2nd person pronoun with low register (Japanese)

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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 choice of a second person pronoun (“you” and its various forms) as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. The most commonly used anata (あなた) is typically used when the speaker is humbly addressing another person.

In these verses, however, omae (おまえ) is used, a cruder second person pronoun, that Jesus for instance chooses when chiding his disciples. (Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )

See also first person pronoun with low register and third person pronoun with low register.

Honorary "rare" construct denoting God ("dismiss/reject")

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 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, shirizoke-rare-ru (退けられる) or “dismiss/reject” is used.

(Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )

Why Do the People Rebel? Psalm 2

The following is an English translation of Psalm 2 into song by linguists & professional musicians under the auspices of The Spoken English Bible , an oral Bible translation designed to reach Americans who may not yet engage with Scripture and to serve as a model for Bible translation in minority languages.

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Translation commentary on Psalm 2:11 - 2:12

The first line of verse 11 has the idea not only of political submission to Yahweh, but may also include the idea of worship; so New English Bible has “worship the LORD with reverence”; Moffatt “worship the Eternal reverently” (see also Biblia Dios Habla Hoy). The word fear in the Old Testament, especially when God is the object, often has the meaning of awe, respect, reverence.

Line b is difficult if not impossible to understand. It appears to shift to the more concrete form, here expressed as a metaphor, whatever its form and meaning may be. The complete line in the Masoretic text seems to mean “and rejoice with trembling. 12 Kiss the son” (so American Standard Version). The first verb in Hebrew means “rejoice” elsewhere, and commentators like Briggs strongly defend that meaning here; but the command “rejoice in trembling” is very strange (so Traduction œcuménique de la Bible; also New International Version “rejoice with trembling”). Jerusalem Bible translates “tremble”; New Jerusalem Bible has “tremble with fright.” Hebrew Old Testament Text Project says the Hebrew means “and exult with trembling.” The Septuagint has “be joyful in him with trembling.” In this context “in him” means “because of what he has done.”

The expression with trembling refers in many languages to a person who is cold and shivering. Therefore it is often best to avoid a term referring to the physical event and say, for example, “make yourself humble” or “make yourself low.”

For the beginning of verse 12, American Standard Version has “kiss the son” (so Hebrew Old Testament Text Project [Hebrew Old Testament Text Project]); New International Version “Kiss the Son” turns the Hebrew text into a Christian text. The difficulty is that such a translation assumes that in the Masoretic text the word bar is Aramaic (and so means “son”), and not Hebrew; but the psalm is in Hebrew, and the Hebrew word for “son” is ben (see verse 7). The ancient versions are of no help: Septuagint (followed by Vulgate) has “take hold of discipline (or, instruction), so that the Lord will not be angry.” The Hebrew word bar means (among other things) “pure”; so Jerome translated “worship in purity.” Most modern commentators and translators agree that it is most unlikely that “Kiss the son” is what the Masoretic text means. As Kirkpatrick put it in his commentary of over eighty years ago, “This rendering must certainly be abandoned,” and he gave the reasons why. So modern translations, like Revised Standard Version and Good News Translation, change the Hebrew text, either by emending it or punctuating it differently. (To emend the Hebrew text means to change it, either by a change of one or two letters in a word, or by a more extensive change, which at times may be based on the text of an ancient version such as the Greek Septuagint. Sometimes a distinction must be made between emending the Hebrew text and emending the Masoretic text, since in some passages some of the ancient Hebrew manuscripts, such as the Qumran manuscripts, will be different from the Masoretic text.) Biblia Dios Habla Hoy has “Worship the Lord with joy and reverence; bow down before him with fear”; New English Bible “tremble, and kiss the king”; New American Bible “with trembling pay homage to him”; New Jerusalem Bible “with trembling kiss his feet” (also Zürcher Bibel); New Jerusalem Bible “pay homage in good faith”–with a footnote saying that the meaning of the Hebrew is uncertain.

Until more light is shed on the subject, the translator’s best course is to follow one of the standard translations. However, a literal translation of kiss his feet in many languages will be misleading. It is therefore preferable in such cases to use a nonfigurative expression such as “bow down to him,” or the appropriate physical gesture for doing obeisance before a high-ranking person, such as “stoop before him,” “lower the head before him,” or “crouch in front of him.”

Good News Translation “his anger will be quickly aroused” combines two separate statements in the Hebrew text, “he will be angry … for his anger is quickly aroused” (see Revised Standard Version). The Hebrew verb “be angry” used here appears thirteen times in the Old Testament and is used only of God.

Anger as a possessed state is not natural in some languages and must accordingly be expressed as an event word, often in physical terms; for instance “to be hot in the stomach,” “to have a burning heart,” or “to have red eyes.” If the translator follows the combining of the parallel statements as in Good News Translation, then both may be rendered as one line; for example, “God’s heart will quickly become hot.” If the statements are not combined, amplification indicating the suddenness of the anger must be handled as a separate clause; for example, “God will be angry at you; because he becomes angry at people quickly.”

You perish in the way is a literal translation of the Hebrew; the meaning is “you will die suddenly (or, unexpectedly),” that is, before the normal time, as a result of God’s anger.

The last line of verse 12 is a closing benediction. The translation of the benediction often requires an appropriate connector or a double space in printing to mark the break with the preceding lines.

For Blessed see 1.1.

Take refuge in him translates a verb which appears some twenty-four times in Psalms and is always used with God as the protector. The expression take refuge in him must often be recast as a verbal phrase with the meaning of “covering,” “caring for,” or “helping.” The last line may sometimes be rendered, for example, “But how happy are the people God takes care of” or “But how fortunate are the people God helps.”

