כִּֽי־תְשִׁיתֵ֣הוּ בְרָכ֣וֹת לָעַ֑ד תְּחַדֵּ֥הוּ בְ֝שִׂמְחָ֗ה אֶת־פָּנֶֽיךָ׃
6You bestow on him blessings forever;
you make him glad with the joy of your presence.
The Hebrew that is translated as “before you,” “to you” or similar in English is translated in the Contemporary Chichewa translation (2002/2016) as pamaso panu, lit. “on your eyes.” (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
See also before / in the sight of / presence of (God) (Japanese honorifics).
The Greek, Latin, Ge’ez, and Hebrew that is translated with “salvation” (or “deliverance”) in English is translated in the following ways:
in Mairasi its is translated as “life fruit” or “life fruit all mashed out.” Lloyd Peckham explains: “In secret stories, not knowable to women nor children, there was a magical fruit of life. If referred to vaguely, without specifying the specific ‘fruit,’ it can be an expression for eternity.” And for “all mashed out” he explains: “Bark cloth required pounding. It got longer and wider as it got pounded. Similarly, life gets pounded or mashed to lengthen it into infinity. Tubers also get mashed into the standard way of serving the staple food, like the fufu of Uganda, or like poi of Hawaii. It spreads out into infinity.” (See also eternity / forever)
In Lisu a poetic construct is used for this term. Arrington (2020, p. 58f.) explains: “A four-word couplet uses Lisu poetic forms to bridge the abstract concrete divide, an essential divide to cross if Christian theology is to be understood by those with oral thought patterns. Each couplet uses three concrete nouns or verbs to express an abstract term. An example of this is the word for salvation, a quite abstract term essential to understanding Christian theology. To coin this new word, the missionary translators used a four-word couplet: ℲO., CYU. W: CYU (person … save … person … save). In this particular case, the word for person was not the ordinary word (ʁ) but rather the combination of ℲO., and W: used in oral poetry. The word for ‘save’ also had to be coined; in this case, it was borrowed from Chinese [from jiù / 救]. These aspects of Lisu poetry, originally based on animism, likely would have been lost as Lisu society encountered communism and modernization. Yet they are now codified in the Lisu Bible as well as the hymnbook.”
In the Contemporary Chichewa translation (2002/2016) it is translated with chipulumutso which is used to refer to an act of helping someone who is in problems but cannot help him/herself come out of the problems because of weakness. (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
See also save and save (Japanese honorifics) / salvation (of God) (Japanese honorifics).
Following are a number of back-translations as well as a sample translation for translators of Psalm 21:6:
The Greek, Latin, Ge’ez, and Hebrew that is translated with “joy,” “happiness,” or “gladness” in English is translated with various strategies:
See also Seat of the Mind for traditional views of “ways of knowing, thinking, and feeling” and exceeding joy.
Translators of different languages have found different ways with what kind of formality God is addressed.
Like many languages (but unlike Greek or Hebrew or modern 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.
In these verses, in which humans address God, the informal, familiar pronoun is used that communicates closeness.
Voinov notes that “in the Tuvan Bible, God is only addressed with the informal pronoun. No exceptions. An interesting thing about this is that I’ve heard new Tuvan believers praying with the formal form to God until they are corrected by other Christians who tell them that God is close to us so we should address him with the informal pronoun. As a result, the informal pronoun is the only one that is used in praying to God among the Tuvan church.”
In Gbaya, “a superior, whether father, uncle, or older brother, mother, aunt, or older sister, president, governor, or chief, is never addressed in the singular unless the speaker intends a deliberate insult. When addressing the superior face to face, the second person plural pronoun ɛ́nɛ́ or ‘you (pl.)’ is used, similar to the French usage of vous.
