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Views from the Choir Loft

A Literal Translation of the New Testament

Fr. David Friel · March 11, 2018

ARLIER this year, David Bentley Hart published an article in The Tablet (London) that alerted me to a new translation of the New Testament he had published late last year.1 Hart’s NT, however, is not simply another translation to add to the pile.

In translating the New Testament, Hart set out to render the original text quite literally, even when doing so would produce a rough or surprising result. This was the task put to him by an editor at Yale University Press.

An Eastern Orthodox theologian, philosopher, and cultural commentator, Hart is presently a fellow at the Notre Dame Institute for Advanced Study in South Bend. He is the author of many articles and several books, including The Beauty of the Infinite: The Aesthetics of Christian Truth and The Experience of God: Being, Consciousness, Bliss.

Hart is not idealistic about what he set out to achieve in his NT translation. As he writes in his piece for The Tablet, “I acknowledge, of course, that the translation of words on a page can never be free of some interpretation of their contents.” Nevertheless, he asserts strongly that there is something to be gained by allowing the “historical and cultural remoteness” of an ancient text to remain, rather than trying to smooth such distance out through the translation process.

He has this to say concerning more standard modern translations of the Scriptures:

All of them seem to me to be shaped not only by too many inherited habits of theological thought and usage, but by the curious assumptions that the distinctive idioms and conceptual vocabularies of Jewish, Christian, and Pagan antiquity constitute nothing more than different ways of expressing intuitions and ideas that we today merely express in different (but “dynamically equivalent”) ways.

I tend to think that they actually express fundamentally different ways of seeing reality. For instance, to say that someone is “full of days” is not simply to say the same thing that a modern person means in describing someone as “very old.”

Hart admits very honestly the effect that this project had on him, personally. When he began translating, he says, “I took it as my primary task to restore some proper sense of the distance separating the world of the New Testament from ours—to make the text strange again, so to speak. . . . Precisely in making the texts strange—in trying to make them truly remote—I experienced them with an immediacy that I had never really known before.”

N NO WAY am I advocating that Hart’s translation should be considered for liturgical use. On the contrary, it is clear to me that his translation would not at all suffice for liturgical purposes. But this is not to say that his work has no value.

I believe his version of the NT is worth having on hand as an aid to both prayer and study, especially for those without facility in Greek. It succeeds admirably in shaking out of complacency those who know the Scriptures well, challenging them to hear again these texts, in all their strangeness and urgency.

Hart’s New Testament is available from Amazon, where one can also read positive reviews of the work from such figures as Donald Senior, CP, Rowan Williams, Robert Louis Wilken, Paul Mankowski (First Things), and Jennifer Kurdyla (America).




NOTES FROM THIS ARTICLE:

1   David Bentley Hart, “The Word made fresh,” The Tablet 272, no. 9233 (13 January 2018): 11-13. For his translation, see David Bentley Hart, The New Testament: A Translation (New Haven, CT: Yale University Press, 2017).

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Novus Ordo Lectionary Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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    “Entrance Chant” • 4th Sunday of Easter
    You can download the ENTRANCE ANTIPHON in English for the 4th Sunday of Easter (11 May 2025). Corresponding to the vocalist score is this free organ accompaniment. The English adaptation matches the authentic version (Misericórdia Dómini), which is in a somber yet gorgeous mode. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski
    Music List • “Repertoire for Weddings”
    Not everyone thinks about sacred music 24/7 like we do. When couples are getting married, they often request “suggestions” or “guidance” or a “template” for their musical selections. I created music list with repertoire suggestions for Catholic weddings. Please feel free to download it if you believe it might give you some ideas or inspiration.
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    Beginning a Men’s Schola
    I mentioned that we recently began a men’s Schola Cantorum. Last Sunday, they sang the COMMUNION ANTIPHON for the 3rd Sunday of Easter, Year C. If you’re so inclined, feel free to listen to this live recording of them. I feel like we have a great start, and we’ll get better and better as time goes on. The musical score for that COMMUNION ANTIPHON can be downloaded (completely free of charge) from the feasts website.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
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    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

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The 1960s reformers had no chance of success since their goal was “recasting from top to bottom—and in a few months!—an entire liturgy which had required twenty centuries to develop.”

— Professor Louis Bouyer, close friend of Pope Saint Paul VI

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