“In working as a Bible translator in Tibetan, the overriding aesthetic value that guided the translation was the sonic quality of the oral-aural transmission and reception. The primary quality control measure of almost everything that was translated, regardless of genre, whether it was a genealogy, a list of vices, a hymn, narrative, prophecy, poetry or didactic teaching, was all measured through the lens of ‘does this verse or section sound melodious and pleasing to the ears?’ The concern of our mother tongue translators was that a holy and sacred text must inherently be melodious and sweet sounding to the ear, or no one would consider it to be sacred, nor would they want to read it or listen to it being read aloud. Furthermore, if the text is melodious and sweet to the ears (snyan po) and has an appealing ‘flavor’ (bro ba), then it will also be kho bde po — easy to comprehend (literally ‘smooth to the ear’) and kha deb po — easy to read (literally ‘smooth to the mouth’). It would also more easily lend itself to memorization, recitation and being sung-all highly important aspects in a Tibetan context. (…) More typically, poetry is versified with an uneven number of syllables in lines of seven and nine syllables, a form of synalepha [suppression of a vowel at the end of word when it is followed by another word beginning with a vowel] grouped as 1-0-1-0-1-0-0. Though lines of 11, 13, 15 syllables (and so on) are possible, the pattern of 7 or 9 is by far the most prevalent in Tibetan literature.
“Given the structure of the Beatitudes in Matthew’s Gospel, with rhythmic parallel patterns (see Translation commentary on Matthew 5:3) (…), the team decided to render this section in poetic form to not only promote ease of memorization and recitation, but to enhance the euphonic appeal [having a pleasant sound]. The text follows a typical nine syllable synalepha structure.” (Quoted in Watters / de Blois 2023)

The Greek that is typically translated as “Blessed” in English is translated in the French 1985 translation by Chouraqui as En marche or “Rise up / Forward / Let’s get going.”
The Jewish scholar and inter-religious translator A. Chouraqui explains: “The first word of the Sermon on the Mount is, in most translations, the main obstacle to understanding Yeshua‘s message. Makarioi, the Greek says — “Blessed” — and this word immediately sends commentators off on the wrong track. The ‘Beatitudes’ are assumed to be something that should be possessed from the outset, whereas they will only be fully realized in the kingdom of Adonai. And Jesus did not say makarioi, but ashrei (see Psalm 1:1), an exclamation…from the root ashar which implies, not the idea of a vague and essentially hedonistic happiness, but the idea of uprightness, yashar — the uprightness of the person who is walking on a path clear of obstacles — the path that leads toward Adonai.” (Source: Watson 2023, p. 58)
Note that Psalm 1:1a is translated by Chouraqui as En marche, l’homme qui ne va pas au conseil des criminels — “En marche (see above), the man who doesn’t attend the council of criminals.”

Drawing by Ismar David from Charles L. Allen, 1967.
For other images of Ismar David drawings, see here.
Following are a number of back-translations of Matthew 5:4:
- Uma: “Blessed are the people who are sad, for God himself will comfort them.” (Source: Uma Back Translation)
- Yakan: “‘Better off are the people who grieve, because they are comforted by God.” (Source: Yakan Back Translation)
- Western Bukidnon Manobo: “Much better off are those whose breaths are made painful by bad doing because God will comfort them.” (Source: Western Bukidnon Manobo Back Translation)
- Kankanaey: “‘Fortunate are the people who sorrow/mourn because of sin, because God will comfort them.” (Source: Kankanaey Back Translation)
- Tagbanwa: “(The people) can be happy who grieve because of sins committed, because God will comfort them.” (Source: Tagbanwa Back Translation)
- Tenango Otomi: “The good fortune will be met by the people who are sad. Because God will comfort the hearts of these people.” (Source: Tenango Otomi Back Translation)
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