History TranslationConvention / Literature

** Kaya is not speaking English, and neither is Josefina--they speak Nimipuutímt and Spanish respectively. The books are written in English, with added words in their native languages.

* All the dialogue in Creator/AnneMcCaffrey's ''Literature/{{Catteni}}'' series is rendered in English; however, early in the first book, one of the characters is giving out orders, and the narrator specifically notes that one of the words in his speech is in English. It is later stated that everyone actually speaks a creole of four or five different languages.
* The characters in Israel Zangwill's ''Children of the Ghetto'' use up to four different languages, with Yiddish most common in the first part and English in the second. Zangwill tells the reader who is speaking what when, but also gives some characters [[FunetikAksent Funetik Aksents]] when they're speaking English instead of Yiddish, German, or Hebrew.

* Played with in ''Literature/DespoilersOfTheGoldenEmpire''. All of the names of the characters and institutions in the story are translated into their Germanic/English equivalents. Unlike most examples of this trope, this is actually done to deliberately mislead the audience, as the reader would instantly recognize the characters and institutions if they went untranslated (or in some cases, if they were translated less directly). For example, there is the Universal Assembly, [[spoiler: more commonly called the Catholic Church -- Catholic means "all-embracing, universal", and ''ekklesia'', the Greek word from which the Ecclesia used in the Latin name of the Catholic Church comes, means assembly or congregation.]]
* The language they're speaking on ''Literature/{{Dinotopia}}'' is never detailed; but the first book describes it as a creole based on the languages of humans wrecked on the island. It apparently contains a significant number of words from English, French, and German; which helps Arthur and Will Denison as they learn it.
** However; all of the text written in the Dinotopian script used in the books is current English, with the letters swapped one-to-one for the footprint characters.

* Applies to all the ''Literature/FightingFantasy'' books. Of particular note, in the book ''Literature/SwordOfTheSamurai'', the reader plays a samurai from Hachiman, and all the dialogue is rendered in English. In the later ''Literature/TheCrimsonTide'', you play an orphaned farm child in the Isles of the Dawn. Again, all dialogue is represented in English - until you meet a group of samurai guarding the Hachiman ambassador, and are completely unable to understand what they are saying.

-->''For clarity's sake, certain Klingon technical terms have been translated into their Federation Standard equivalents: thus "warp drive", "transporter, "disruptor" instead of the more literal "anticurve rider", "particle displacer", "vibratory destructor" (most literally: the "shake-it-till-falls-apart-tool").''

* It can be assumed that the characters of the ''Literature/GirlsOfManyLands'' series that are set in non-English countries--e.g. Cécile, Leyla, Spring Pearl, and Saba--are not speaking in English; the only characters that do natively are Isabel and Kathleen. The books intersperse English with the native language and glossaries in the back define words from any other languages used.

* ''Franchise/HarryPotter''
** In [[Literature/HarryPotterAndThePhilosophersStone the first book/film]], when Harry talks to the snake we read/hear them both speaking English (aside from the word "amigo", used by the snake). Even Harry doesn't realise until [[Literature/HarryPotterAndTheChamberOfSecrets the following story]], where it's a plot point, that he was actually speaking Parseltongue. Even in the second book Parseltongue is represented as English. It's only in the second MOVIE that it's represented as a different language. This is because the books, while in third person, are told from Harry's point of view. Harry couldn't tell the difference between Parseltongue and English, thus neither can we. This can be seen easily in a scene later in the book where Harry is trying to speak Parseltongue to open the Chamber of Secrets, but since he doesn't know when he's speaking Parseltongue, it takes him a few tries. Every try, including the successful one, is written as "open" in English in the book. The movie doesn't have this because the movie is completely third person, and is not connected to Harry. Also, when Harry tells a snake "Get away from him!", all observers hear it as hissing and spitting.

