Book contents
- Frontmatter
- Contents
- Preface
- Abbreviations
- Introduction
- Part I Background and Interpretation
- Part II An Exegetical Study of the Hymn in Philippians ii. 6–11 in the Light of Recent Interpretation
- V The Pre-existent Being (verse 6 a)
- VI His Choice (verse 6b, c)
- VII His Incarnation (verse 7a, b)
- VIII His Abasement (verses 7c–8)
- IX His Exaltation (verse 9)
- X The Universal Homage (verses 10–11a)
- XI The Christological Confession (verse 11b–c)
- Part III Philippians ii. 5–11 in its First Century Setting
- Select Bibliography
- Index of Authors
- Index of Subjects
- Index of Passages Quoted
- Index of Greek, Latin and Semitic Words
IX - His Exaltation (verse 9)
Published online by Cambridge University Press: 24 October 2009
- Frontmatter
- Contents
- Preface
- Abbreviations
- Introduction
- Part I Background and Interpretation
- Part II An Exegetical Study of the Hymn in Philippians ii. 6–11 in the Light of Recent Interpretation
- V The Pre-existent Being (verse 6 a)
- VI His Choice (verse 6b, c)
- VII His Incarnation (verse 7a, b)
- VIII His Abasement (verses 7c–8)
- IX His Exaltation (verse 9)
- X The Universal Homage (verses 10–11a)
- XI The Christological Confession (verse 11b–c)
- Part III Philippians ii. 5–11 in its First Century Setting
- Select Bibliography
- Index of Authors
- Index of Subjects
- Index of Passages Quoted
- Index of Greek, Latin and Semitic Words
Summary
διὸ ϰαὶ ὁ θεὸς αὐτὸν ὑπερύψωσεν
ϰαἰ ἐχαρίσατο αὐτῷ
τὸ ὄνομα τὸ ὑπὲρ πᾶν ὄνομα
(verse 9)INTRODUCTION
Even to the reader of the English version of the text it is notice-able that, with the sentence of verse 9, a decisive turning-point in the story of the hymn has been reached. This is reflected in a distinct change in the language and thought. At this juncture the rôle of chief Actor in the drama of Incarnation and redemption changes. Attention has, up to this point, been focused upon the self-humbling and obedience of the God-become-Man, with the reflexive pronouns in verses 7 and 8 contributing to the emphasis. The name of God is, so to speak, incidental to and implicit in the drama, up to this stage.
But with verse 9 a shift of emphasis is apparent. Now it is God the Father who, as it were, takes the initiative and becomes the principal Actor in the new sequences of the second section of the hymn.
This new beginning is even more obvious in the Greek where the language, which up to verse 9 has been terse and economical with participial constructions (five in number) instead of main verbs, becomes ornate and full of echoes of Old Testament Semitic constructions and allusions.
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- Carmen Christi , pp. 229 - 248Publisher: Cambridge University PressPrint publication year: 1967