STORIES
STORIES
The Hebrew word naim (נָעִים), “delightful,” is rare, only appearing 22 times in the Bible. Psalm 16 uses it twice, each time at the very end of one of its two halves.
The workshop had gathered two groups who do not usually work in the same room. One rule was adopted: the agreed translation would not go up on the board until everyone in the room accepted it.
Psalm 16:4 opens with a line that modern translators have called difficult, uncertain, even obscure. The ESV refers to those who "run after" another god. Yet this is not what the term typically means.
Every verse in Psalm 16 has two or three lines, except the first, which has only one: “Protect me, God, because I have taken refuge in you.” The two halves of that line reflect the structure of the rest of the psalm.
The musicians and translators were a long way from home. Traditionally, having their communities check their drafts would be a months-long process that required going home. Instead, the drafts went out over WhatsApp.
A group of translators we confronted with the question: "What defines poetry in our own languages?" Nobody could answer it in full. Not because there wasn't an answer, but because no one had yet to write it down.
Psalm 16 declares, "Property lines have fallen for me in the most delightful places." What does this mean, and what is its significance to our understanding of the poem?
Psalm 8 ends exactly where it began. The final line repeats the opening line word for word. It's the simplest kind of poetic device, a bookend, and it frames the meaning of the psalm.
A translation consultant is the last gate of Bible translation. Nothing gets published until they sign off. Fifty of them, responsible for oral Bible translation across francophone Africa, gathered in Cotonou in August.
Few verses in the Psalter pack as much textual difficulty into so few words as Psalm 8:3. And yet our preferred reading yields one of the most arresting images in the psalm.
Read Psalm 8 closely and you'll feel that you've heard it before. That's not an accident. One scholar calls Psalm 8 "Genesis 1:26–28 set to music."
At a Bible translation workshop in Benin, a translation consultant observed, "We want people to be impacted through the translation of the Bible... So we don't need speeches." What did he mean by that?
"Yea, though I walk through the valley of the shadow of death." It is one of the most memorized lines in the English Bible. And the phrase at its center—"shadow of death"—may be beautiful but inaccurate.
Psalm 8 features one of the most contested single words in the Psalter. The King James Version says humanity is "a little lower than the angels." Other translations read "a little lower than God." Which is right?
Psalm 8 doesn't just talk about the created order — it traces it, moving the reader through space the way a camera might. It moves from the heights of heaven, down to the ground, and then outward across the earth.
The superscription of Psalm 100 can be translated "a psalm for giving thanks," or "a psalm for the thank-offering." One points to a state of the heart; the other points to an animal on an altar.
Psalm 8 opens with one of the most stubborn grammatical puzzles in the Psalter. Yet behind that interpretive headache lies a rich image.
The beginning and the end of Psalm 6 are built to match. Each runs three verses, six lines, twenty-four words — the same length to the word — and the echoes between them are deliberate.
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