* Creator/HarryTurtledove's books render all dialogue in English when everyone present can understand whatever language is being spoken, though he typically makes an effort to replicate the real language's grammar and syntax.
* ''Literature/HayvenCelestia'': As well as the languages of the alien protagonists being written in English, the books also use translation convention in the illustrations. The text describes the Geroo and other species as [[ExpressiveEars emoting with their ears,]] as they lack the facial muscles to do so with their mouths. The illustrations, however, show them expressing with their mouths for the reader's convenience.
* In Henry Roth's ''Literature/CallItSleep,'' the protagonist and his family are poor Jewish immigrants in New York's Lower East Side. Their Yiddish (their native language) is rendered in somewhat formal and literary English (e.g. "I'm pleading with you as with Death!"), though they are not literary or cultivated people. What people say in English (the Jewish immigrants' and others), on the other hand, is given with thick accents, with lots of phonetic spellings. This is to make the Yiddish seem normal and natural, and the English alien and threatening.
* The world of Velgarth in the Literature/HeraldsOfValdemar series is rather full of different languages, and the language being spoken (in English for the reader) is generally assumed to match the nationality of the speaker unless stated otherwise. It's no wonder telepathy is a common feature of the books.
* Played straight in ''Literature/HisDarkMaterials'' with the alien mulefa, who do learn a small amount of English, and with a few Siberian or Himalayan characters in the third book - however, ''everyone'' else seems to actually speak English. You can HandWave this with the angel characters easily, but when it's many, many humans over many, many different universes, one of which is specifically given an Italian/Mediterranean feel, it becomes harder to believe. One scene in the second book does note that Lee Scoresby and a [[FantasyCounterpartCulture Nordic-equivalent]] have to try out about six different languages with each other before they find one they're both comfortable in. Their conversation is still represented as English for the reader.
* Creator/JRRTolkien's [[Franchise/TolkiensLegendarium Middle-earth works]]: All of our real-world languages do not exist in Middle-earth, and so the common TranslationConvention applies. When not convention-translated, names and speech make use of Tolkien's constructed languages, or also of one of the real-world languages used as stand-ins for a fictional one (done to convey the relation of the respective 'proper' languages). Concerning the latter use: The lingua franca of the Third Age (''Literature/TheHobbit'', ''Literature/TheLordOfTheRings''), "Westron" (aka the "Common Speech"), is ''always'' rendered as Modern English in the texts, as it is the POV characters' language. Others are regularly replaced by stand-in languages based on their relationship to Westron: Rohirric language by Anglo-Saxon/Old English (as it is an archaic version of Westron), and the language used by the Dwarves and the Men of Dale by Old Norse. Information on what these languages 'really' look like [[AllThereInTheManual can only be found in additional texts]]. E.g.: Bilbo and Frodo Baggins' actual, 'non-translated' names are ''Bilba'' and ''Maura Labingi'' (yes, the 'real' hobbit names have masculine endings in -a, feminine in -e and -o).
** He even does this with place-names. He wanted some places to have names that seemed homey, familiar (because they were in the language of the Hobbits, the viewpoint characters) and others to have mysterious-sounding names, because they were in languages unrelated to Westron (like the Elven or Dwarven languages or the BlackSpeech); occasionally, we hear two different names for the same place. If he'd left the place-names untranslated, they all would have sounded equally foreign to English readers--"Karningul," for example, is no more familiar-sounding to us than "Imladris". So he translated the Westron place-names into English-derived equivalents, e.g. rendering "Karningul" as "Rivendell".
** We are told that in Westron, as in most European languages other than English, there are two forms of the second person pronoun, one used for polite address (vos, you), and one used to those with whom one is intimate or familiar (tu, thou). But as the polite pronouns had been lost in the Hobbitish dialect of Westron, the hobbits gave to speakers of more standard dialects a misleading impression that they were on close terms with very important people like Elrond and Galadriel, though this impression is lost in the English "translation" of the ''Lord of the Rings''. (See the Appendix "On translation", to LOTR.)
*** Curiously, many translations to languages that ''do'' make distinction between familiar and polite address nevertheless had the Hobbits use the polite address with these important people. The Finnish translators, for example, noted that using the familiar form made the scenes either unintentionally comical or apparently poorly translated to the reader.
*** Though Tolkien does not usually attempt to represent the formal/familiar distinction in the English text -- simply using "you" throughout -- in a few places he uses "thou" to indicate a sudden or unexpected use of the familiar pronoun. E.g. Éowyn at one point expresses her affectionate feelings for Aragorn by calling him "thee". The Witch-king and the Mouth of Sauron both use the informal "thou" as an expression of contempt (though Éowyn replies to the Nazgûl-lord with "you" -- in Middle-earth heroes are unfailingly polite, even when threatening death on their enemies). Similarly, Denethor starts scornfully "thou"ing Gandalf during his rant just before he kills himself. (Confusingly, Tolkien sometimes ''also'' uses thou/thee forms to represent poetic or ceremonial language; consulting his notes on the topic may be necessary to determine what meaning a particular use of "thou" is meant to communicate.)
** Similarly, in ''Literature/TheSilmarillion'', it is presumed that the characters converse in their native languages -- most commonly one of Tolkien's Elvish languages, Quenya or Sindarin depending on the culture and time period. Names of characters, locations, clans and so on are given in the original languages, though some of them are given translations directly in the text, and most other translations of names can be found in [[AllThereInTheManual supplemental materials]].
** Tolkien actually slips up at one point. The tower of Orthanc is cited as a double-language pun. It means "Mount Fang" in Sindarin (Grey Elvish), and that meaning can be traced in the untranslated constructed language. It also means "cunning mind" in Rohirric--and it must mean that in the original untranslated Rohirric, because its presence in original Sindarin means that this is original untranslated word. But it ''also'' means "cunning mind" in Anglo-Saxon. So "Orthanc" means the same thing in two different languages that are supposedly unrelated--a remarkable coincidence.

