We use the word translation in many different ways, accountants and theologians having quite specialised uses of the term which may befuddle, without a translation, the poor man on the Clapham omnibus.
When you try to translate Do you feel special? and Do you feel different? into certain Romance languages the distinction found in Germanic languages may be lost. Difficulties abound when seeking to give the correct and proper meaning of words in one language in a second. But have you noticed that there is as much difficulty when translating from even very closely related languages?
The Wesleys wrote many hymns which are in use today, but they wrote in a different language than we speak today, though their language and ours are for the most part mutually intelligible. John Wesley was aware of the problem of translation however, for he is recorded as saying: I desire that they would not attempt to mend them; for they are really not able. John Wesley was a very able poet and not a mean user of the English language. Certain publishers thought that perhaps however he had not quite said what he intended to say and sought to ‘improve’ on the work of the author.
Coco is quite sure that were Mr Wesley to have lived in the 20th and 21st centuries his hymns and expressions would be just a sure footed as they were in another land and a different language. He knew what he was saying and said what he meant.
Sometimes however, modernists wish to translate into contemporary English that which was written in a different dialect and then fail to ensure that when they attempt to do so they have not changed to meaning of the author. Some also erase the obvious and leave behind the ridiculous:
Crown Him the Lord of years,
the potentate of time,
creator of the rolling spheres,
ineffably sublime!
is the 19th century English
Crown Him the Lord of years,
the potentate of time,
creator of the rolling spheres,
in majesty sublime!
is the modern substitute
There is a subtle distinction. Incidentally, whilst ineffable may not be in common usage, it is not an archaic word. It surprises Coco that the translator did not know that. The concept of the rolling spheres is however an archaic description of the cosmos however ‘poetic’ it may appear to be to our ears. Much more serious errors however can be made.
In the hymn Beneath the cross of Jesus, written by Elizabeth Cecelia Clephane (1830-69) in the middle of the nineteenth century we have these words:
The hymn begins:
Beneath the Cross of Jesus
I fain would take my stand.
later we have:
O safe and happy shelter!
O refuge tried and sweet!
O trysting-place where heaven’s love
and heaven’s justice meet!
Which becomes:
Beneath the Cross of Jesus
O may I take my stand.
and later:
O safe and happy shelter!
O refuge tried and sweet!
That awesome place where heaven’s love
and heaven’s justice meet!
The changes may seem to be trivial, until you consider the difference in meaning between the former and the current expressions. Elizabeth knew her theology, and so apparently do the translators, but they have forgotten the fundamental principle of translation which is to express in the target language as precisely as possible what was said in the original. There are two significant errors here, which Coco suggests reflect badly upon the theology of the translators and perhaps illustrate a tendency in contemporary thought to downgrade the robust theology of the Bible.
Coco must admit that fain and trysting, unlike ineffable, are archaic words, though we are quite capable of understanding them. They may derive from a foreign language, that is the English of the nineteenth century, but many of our contemporary words derive from foreign languages and we are quite unashamed to use them: bhaji springs to mind, though Coco is as fond of them as Tigger is of thistles. The difference in meaning between the translation and the original is however considerable in both its modern and original understandings.
Fain is not an expression of a request for permission to do something, but rather an expression of a sense of unworthiness to take part in something of great importance. When you wish to see the king or some other important official, you must ask for permission, May I have an audience?, and then you must turn up at the appointed time, if you are granted an audience. This is not what Elizabeth meant, otherwise she would have used that expression herself. May I? was not foreign to the nineteenth century speaker of English. Elizabeth knew precisely what she meant: She had not sought an audience with the king, but rather the king had sent a letter to her: By Royal command we require the presence of Elizabeth at such and such a time and place. In her heart was both joy and fear. How could she appear in the presence of the king? She shrank back from it. Suppose she arrived and her attire was unsuitable or unpleasing to the king? Suppose she made some stupid or silly remark in his presence? I fain would go, she cries out, and go I must for I am compelled by his command to do so.
But the translator should understand this: God has commanded men everywhere to repent and to believe the gospel. Obedience to this command requires that we come to the cross of Jesus. It is not a matter of may but must. I must stand beneath the cross of Jesus.
The theology has been changed. To ask if I may stand beneath the cross is to ignore that we have been commanded to do so. Do I think that if I ask for permission, then the obtaining of that permission will suggest perhaps some element of good in me which prompted the king to allow me to stand there? Ah, that is not the gospel of our Lord Jesus Christ, who calls everyone to come to him. It is only those who think they have something to give him who will not come. They do not hear his voice, because they want him to reward them for the ‘good’ things they have done.
Secondly, the second change strips out of the hymn the most delightful doctrine that God’s love and his justice work together for the salvation of men. God is one. His attributes are not in conflict with one another. The place where love and justice meet is indeed an awesome, Coco would prefer to say aweful in its proper sense with a different spelling than use the contemporary term, but let it be, an awesome place. There is no doubt about that, but it was not that aspect of that place about which Elizabeth was writing, otherwise she too could have used a different expression than trysting. Trysting is nothing to do with awe. Trysting is to do with love and courtship. It is an aspect of our culture which perhaps our modern English world has forgotten.
Elizabeth knew exactly what she meant when she used that word to describe the place where love and justice meet. They had not gone to that place to settle their differences. There would be no great battle between love and justice. Love and justice had gone to that place as lovers. Love and justice had only one common purpose and aim, which God had expressed from before the foundation of the world, that the Son would be given the nations as an inheritance. For this to be fulfilled the Son would give himself for his people. The cross of Jesus speaks to us of both his love and his justice. It is their trysting place. In this way God would demonstrate that he is both just and justifier.
William Vernon Higham 1926-2016 speaks of the awesomeness of that place in his hymn:
Great is the gospel of our glorious God,
where mercy met the anger of God’s rod;
a penalty was paid and pardon bought,
and sinners lost at last to Him were brought.
Mercy and anger, love and justice, meet to fulfil the work of God.
In another nineteenth century hymn we have the very thing that Elizabeth expressed. It seems unlikely that Elizabeth would have known it at least in the English translation. First of all it was written in Welsh by William Rees (1802-83):
Here is love, vast as the ocean,
lovingkindness as the flood,
when the Prince of life, our ransom,
shed for us his precious blood.
Who his love will not remember?
Who can cease to sing his praise?
He can never be forgotten
throughout heaven’s eternal days.
On the mount of crucifixion
fountains opened deep and wide;
through the floodgates of God’s mercy
flowed a vast and gracious tide.
Grace and love, like mighty rivers,
poured incessant from above,
and heaven’s peace and perfect justice
kissed a guilty world in love.
William Edwards (1848-1929) translated it to English and expressed in it what Elizabeth captured in her use of trysting place. Heaven’s peace, joins with heaven’s justice to kiss a guilty world.
Do not be misled by the bad theology that sees God’s justice being at odds with his love, or that which suggests that the God of the Old Testament is not of the New. Our God, Father Son and Holy Spirit, is one God, in whom there is no conflict between his love, peace, mercy, grace, anger and justice. Jonathan Edwards described heaven as a world of love. God is love, and where God is, in his love, anger, mercy and justice we have a trysting place to which all may come. Yes, we may fear to come, but we may come for the royal command has been issued:
Come to me, all you who labour and are heavy laden, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and lowly in heart, and you will find rest for your souls.
Matthew 11:28-29