēn sàn rú piāo péng 。 zhǔ bì duì zhòng nì 。 cóng róng wǎn shén gōng 。 hè hè tiān dì zǎi 。 léng wēi wàn gǔ tóng 。 wú rén dāng yǐn háng 。 gāo gē zào huà gōng 。

With thanks to Simon Wong.