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 .

Translation commentary on Psalm 22:1 - 21:2

As an opener the question form is common in the psalms. (See also Psa 2; 10; 13; 52; 74.) Its purpose is to arouse interest in the listener or reader, who will want to find out how the question will be answered or dealt with by the end of the poem. This does not mean that the question form cannot be modified in the receptor language, but the translator should have a valid reason before doing so.

In these two verses the psalmist cries to God in despair because God does not answer him. The two anguished questions in verse 1 dramatically express the psalmist’s desolation and hopelessness. He cannot understand why God has abandoned him. But even in his suffering he still addresses God as My God, my God, thereby affirming his own faith in and dependence on God, who seems so distant and silent. He feels that God has forsaken him (see similar expression in 10.1), that he doesn’t pay any attention to his loud groans, to his cries of pain. Why hast thou forsaken me? is often expressed as “why have you left me?” or “why have you gone away from me?”

In verse 1b Revised Standard Version‘s literal rendering of the Hebrew makes for unnatural English, since the prepositional phrase from the words of my groaning is governed by the verb phrase Why art thou so far. The line has been reordered in a more natural manner in Good News Translation, which provides a clear model for the translator. In some languages it may be necessary to make more explicit than does Good News Translation that it is God whom the writer is calling to for help; for example, “I have cried for you to help me, but you do not come to me.” Should the translator wish to stay closer to the Hebrew form, however, something like the following may be said: “Why do you remain so far away from me, and refuse to help me or even to listen to my anguished cries?”

The two parallel references to time in verse 2, by day … by night, indicate that the psalmist never stops praying for help; but it is all useless, since God does not answer his plea.

The word for rest in verse 2 occurs only here and in 39.2 (“I was silent”) and 62.1 (“waits in silence”); and perhaps in 65.1. It seems to mean “silence,” and the Hebrew phrase “no silence for me” indicates that his pain is not alleviated, he gets no relief, which would come if God were to listen to him and answer his pleas.

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 .

Psalm 2: Layer by Layer

The following are presentations by the Psalms: Layer by Layer project, run by Scriptura . The first is an overview, the second an introduction into the poetry and the third an introduction into the exegesis of Psalm 2.


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Copyright © Scriptura


Copyright © Scriptura

The overview in French (click or tap here to view the video):


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The overview in Russian (click or tap here to view the video):


Copyright © Scriptura

Psalm 2 as classical Chinese poetry

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 2 from the 1946 edition in the so-called Sao style (the 1946 edition did not have verse numbers either and underlined proper names):

順與逆

何列邦之擾攘兮。何萬民之猖狂。 世酋蠭起兮。跋扈飛揚。共圖背叛天主兮。反抗受命之王。 曰吾儕豈長甘羈絆兮。盍解其縛而脫其繮。
在天者必大笑兮。笑蜉蝣之不知自量。 終必勃然而怒兮。以懲當車之螳螂。 主曰吾已立君於西溫聖山之上兮。 君曰吾將宣聖旨於萬方。主曾告予兮。爾為予新得之元良。 予必應爾所求兮。如聲斯響。普天率土兮。莫非吾兒之宇疆。 爾當執鐵杖以粉碎群逆兮。有如瓦缶與壺觴。
嗚呼世之侯王兮。盍不及早省悟。鳴呼世之法吏兮。盍不自守法度。 小心翼翼以事主兮。寓歡樂於敬懼。 心悅誠服以順命兮。免天帝之震怒。何苦自取滅亡兮。自絕於康莊之大路。須知惟有委順兮。能邀無窮之福祚。

Transcription into Roman alphabet with the particle xī, that is characteristic for the Sao style, highlighted:

shùn yǔ nì

hé liè bāng zhī rǎo rǎng 。 hé wàn mín zhī chāng kuáng 。 shì qiú fēng qǐ 。 bá hù fēi yáng 。 gòng tú bèi pàn tiān zhǔ 。 fǎn kàng shòu mìng zhī wáng 。 yuē wú chái qǐ cháng gān jī bàn 。 hé jiě qí fù ér tuō qí jiāng 。
zài tiān zhě bì dà xiào 。 xiào fú yóu zhī bù zhī zì liáng 。 zhōng bì bó rán ér nù 。 yǐ chěng dāng chē zhī táng láng 。 zhǔ yuē wú yǐ lì jūn yú xī wēn shèng shān zhī shàng 。 jūn yuē wú jiāng xuān shèng zhǐ yú wàn fāng 。 zhǔ zēng gào yú 。 ěr wéi yú n dé zhī yuán liáng 。 yú bì yīng ěr suǒ qiú 。 rú shēng sī xiǎng 。 pǔ tiān shuài tǔ 。 mò fēi wú ér zhī yǔ jiāng 。 ěr dāng zhí tiě zhàng yǐ fěn suì qún nì 。 yǒu rú wǎ fǒu yǔ hú shāng 。
wū hū shì zhī hóu wáng 。 hé bù jí zǎo shěng wù 。 míng hū shì zhī fǎ lì 。 hé bù zì shǒu fǎ dù 。 xiǎo n yì yì yǐ shì zhǔ 。 yù huān lè yú jìng jù 。 xīn yuè chéng fú yǐ shùn mìng 。 miǎn tiān dì zhī zhèn nù 。 hé kǔ zì qǔ miè wáng 。 zì jué yú kāng zhuāng zhī dà lù 。 xū zhī wéi yǒu wěi shùn 。 néng yāo wú qióng zhī fú zuò 。

With thanks to Simon Wong.