* A similar example occurs in the Literature/{{Discworld}} book ''Literature/InterestingTimes'', where the level of understanding between different languages of characters is reflected in how literal the text is, including translating ''names'', leading to such name gems as the characters ''Pretty Butterfly'', ''Six Beneficial Winds'', and ''One Big River''.
** This is, of course, a gag that started with the first Agatean to appear in the books, Twoflower.
** In another Discworld book, ''Literature/{{Jingo}}'', the dialogue of the Klatchians using their own language in front of Morporkian speakers is simply English in a different font. The words "En al sams la Laisa" are not translated until later, to preserve a joke. (The translation turns out to be "The Place Where the Sun Shineth Not".)
** When Carrot speaks Klatchian his accent isn't perfect, so some letters are still in the usual font.
** Also note that Klatchian is in no way exactly identical to Arabic.
** It is, in fact, a frequently recurring joke in the Discworld books that the languages are basically schoolboy-pidgin versions of their real-world counterparts. Pidgin Latin the most frequently seen. Pratchett uses approximations of the languages that are ''almost'' Latin, or Arabic, or French, but with BlindIdiotTranslation in effect so we get the jokes in the other languages.
** In ''Literature/{{Pyramids}}'', there's a footnote to the effect that Ptaclusp's concern that his accidentally two-dimensional son will spend the rest of his life "sleeping cheaply in hotel trouser-presses" is a rather loose translation, as Ptaclusp's language doesn't even have words for "hotel" or "trousers". It does, oddly, have a word for "press for barbarian leg-coverings".
** EarlyInstallmentWeirdness: In ''Literature/TheColourOfMagic'', when Rincewind is transported to Roundworld, he thinks the language spoken by an American airline crew sounds "vaguely Hublandish", suggesting his native Morporkian is being translated for the reader, just like [=BeTrobi=] when he talks to Twoflower (until that point gets forgotten). Later books imply, to a greater or lesser extent, that Morporkian and English ''are'' in fact almost identical, although [[OrphanedEtymology the routes they took are sometimes different]]. (It's all but confirmed in ''Literature/TheScienceOfDiscworld'' and sequels, and explicitly stated in the ''TabletopGame/DiscworldRolePlayingGame''.)
* Creator/IsaacAsimov:
** The entire second section of ''Literature/TheGodsThemselves'', told about and by StarfishAliens. The Earth/Moon language used in the other two sections may also be an example.
** "Literature/TheHazing": The dialogue and narration appears in English, but at least three different languages are recognized as being used based on mutual unintelligibility. The Earth words "god" and "devil" don't translate to Galactic, and the sophomores use a different language aboard ship to hide their conversation from the freshmen from Earth (who do understand Galactic).
** ''Literature/PebbleInTheSky'': When Joseph Schwartz [[TimeTravel travels tens of thousands of years into the future]], he finds that [[LanguageDrift English has changed far too much to be comprehensible]]. The narration from Schwartz's perspective maintains this obfuscation until he learns their modern English, at which point everyone is speaking in English as we know it.
** ''Literature/RobotsAndEmpire'': Daneel and Giskard speak to each other using only a few words instead of complex sentences; this is "translated" to English for the reader.
** "Literature/SearchByTheMule": The LemonyNarrator chooses to {{Lampshade|Hanging}} the use of this trope; the Second Foundation has trained in psychology to such a degree that they're practically [[{{Telepathy}} telepathic]]. The story uses standard dialogue to represent meaningful gestures and cryptic sentence fragments. The description of [[TranslationYes how much detail we are missing]] verges on BizarreAlienSenses.
--->Speech as known to us was unnecessary. A fragment of a sentence amounted almost to long-winded redundancy. A gesture, a grunt, the curve of a facial line - even a significantly timed pause yielded informational juice.\\

