AntiPsalm 23

David Powlison (1949–2019) once inverted Psalm 23 in English to portray what life feels like and looks like whenever God vanishes from sight. He called it AntiPsalm 23.

I’m on my own.
No one looks out for me or protects me.
I experience a continual sense of need. Nothing’s quite right.
I’m always restless. I’m easily frustrated and often disappointed.
It’s a jungle — I feel overwhelmed. It’s a desert — I’m thirsty.
My soul feels broken, twisted, and stuck. I can’t fix myself.
I stumble down some dark paths.
Still, I insist: I want to do what I want, when I want, how I want.
But life’s confusing. Why don’t things ever really work out?

I’m haunted by emptiness and futility — shadows of death.
I fear the big hurt and final loss.
Death is waiting for me at the end of every road,
but I’d rather not think about that.
I spend my life protecting myself. Bad things can happen.
I find no lasting comfort.

I’m alone . . . facing everything that could hurt me.
Are my friends really friends?
Other people use me for their own ends.
I can’t really trust anyone. No one has my back.
No one is really for me — except me.
And I’m so much all about ME, sometimes it’s sickening.
I belong to no one except myself.
My cup is never quite full enough. I’m left empty.
Disappointment follows me all the days of my life.
Will I just be obliterated into nothingness?
Will I be alone forever, homeless, free-falling into void?
Sartre said, “Hell is other people.”
I have to add, “Hell is also myself.”
It’s a living death,
and then I die.

Quoted by Justin Taylor

enemy / foe

The Greek, Hebrew, Aramaic, Ge’ez, and Latin that is translated as “enemy” or “foe” in English is translated in the Hausa Common Language Bible as “friends of front,” i.e., the person standing opposite you in a battle. (Source: Andy Warren-Rothlin)

In North Alaskan Inupiatun it is translated with a term that implies that it’s not just someone who hates you, but one who wants to do you harm (Source: Robert Bascom), in Tarok as ukpa ìkum or “companion in war/fighting,” and in Ikwere as nye irno m or “person who hates me” (source for this and one above: Chuck and Karen Tessaro in this newsletter ).

In Cherokee it is either translated as “the one(s) who reprimand(s) you” or “the one(s) feared.” (Source: Bender / Belt 2025, p. 47)

Japanese benefactives (sosoide)

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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 benefactive construction as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017.

Here, sosoide (注いで) or “pour” is used in combination with kudasaru (くださる), a respectful form of the benefactive kureru (くれる). A benefactive reflects the good will of the giver or the gratitude of a recipient of the favor. To convey this connotation, English translation needs to employ a phrase such as “for me (my sake)” or “for you (your sake).” (Source: S. E. Doi, see also S. E. Doi in Journal of Translation, 18/2022, p. 37ff. )

addressing God

Translators of different languages have found different ways with what kind of formality God is addressed.

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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.

Metrical translations of Psalm 23 from the British Isles

Following are a number of translations of Psalm 23 into metre from a number of languages in the British Isles.

The English translation by George Herbert (publ. 1633)

The God of love my shepherd is,
    And He that does me feed:
While He is mine, and I am His,
    What can I want or need?

He leads me to the tender grass,
    Where I both feed and rest;
Then to the streams that gently pass:
    In both I have the best.

Or if I stray, He does convert
    And bring my mind in frame:
And all this not for my dessert,
    But for His holy name.

Yea, in death’s shady black abode
    Well may I walk, not fear:
For You are with me; and Your rod
    To guide, Your staff to bear.

Nay, you do make me sit and dine,
    Ev’n in my enemies’ sight:
My head with oil, my cup with wine
    Runs over day and night.

Surely Your sweet and wondrous love
    Shall measure all my days;
And as it never shall remove,
    So neither shall my praise.

The Welsh translation by Edmund Prys (publ. 1621) (click or tap here)

Yr Arglwydd yw fy ’mugail clau,
    ni âd byth eisiau arnaf: 
Mi a gâf orwedd mewn porfa frâs,
    ar lan dwfr gloywlas araf. 
Fe goledd f’enaid,
    ac a’m dwg rhyd llwybrau diddrwg cyfion,
Er mwyn ei enw mawr dilys
    Fo’m tywys ar yr union. 
Pe rhodiwn (nid ofnwn am hyn)
    yn nyffryn cysgod angau,
Wyd gyda mi, a’th nerth,
    a’th ffon, ond tirion ydyw’r arfau:
Gosodaist fy mwrdd i yn frâs,
    lle’r oedd fy nghâs yn gweled:
Olew i’m pen, a chwppan llawn,
    daionus iawn fu’r weithred. 
O’th nawdd y daw y doniau hyn
    i’m canlyn byth yn hylwydd:
A minnau a breswyliaf byth
    a’m nyth yn nhy yr Arglwydd.

