Lloyd Peckham explains the Mairasi translation: “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.”
San Blas Kuna: “their thinking is not in their hearts” (source for this and above: Bratcher / Nida)
Mairasi: “tribute of theirs for me [which] will-be-on-their-own” (source: Enggavoter 2004)
Guhu-Samane: “with the front teeth of their mouths they worship me” (“‘In vain’ caused puzzlement [because] why should their efforts to worship God produce no results, try as they may? [But the idiom] ‘with the front teeth of their mouths they worship me’ comes from the picture of one who is making a pretense at eating food, hence their deceit is apparent.’ Source: Ernest L. Richert in Notes on Translation December 1963: p. 4-7; reprinted in The Bible Translator 1965, p. 198ff. )
The Greek and Hebrew terms that are translated as “hypocrite” in English typically have a counterpart in most languages. According to Bratcher / Nida (1961, p. 225), they can be categorized into the following categories:
those which employ some concept of “two” or “double”
those which make use of some expression of “mouth” or “speaking”
those which are based upon some special cultural feature
those which employ a non-metaphorical phrase
Following is a list of (back-) translations from some languages:
Mazahua: “have a swollen mouth” (from too much speaking)
Tai Dam: “have a straight mouth and a crooked heart”
Kongo: “the bitterness of white” (an idiom based on the fact that white-wash looks nice but tastes bitter)
Malagasy: “spread a clean carpet” (an expression used in Madagascar to describe one who covers up the dirt of an unswept floor just before the arrival of guests)
Zanaki: “those who make themselves out to be good”
Tetelcingo Nahuatl: “those who deceive” (this and all examples above acc. to Bratcher / Nida 1961, p. 225)
Kafa: “one who makes as if his belly is clean” (source: Loren Bliese)
Bauzi: “good on top person” (source: David Briley in Kroneman (2004), p. 502)
Tibetan: kha chos pa (ཁ་ཆོས་པ།), lit. “mouth + religion + person” (used for instance in Matt. 7:5) or sgyu zog can (སྒྱུ་ཟོག་ཅན།), lit. “deception + fraud + person” (used for instance in Matt. 24:51) (source: gSungrab website )
Low German: “actor in a comedy” (translation by Johannes Jessen, publ. 1933, republ. 2006)
Lélé: ne kub so or “make mouth two” (source: Andy Warren-Rothlin)
The English version of Sarah Ruden (2021) uses “play-actor.” She explains (p. li): “A hupokrites is fundamentally an actor. The word has deep negativity in the Gospels on two counts: professional actors were not respectable people in the ancient world, and traditional Judaism did not countenance any kind of playacting. I write ‘play-actor’ throughout.”
The Greek that is translated as “character” or “experience” in English is translated into Pitjantjatjara as “we become with strength and don’t fall, and God seeing us is pleased.” (Source: Carl Gross)
In Hopi it is translated as “maturity,” in Isthmus Zapotec as “standing firm,” in Central Tarahumara as “being called as doers of good,” in Miahuatlán Zapotec as “showing people we really believe in Christ,” and inCentral Mazahua as “knowing that we passed well.” (Source: Waterhouse / Parrott in Notes on Translation October 1967, p. 1ff.)
The Greek that is translated as §the Father of lights, with whom there is no variation or shadow due to change” or similar in English is translated in the following ways ion other languages:
Tzotzil: “the lights, their shiningness changes; their light can be shaded. Not thus our Father God.”
Eastern Highland Otomi: “But God isn’t like the lights he made, sometimes they lack light when there is a turning.”
Central Mazahua: “But he doesn’t change his thinking like those things that are in heaven change their road. He is always the same gracious person.”
(Source: Ellis Deibler in Notes on Translation July, 1967, p. 5ff.)
Aari: “the day our Savior comes” (in Rom 13:11) (source: Loren Bliese)
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 masked 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.”
The Greek that is translated as “the perfect law, the law of liberty” or similar in English is translated in Central Mazahua as “God has set us free so that we are able to obey his word,” in Rincón Zapotec as “the law of God which is perfect and is able to cause us to be saved,” in Mezquital Otomi as “God’s new word frees us in order that our life will be good,” and in Eastern Highland Otomi as “the new word which is like a law strengthens our hearts so that with pleasure we will obey it.”
(Source: Ellis Deibler in Notes on Translation July, 1967, p. 5ff.)