* Robert Graves' novel ''Literature/IClaudius'', notionally written in first-person by Claudius, is explained in the foreword to be written in Greek. This explains why Claudius explains the meaning and derivation of certain Latin words, particularly characters' names.
** Also an example of ShownTheirWork -- someone who studied the period would know that a historical biography would have been written in Greek, not Latin, well into the 'Roman' era in Rome itself (rather like such a book being written in Latin, not English, in Mediaeval England- it was still considered the language of learning and more widely read).[[note]]For example, the second-century Emperor Marcus Aurelius wrote his personal ''Meditations'' in Greek.[[/note]]
* {{Lampshaded}} many times in the ''Literature/KhaavrenRomances'', purportedly translated by Creator/StevenBrust from the originals by Paarfi of Roundwood. The beginning of each novel contains a translator's note apologising for using "he", "him" and "his" in place of ''gya'', and states that the alternative was a lot of "he-or-she" constructs throughout the novels. A short piece near the end of the volumes consists of a conversation between Brust and Paarfi in which Paarfi lambasts and berates Brust for this and other [[ExecutiveMeddling changes]], including the title.
* Creator/RudyardKipling makes an interesting use of different styles of English to represent several languages, particularly noticeable in the novel ''Literature/{{Kim}}''. Here characters who speak Hindi, Urdu, Bengali, Tibetan or Pashtu as their native language will often be shown speaking English brokenly and with a bit of a FunetikAksent, but when they switch to accent-free English the reader can tell they are actually speaking in the language they are accustomed to most. There are also a few other tell-tale signs, for instance Hindi-rendered-as-English will appear a little more archaic, most notably for including "thou" and "thee" as well as "you" in order to reproduce the distinction between formal and informal address that most languages other than English have. Also, sometimes there are slight changes in vocabulary, e. g. certain special words are replaced by non-English equivalents and near-equivalents ("pultoon" for "regiment", "topkhana" for "artillery") or even by an English synonym (for instance, Kim overhears a British officer saying "this is not a war, it is a punishment" in English, and later reports that in Urdu or Hindi as "this is not a war, it is a chastisement"). And there are also instances where Kipling renders something in English, but also remarks that in the "vernacular" the statement includes a pun that is not present in the English translation.

* Jorge Luis Borges's ''Literature/TheLibraryOfBabel'' describes the alphabet as having 22 letters. It was originally written in Spanish, however, which has 27 letters. But one of the only exact excerpts from one of the books is [="Oh tiempo tus pirámides" ("O time thy pyramids")=]--and the presence of accent marks is not in the description given. Towards the beginning of the story, librarians are also described debating over exactly which language the perceived message of a certain book is even ''in,'' if any. Whatever language the narrator's speaking and the infinite books use the script of, it definitely isn't the same one as in the story's text.

* The books of Creator/UmbertoEco are written in Italian and translated to English by William Weaver. In ''Literature/TheNameOfTheRose'' this trope is invoked in an interesting way - the narrator explains he has translated the text from the original language for the benefit of the reader, but to Italian of course. So someone reading the book in anything other than Italian is reading a book which has been translated to Italian and then translated to English for the ease of the reader.