Accordingly, the translators of the current version of the Gbaya Bible chose to use the plural ɛ́nɛ́ to address God. There are a few exceptions. In Psalms 86:8, 97:9, and 138:1, God is addressed alongside other “gods,” and here the third person pronoun o is used to avoid confusion about who is being addressed. In several New Testament passages (Matthew 21:23, 26:68, 27:40, Mark 11:28, Luke 20:2, 23:37, as well as in Jesus’ interaction with Pilate and Jesus’ interaction with the Samaritan woman at the well) the less courteous form for Jesus is used to indicate ignorance of his position or mocking.” (Source Philip Noss)
In the most recent Manchu translation of 1835 (a revision of an earlier edition from 1822), God is never addressed with a pronoun but with “father” (ama /ᠠᠮᠠ) instead. Chengcheng Liu (in this post on the Cambridge Centre for Chinese Theology blog ) explains: “In Manchu tradition, as in Chinese etiquette, second-person pronouns could be considered disrespectful when speaking to superiors or spiritual beings. Manchu Shamanist prayers avoided si [‘you’] and sini [‘your’] for this very reason. To use them for God would be, in Lipovzoff’s [one of the two translators] words, ‘the most uncouth and indecent way to speak to the Almighty — as if He were a servant or slave.’ There was also a grammatical problem. In Manchu, si and sini could refer to both singular and plural subjects. For a faith that insisted on the singularity of God, this was potentially confusing. By contrast, repeating ama removed any ambiguity.”
In Dutch, Afrikaans, Gronings, and Western Frisian translations, God is always addressed with the formal pronoun.
See also formal pronoun: disciples addressing Jesus, female second person singular pronoun in Psalms.
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 to do this is through the usage (or a lack) of an honorific prefix as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. When the referent is God, the “divine” honorific prefix mi- (御 or み) can be used, as in mi-mae (御前) or “before (God)” in the referenced verses. In some cases in can also be used in reference to being before a king, such as in 1 Samuel 16:16.
(Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )
See also presence (Japanese honorifics) and before you / to you.
Yahweh has given the king glory (honor, fame; see 3.3; 7.5), splendor (fame, majesty; see 8.1 the “majesty” of Yahweh’s name), and majesty (dignity, splendor; see 8.5), three attributes of a powerful and prosperous king. The king of Israel has these qualities because Yahweh has given him victory over the enemy (see New International Version “the victories you gave”). Thy help in line a means the same as it does in verse 1a.
In languages which show a strong preference for placing the reason clause before the consequence, it will be necessary in verse 5a to reverse the Good News Translation and Revised Standard Version clause order; for example, “because you have helped him his glory is great.” In many languages it is not natural to possess an abstract such as glory, since this is something others attribute to a person or recognize in a ruler. Therefore it is sometimes necessary to say, for example, “Because you help him the people say that he is great” or “Because of your help they say he is a big chief.”
It should be noticed that in line b Revised Standard Version has the present tense; the Good News Translation past tense is preferred. Majesty is not used in some languages as an object to be given to someone. It is more common for it to be treated as a quality of an object; for example, “you have made him a great king” or “you have given him great power to rule the people.”
Yea in verse 6a is Revised Standard Version‘s way of representing a Hebrew particle that shows emphasis, but which here may not have that much force. New International Version has “Surely,” and New English Bible “for”; most translations do not represent it formally.
Thou dost make him most blessed for ever (that is, “You are always blessing him”) means that God blesses the king. Some (see New American Bible, Traduction œcuménique de la Bible) take the words to mean “You make him a blessing,” that is, for his people (see Weiser, Anderson). It seems better to follow the interpretation of Revised Standard Version and Good News Translation.
Make him most blessed cannot in some languages be expressed as a possessed object, as in Good News Translation “Your blessings are with him.” One must often speak of “good things” or “good gifts.” Therefore “Your blessings” must often be rendered, for example, “you give him good gifts forever” or “you give him good things forever.” If the alternative interpretation is followed, it may be necessary to say, for example, “you cause him to give good things to his people.”
The thought in verse 6b is the same as found in 16.11b. As God’s “son” (see 2.7) the king enjoyed the presence of God with him, and this brought him great joy. The Hebrew is emphatic and somewhat redundant; this emphasis may be expressed by “make him extremely glad.” In some languages a noun such as presence cannot perform an event such as make him glad. Therefore it is often necessary to recast this type of expression to say “because you are with him he is joyful” or “he is happy because you are near him.”
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)
“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.
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