The Great Translation

Adam Nicolson has written a fascinating book called ' Power and Glory    Jacobean England and the making of the King James Bible' (Harper Perennial 2004 £8.99). Much of the detail of the work of translation is not known to us, only fragments of the story survive, but Adam Nicolson, who writes so very well, puts it all into its historical context and sets our what we can manage to glean from the few surviving documents.

When King James VI of Scotland became King James I of England in 1603 on the death of Queen Elizabeth I, there were considerable tensions within the Church of England. James summoned a Conference of leading churchmen at Hampton Court in 1604 and the one positive outcome was the agreement that a new translation of the bible into English was needed. All the existing versions had defects of one sort or another. 

The king, and the Archbishop of Canterbury drew up guidelines. The basis was to be what was known as the Bishop's Bible but others to be consulted were listed, concern was to be had for the truth of the original. Traditional translations of key words were to be maintained, thus the Greek ekklesia, was to be translated at church and not congregation. The same English words were to be used when the New Testament quoted from the Old Testament. The way the translation was to be done was this. Six companies of translators were formed. Two in London, one for genesis to II Kings; one for the epistles. Two in Oxford, one for Isaiah to Malachi; one for the Gospels, acts and Revelation. And two in Cambridge, one for I Chronicles to Song of Songs and one for the Apocrapha. The size of the companies varied from 6 to 10 men; each had a leader and a secretary. In all there were 50 translators.

The initial translations of chapters were divided between the members of the company; every now and then the members would gather to approve or alter these translations. There was much discussion. If there were great disagreements, other learned biblical scholars were consulted. A very few early drafts survive; a very small number of letters between translators survive. Some translators were slow in producing their chapters and the more hardworking had to take over extra chapters. When each company had finished their portion of the bible, there were a number of meetings in London of two people from each company, wusally the leader and the secretary. This meeting went over the whole translation again and made some alterations to ensure the whole translation was basically in the same overall style.

In all these meetings of translators, the proposed versions were not written with copies in front of everyone. The proposed translations were read aloud to the others; for how the translation sounded, was of prime importance. In 1611 the new translation was published. It took time for it to become accepted. It was only incorporated in the Book of Common Prayer in 1662 and even then the Psalms were kept in the translation by Miles Coverdale of the 1540's. But in time it won great acceptance in English speaking countries where, until the second world war it was the only generally recognised version of the Bible in English.

I believe that this translation has very considerable virtues. Where the Hebrew or Greek covers a range of meanings, the Authorised Version allows that - unlike many contemporary versions it does not narrow the meaning. It sounds, when read well, magnificent. It has, again unlike too many contemporary versions, a wide vocabulary. It is a simple translation doing justice both to the original and to the best possible spoken English.

I think the occasions when it is appropriate to use this version today are few. Meanings of words change, better texts of the original Hebrew and Greek texts are now available, it can feel by many too inaccessible. But all contemporary versions stand under its judgement and I long for a renewal of spoken English that will allow a contemporary translation with the virtues for today that the Authorised Version had in its time. I strongly recommend Adam Niciolson's fine book.

Christopher Morgan-Jones

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