* Creator/NealStephenson:
** ''Literature/{{Anathem}}'' contains characters who speak several different forms of the same language, due to being in monastic seclusion for varying periods of time. These are all translated as English, but with various nonsense words inserted to simulate the relations between the languages--e.g., "anathem" is used for a word which means something like "anthem" in older languages, and something like "anathema" in newer languages. One major plot point in the novel is foreshadowed by [[spoiler:a character whose name is given as a phonetic spelling of "Creator/JulesVerne"--it turns out that he's actually from Earth, French, and named after the original Verne.]]
** Also found in ''Literature/{{Cryptonomicon}}'' and ''Literature/TheBaroqueCycle''. The latter in particular makes extensive use of it: large parts of the book are set in France with everyone speaking French, and other large parts of the book have several characters speaking a pidgin called Sabir. The characters often reference what language they're speaking, just to make sure the readers get it.

-->''...We could have told you that our character paused to [[CallARabbitASmeerp strap on his quonglishes before setting out on a walk of seven vorks along the main gleebish of his native znoob]], and everything [[WillingSuspensionOfDisbelief would have seemed ever so much more thoroughly alien]]. But it also would have been ever so much more difficult to make sense out of what we were saying, [[AndThatsTerrible and that did not seem useful]].''

* In the sci-fi novel ''Literature/TheSparrow'', and it's sequel, the alien languages are presented this way in the text after a time-jump following first contact when the humans begin learning their language.

* Similar to the comic book example above, Timothy Zahn uses brackets around English to depict alien languages in his ''Franchise/StarWarsLegends'' novels. In one novel that features two separate aliens, he depicts one alien language with single brackets and a j following every instance of the letter i. The second alien species merely has double brackets around its speech.
* Subverted in the second [[Literature/LandOfOz Oz book]], ''The Marvelous Land of Oz''. When the Scarecrow greets Jack Pumpkinhead, Jack objects to the Scarecrow that he cannot understand him, because the two of them are from different countries. The Scarecrow agrees that this must be the case, and calls for an interpreter: Jellia Jamb. Jellia has great fun mistranslating each statement made to the other, with both the Scarecrow and Jack objecting verbally to her lies, until she bursts out laughing. She explains to the two that, despite being from different countries, they speak the same language. They both feel very silly about the incident.
* The cats in ''Literature/TailchasersSong'' generally have their ConLang "translated" into English. For example, their word for "fish" is "Cef'az" and translates to "water-cat", their word for "bird" is "Fla-fa'az" and translates to "run-jump-cat", and their word for "friend" is "cu'nre" which translates to "heart-brother". The book also discusses cat pronouns such as "iri'le" (literally "many-me" and the equivalent of "we") and "iri" ("I").

* In the book ''Seven Underground Kings'' from Alexander Volkov's ''Literature/TalesOfTheMagicLand'' series, Ellie (Volkov's equivalent of Dorothy) protests when her cousin Fred calls her "devchonka", a derogatory Russian word for "girl", insisting on the neutral "devochka" instead. However, the stylistic difference between these two words only exists in Russian, not English, which the American characters are presumed to be speaking.

* ''Literature/ToughMagic'' plays with this; [[CatsAreMagic Holois]] is intelligent enough to talk, but can only speak in cat noises. However, any character that hangs around her long enough can understand her (With the main character being the best at it, due to his long assoctation with her.), which makes her intent fairly clear; and the narration occasionally provides a translation.

* ''Literature/WarriorCats'': All dialogue that the viewpoint characters can understand is rendered as English or the language of translated versions, such as Russian, but they're supposed to be speaking their own language, which has been rather prosaically refered to as "Cat". Likewise, at least some other animals have their own eponymous languages, including "Fox", "Badger", and "Rabbit".

* ''Literature/Wasp1957'': All conversations in the alien Sirian language are in English, but a number of Sirian slang terms remain (the swearword "soko", "yar" and "nar" which mean yes and no, and the VerbalTic "hi?")
* ''Literature/WatershipDown'' is about rabbits and makes note that the book is simply "translating" rabbit talk. Often times, the translation streamlines the terms for human convenience. For example, rabbits can only count to four, with every number after four just being "''hrair''" (a thousand). Fiver's actual name, ''Hrairoo'', literally translates to "Little Thousand".