© British and Foreign Bible Society

The Irish translation by Norman McLeod (publ. 1836) (click or tap here)

Is é Dia féin is áodhaire dhamh,
    Aon easbhuidh orm ni bhíaidh.
Do bheir se orm go luighím sios,
    A ninbhir fhéir mhínlígh:
A’s fós re taobh na nuisgeadhuidh,
    Ag siubhal sios go mall,
Ata se do mo threórughadh,
    Go mín réidh ann ’sgach ball.
Aiseógair m’anam dhamh air ais:
    Treorochuigh se mo chéim
A slighe ghlan na fíréuntacht,
    Do bhrigh dheagh‐anma féin.
Seadh fós, da siubhlóchuin eadhon thríd,
    Glean dhorcha sgáil’ an bháis,
Aon olc na urchóid theacht oram,
    Ni heagal liom ’sní cás;
Do bhrigh go bhfuil tu leam do ghnáth;
    Do lorg ’sdo mhaide tréun,
Atáid ag tabhárt cómhfhurtacht
    A’s fuasgladh dhamh a m’fheidhm.
Gléusfa tu bórd a radhárc mo nam’d:
    Le hola d’úng mo cheann;
A taosgadh ta mo chupán fós,
    Ag meud an lainn tá ann.
Ach leanfuidh maith a’s trócair diom,
    A’n fhaid a bhias me beó;
A’s cómhnochad a náras Dé,
    Air feadh mo ré, ’smo ló.

Digitized by Bible Societies in Ireland with the help of MissionAssist

The Manx translation by Mark, Sodor and Mann (publ. 1761) (click or tap here)

Yn Chiarn eh-hene nee mish y rere,
    Tra ta mee huggey geam;
Yn bochill mie nee goaill kiarail,
    Nagh bee’m dy bragh ayns feme.
Ayns faiyr meenure as lane dy vlaa,
T’eh kinjagh fassagh mee;
    Reesht m’y leeideil gys fynneraght,
    Yn raad ta geillyn roie.
My chree waggântagh t’eh chyndaa,
    Er graih e ennym hene;
As gynsagh mee cre’n aght dy hooyl,
    Ayns raaidyn jeeragh, glen.
Ga dy beïn shooyl ayns coan y vaaish,
    Cha bee’m ayns dooyt erbee;
Dty ’latt, dty lorg nee m’y endeil,
    As kinjagh gerjagh mee.
Neayr’s ta my Yee jeh mooad’s e ghraih,
    Er reayll my vea ass gaue;
Yn vea shen neem’s y hymney da,
    As ayns e hiamble ceau.

© British and Foreign Bible Society

The Scottish Gaelic translation (publ. 1992) (click or tap here)

Is e Dia fhèin as buachaill dhomh,
    cha bhi mi ann an dìth.
Bheir e fa-near gu’n laighinn sìos
    air cluainean glas’ le sìth:

Is fòs ri taobh nan aibhnichean
    thèid seachad sìos gu mall,
A ta e ga mo threòrachadh,
    gu mìn rèidh anns gach ball.

Tha ’g aisig m’anam dhomh air ais:
    ’s a treòrachadh mo cheum
Air slighean glan’ na fìreantachd,
air sgàth dheagh ainme fhèin.

Seadh, fòs ged ghluaisinn eadhon trìd
    ghlinn dorcha sgàil a’ bhàis,
Aon olc no urchuid a theachd orm
    chan eagal leam ’s cha chàs;

Air son gu bheil thu leam a-ghnàth,
    do lorg, ’s do bhata treun,
Tha iad a’ tabhairt comhfhurtachd
    is fuasglaidh dhomh am fheum.

Dhomh dheasaich bòrd air beul mo nàmh:
    le ola dh’ung mo cheann;
Cur thairis tha mo chupan fòs,
    aig meud an làin a th’ann.

Ach leanaidh maith is tròcair rium,
    an cian a bhios mi beò;
Is còmhnaicheam an àros Dhè,
    ri fad mo rè ’s mo lò.