* ''Literature/TheWheelOfTime'' has a really cool scene in which Mat and Birgitte are speaking after Mat discovers that Birgitte is the heroine of legend, and he denies having his own secrets. She's not fooled, at which point she says, "''Nosane iro gavane domorakoshi, Diynen�d�ma�purvene''?" (Speak we what language, Sounder of the Horn?) and both Mat and the reader realize that the entire conversation was in the Old Tongue, which makes Mat's denial laughable. The whole conversation is done by TranslationConvention and only works in print, but if you read it again, it's incredible because all the dialogue is written subtly with the [[StrangeSyntaxSpeaker the Old Tongue's poetic syntax and out-of-place idioms]].
* All of Creator/BrandonSanderson's books in Literature/TheCosmere make use of this, though attention is only drawn to it when it is relevant to the plot or setting.
** In ''Literature/WordsOfRadiance'' (book two of ''Literature/TheStormlightArchive'') a [[DimensionalTraveler worldhopper]] from Nalthis (''Literature/{{Warbreaker}}'') comes to Roshar and uses strange idioms relating to colors that confuse natives (and possibly readers). Although there is a lot more color related language in ''Warbreaker'', these same unusual idioms never appear, so they were translated appropriately, since whoever was listening would understand them.
** Both ''Literature/{{Oathbringer}}'' and ''Literature/TheBandsOfMourning'' feature characters using respective magic systems to communicate with people who speak different languages. Regardless of which language is being spoken it is all in English to the reader, provided the character who's point of view we have can understand it.
** Sanderson has also noted that this is also what happens with well done book translations in real life. Since his are written in English, when a translator runs across a pun or saying they will try to create a pun that works in their language. The idea of "This character is making a wordplay quip" is left intact, even though the specifics of what is said are changed.

** Cécile and Marie-Grace are bilingual, speaking fluent French and English--but their "French" is written in English for the sake of the readers.

* In ''Literature/TheQueensThief'' book ''Thick as Thieves'', Kamet is a {{Polyglot}} for five languages but spends most of the book speaking and thinking in Mede, as he's lived most of his life in Medea. This is used later when he addresses Attolis with the archaic for "Great King" and the whole court gasps. It's not until we see Kamet's signature on a letter that the reader knows that what he actually ''said'' was [[spoiler:the word Annux, which means a king over other kings--and which has been established in previous books as a title of mythic significance]].
* Creator/AlanGarner's novel ''Literature/RedShift'' is split between three time periods in the same part of northern England - the then current 1970s, the mid-1600s, and early Roman Britain in the first century AD. The first two groups are left untranslated, the present day characters obviously speaking modern English, and the 17th century ones speaking a more-or-less accurate dialect of early modern English. However, the Roman characters - a squad of low-ranking soldiers - are translated into a slang-heavy form of modern English reminiscent of Vietnam-era US military slang.
* ''Literature/ReignOfTheSevenSpellblades'': Notwithstanding the rare flashback to Nanao's time in Yamatsu, almost all the dialogue in the series is in Yelglish ([[FantasyCounterpartCulture Fantasy English]]) but is rendered in the localization language. This leads to oddities such as characters in the original Japanese referring to each other with the English-language honorifics "Mister" and "Miss" transliterated into katakana, rather than using UsefulNotes/JapaneseHonorifics (with the exception of Oliver calling his cousins/foster siblings Gwyn and Shannon "onee-san" and "nee-san").

* It's not entirely clear what language they're speaking on ''Literature/{{Dinotopia}}'', but the first book makes it clear that it isn't modern English.

* ''Literature/TheCityInTheMiddleOfTheNight'' has a foreword explaining that the novel was originally found documents written in Xiosphanti and Argelan, the languages spoken on the planet, and were translated into what the novel calls "Peak English." It's indicated that sometimes the characters are speaking either Xiosphanti or Argelan when it's important to their character development. Xiosphanti is apparently an incredibly complex language that has particles indicating the time of day that it is when speaking, the speaker's social status, and the listener's social status or occupation, and sometimes this is mentioned in the text, i.e. "He spoke to us as if we were laborers and he was a manager."