© 1992, 2016 Comann Bhìoball na h-Alba (Scottish Bible Society)

The Scots translation by T.T. Alexander (publ. 1928) (click or tap here)

E’en as a shepherd tents his sheep,
    The Lord for me doth fend;
He mak’s me rest, whaur pasture’s best,
    And wimplin’ waters wend.
Sood my soul ail, He mak’s it hale
    And airts my feet to gang,
For His name’s sake, the bonny gait,
    Whaur’s nocht o’ ill or wrang.
Whaun I am boon to traivel doon
    The mirky Glen o’ Daith,
Nae dreid I bruik, His stave and crook
    Sal haud me free o’ skaith.
Wi’ ample fare Thou dost prepare
    My board, while faemen glow’r;
Wi’ eintment fine my heid dis shine,
    My bicker’s skailin’ ow’re.
Guidness and mercy a’ my days
    Are siccar at my side;
And in God’s hame I’ll be fu’ fain
    For evermair to bide.

Digitized by MissionAssist

Translation commentary on Psalm 23:5

In this verse the figure changes from Yahweh as shepherd to Yahweh as host. The background may be that of the fellowship meal which followed the thanksgiving sacrifice in the Temple (see 22.26; see Anderson).

Thou preparest a table refers to the preparation of a meal or a feast.

Since Yahweh is the host, the presence of the psalmist’s enemies is no threat to him; he is under Yahweh’s protection and care. There may be a tone of derision, as the psalmist taunts his enemies by reminding them that they cannot harm him.

Thou anointest my head with oil: to rub a guest’s head with olive oil was part of the prescribed etiquette followed by a solicitous host as he welcomed his guests; it was neglected by the Pharisee Simon, as he received Jesus (Luke 7.46). Since the custom and its meaning are unknown to the average English-speaking reader, Good News Translation has abandoned the figure and expressed the meaning with “you welcome me as an honored guest.” Bible en français courant keeps the figure and explains it: “You receive me by pouring a bit of perfumed oil on my head.”

In languages where there are terms which symbolize the receiving of guests, thou anointest my head with oil may be substituted by the equivalent expression in the receptor language. Where there are no such equivalent expressions or practices, the translator normally has two choices: (a) to explain the anointing with oil without reference to the custom, as in Good News Translation; or (b) to explain it and retain the reference to the custom. In the latter case one may say, for example, “you welcome me as an honored guest by rubbing my head with oil.”

The cup which the host offers his guest is filled to the brim with wine, a gesture of generosity. Some take the Hebrew word translated overflows (which occurs only here in the Old Testament) to mean intoxicating, that is, the wine is strong and fully satisfies the guest’s desires. This does not seem very likely.

The expression my cup overflows lacks an agent who causes this to happen, and one is supplied in Good News Translation, “you … fill my cup to the brim.” However, in some languages it will be necessary to make clear that the cup refers to the one which the guest is drinking from; for example, “you fill the cup I drink from to the very top” or, if it is not advisable to use “cup,” “you give me all I can drink.”

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 23 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 23 from the 1946 edition is in pentameter and the rhyme scheme is -ou (the 1946 edition did not have verse numbers either):

良牧

主乃我之牧。所需百無憂。 令我草上憩。引我澤畔游。 吾魂得復蘇。仁育一何周。更為聖名故。率我正道由。 雖經陰谷裏。主在我何愁。爾策與爾杖。實令我心休。 讌我群敵前。感爾恩施優。靈膏沐我首。玉爵盈欲流。 慈惠共聖澤。長與我為儔。行藏勿離主。此外更何求。
靠。孤兒兮無父。惟主兮是怙。 求主痛擊群姦兮。折其臂膀。 窮究妖孽兮。降以淪喪。惟我天主兮。永古為王。與主為敵兮。靡有不亡。 主已垂聽兮。謙者之音。必賜慰藉兮。堅固其心。 伸彼冤屈兮。保彼焭獨。莫令凡人兮。擅作威福。

Transcription into Roman alphabet with the rhyme scheme highlighted:

liáng mù

zhǔ nǎi wǒ zhī mù 。 suǒ xū bǎi wú yōu 。 líng wǒ cǎo shàng qì 。 yǐn wǒ zé pàn yóu 。 wú hún dé fù sū 。 rén yù yī hé zhōu 。 gēng wéi shèng míng gù 。 shuài wǒ zhèng dào yóu 。 suī jīng yīn gǔ lǐ 。 zhǔ zài wǒ hé chóu 。 ěr cè yǔ ěr zhàng 。 shí líng wǒ xīn xiū 。 mā wǒ qún dí qián 。 gǎn ěr ēn shī yōu 。 líng gāo mù wǒ shǒu 。 yù jué yíng yù liú 。 cí huì gòng shèng zé 。 cháng yǔ wǒ wéi chóu 。 xíng cáng wù lí zhǔ 。 cǐ wài gēng hé qiú 。

This translation of Psalm 23 has also been set to music by individual artists (see Hu Mingzhe’s 胡明哲 version ) and is used in Catholic hymnals .

With thanks to Simon Wong.