* It can be assumed that the characters of the ''Literature/GirlsOfManyLands'' series that are set in non-English countries--e.g. Cécile, Leyla, Spring Pearl, and Saba--are not speaking in English; the only characters that do natively are Isabel and Kathleen. The books intersperse English with the native language and glossaries in the back define words from any other languages used.

* In ''Hunter's Moon'', AnimalTalk is translated as every animal speaking in different human languages. Foxes (the main species) speak English, badgers speak German, cats speak French, etc. Animals of the same family speak in related tongues, such as dogs (dogs and foxes are distantly related) speaking broken English.

* ''Literature/TheBible'':
** Much of the New Testament was originally written in Greek, although it's likely UsefulNotes/{{Jesus}} and his disciples actually spoke Aramaic. A few words ("Eli Eli lema sabachthani" is the most famous example) are left in the original Aramaic and then translated in the text, and it's implied that different people speak with different accents, but these subtleties are lost in translation, which (obviously) are all in one language and dialect. Occasionally, some wordplay is lost in the translation to Greek: for example, in Matthew 23:24, Jesus accuses the Pharisees of straining out a gnat (Aramaic: galma) and swallowing a camel (gamla).
** It features a minor {{Aversion}} of this. Here and there you see a line like "Her name was Tabitha, which translated means Dorcas" and then a footnote informs you that "Dorcas" is Greek for "gazelle".
** Translations have a basically universal TranslationConvention that makes no real sense if you actually think about it. It operates across languages too, though how exactly it is implemented depends on when the first translation into that language was done. New translations almost never mess with these conventions, even though many of them describe themselves as being extremely radical. This leads to things like people using the title "Christ" as if it was actually the guy's name. fyi, Christ comes from "χριστος" (christos) and means "the anointed one". Since the original text was in Greek, the original readers would have read "Jesus the anointed" rather than two mostly meaningless names. Or rather "Iesou the anointed" because "Jesus" is a Latinization. Oddly enough most conlangers follow this convention as well (when someone makes a language, one of the first things they usually do is translate a bible passage because that's what Tolkien did. Even if said conlanger is not religious). Even Tolkien didn't translate the title instead Quenyarizing the word "Christ" to Hristo, even though he did actually know the Greek. Other things also get translated with weird results like in this quote "and from him who takes off your coat, do not withhold even your shirt". If you actually think about it, Jesus is referring to garments that hadn't been invented. The Greek actually says "and from him who takes off your cloak, do not withhold even your tunic". It's of course fine for translators to modernize the text for the benefit of modern readers, but it's especially weird when the editors have gone to all the trouble of including a bunch of historical context information (as has become the fashion with newer Bible translations).

* ''Literature/WarriorCats'': It goes without saying that cats can't speak human, so all of the dialogue is written in whatever language you happen to be reading the books in.

* ''LightNovel/AscendanceOfABookworm'': Myne has a brief period of not understanding the language of the new world in which she has reincarnated until she gains access to the memories belonging to the body that her personality unwittingly took over. After that, the world's language is rendered in Japanese (or whatever language the translation is in). However, since the new body belonged to a poor five-year-old girl, words the girl didn't know come out in Japanese until she learns the settings equivalent. Myne also need to learns how to read and write in her new world's language all over again, despite the fact that she could do both in her previous modern-day Japan life.

* ''Literature/ASongOfIceAndFire'' is written in a third-person limited perspective which changes viewpoint character by chapter. Languages understood by the viewpoint character are rendered in English, and the specific language being spoken is only brought up by the narration if it becomes relevant (such as when Dany pretends not to understand High Valyrian in order to hear a slave trader's real words instead of the sanitized version presented by his translator). Westerosi alone is ''always'' rendered as English, with no associated ConLang or [[SpeakingSimlish nonsense vocabulary]]; chapters in which the viewpoint character does not understand Westerosi will gloss over it in the narrative with a few words about "babbling in the vulgar Westerosi tongue" rather than give specific dialogue.

* ''Literature/{{Wasp}}'': All conversations in the alien Sirian language are in English, but a number of Sirian slang terms remain (the swearword "soko", "yar" and "nar" which mean yes and no, and the VerbalTic "hi?")