Not Burning Up—Being Purified

Feeling out of sorts? Stressed? Stretched to the limit?

You may be under fire. The Refiner’s fire. Not to be burned up, but to be purified.

The Silversmith
(Author unknown)

The woman called a silversmith and made an appointment to watch him at work. She didn’t mention anything about the reason for her interest beyond her curiosity about the process of refining silver.

As she watched the silversmith, he held a piece of silver over the fire and let it heat up. He explained that in refining silver, one needed to hold the silver in the middle of the fire where the flames were hottest as to burn away all the impurities.

The woman thought about God holding us in such a hot spot then she thought again about the verse that says: “He sits as a refiner and purifier of silver” (Malachi 3:3). She asked the silversmith if it was true that he had to sit there in front of the fire the whole time the silver was being refined.

The man answered that yes, he not only had to sit there holding the silver, but he had to keep his eyes on the silver the entire time it was in the fire. If the silver was left a moment too long in the flames, it would be destroyed.

The woman was silent for a moment. Then she asked the silversmith, “How do you know when the silver is fully refined?”

He smiled at her and answered, “Oh, that’s easy –when I see my image in it.”

If today you are feeling the heat of the fire, remember that God has His eye on you and will keep watching you until He sees His image in you.

Ensalada Verboso

word salad

Sometimes words have a lot to say. And you should say them. A lot. People need to know. And when they know, they know. Ya know what I’m sayin’?

Words have meaning. In context. Sometimes words change meaning. Sometimes people change the meaning of words. In midstream, even. To know what they’re sayin’ you have to have the right dictionary. Or you just know they mean the opposite of what they’re sayin’.

But sometimes there are no words.

 

Do You Yet Believe?

Are the shepherds pulling the wool over the eyes of the sheep?

Is this a test of the extent to which one might remain faithful to the prevailing orthodoxy—a test of religious zealotry?

Delta

It seems neutrality can be rather easily obtained, if one generates enough green. Money, that is.

In the words of Qoheleth (Ecclesiastes 5:10–12, ISV):

10 Whoever loves money will never have enough money.
Whoever loves luxury will not be content with abundance.
This also is pointless.
11 When possessions increase,
so does the number of consumers;
therefore what good are they to their owners,
except to look at them?
12 Sweet is the sleep of a working man,
whether he eats a little or a lot,
but the excess wealth of the rich
will not allow him to rest.

Indeed, there is a season for everything.

——–

Related:

Ted Turner’s Math Problem

“Climate Change” as Religion

Climocentrism: The New Geocentrism

God’s Creation

We see such a tiny fraction of God’s vast creation. Yes, on a clear night we can see the shining stars. But we hardly ‘see’ the stars at all. They appear as tiny lights twinkling in the darkened sky. Yet with the assistance of a powerful telescope we can see some celestial bodies in our solar system. But what is beyond the stars—those we catch glimpses of, even with powerful telescopes?

Compared to the unfathomable immensity of this galaxy, we are quite small. As creatures, we are a tiny fraction of the totality of God’s creation.

I drove out of town today, mindful of God’s creation—what I could see of it. I took in and marveled at the rolling hills as I drove by them. Too often I think only of getting to my destination, forgetting to enjoy the journey itself. But this time I delighted in the scenery.

And I saw this:

Cross on a hill

God came to earth so that we could come to God. The Creator became a creature1 so that we could be with God, the Uncreated.

How amazing is that?

[Related: Christmas Came Early!]

____________________

1 Without compromising His Deity one iota.

Hymn to God and Jesus

This song has long been somewhat of an enigma for me. It clearly lays out the Gospel message and has appropriate accompanying music, which builds as it goes. Yet it contains some lyrics that strike me as a bit odd, out of place. Despite my own reservations, it may function well enough as a nice praise/worship song. Those familiar with the song may find my critique here a bit too—well—critical.

The song is “Hymn” by the progressive rock band Barclay James Harvest, the first track from their 1977 album Gone to Earth. See/hear video below the lyrics:

“HYMN”
(John Lees)

Valleys deep and the mountains so high
If you want to see God you’ve got to move on the other side
You stand up there with your head in the clouds
Don’t try to fly you know you might not come down
Don’t try to fly, dear God, you might not come down

Jesus came down from Heaven to earth
The people said it was a virgin birth
Jesus came down from Heaven to earth
The People said it was a virgin birth
The People said it was a virgin birth

He told great stories of the Lord
And said He was the Saviour of us all
He told great stories of the Lord
And said He was the Saviour of us all
And said He was the Saviour of us all

For this we killed Him, nailed Him up high
He rose again as if to ask us why
Then He ascended into the sky
As if to say in God alone you soar
As if to say in God alone we fly

Valleys deep and the mountains so high
If you want to see God you’ve got to move on the other side
You stand up there with your head in the clouds
Don’t try to fly you know you might not come down
Don’t try to fly, dear God, you might not come down

The first two lines together declare God as Creator. And though the second line affirms that no one can see God and live (Exodus 33:20; Isaiah 6:5–7; John 1:18, 6:46; 1John 4:12), it yet also seems a bit out of character with the rest of the verse. And the song. More on this further below.1

The next verse lays out the Virgin Birth. I could quibble, but it adequately functions as part of a simple worship song.  The third verse calls Jesus “Saviour of us all” (British spelling). It works well enough in the context of the song (though, again, I could quibble).

But the theological rubber hits the road in the fourth verse. After verses two and three proclaim Jesus’ coming to earth—and recall the album’s title Gone to Earth—being born of a virgin, and being “Saviour”, verse four declares His death by crucifixion (“For this we killed Him, nailed Him up high”) and His resurrection from the dead. The words “as if to ask us why” can be chalked up to poetic license to rhyme. The final two lines can be interpreted as Jesus being the first-fruits of many. That’s the Gospel!

The final verse is identical to the first. As such, they provide bookends to the Gospel message in between. So how does the song cohere?

According to one (secondary) source, the song is—presumably first quoting John Lees, the writer here—“’primarily about the dangers of drug abuse’ comparing it with the spiritual high of religion.”2 So now we have the interpretive key!

The first line has a double meaning. Besides the one described above, it refers to being high and, conversely, low in an illicit drug sense. This, then, makes sense of the rest of the lines. Some abusers have remarked how drug highs have a spiritual/religious feeling—a sense of ‘God’s’ presence or even seeing ‘God’. But Lees explains that this cannot be done in this life, but “on the other side”.

I think the reader can understand the rest.

So what do you think? Could this song be used in a Christian setting?

P.S. (Pre-Script)

I don’t know that I ever would have heard “Hymn” had it not been for a radio station I listened to when I was a teenager. My introduction to Barclay James Harvest was the track “May Day”, from their 1976 album Octoberon, when the station played the selection upon the album’s release. Though I was intrigued by the music and lyrics, it was the completely unexpected choral/orchestral (the latter likely using keyboards) ending that captivated me (beginning at around 4:53 in the video/vlog further below). I’d never heard such an unusual juxtaposition before. I bought the LP shortly after my initial hearing of this song. From there I explored some of the band’s other output, eventually acquiring the album Gone To Earth, but this was well-before my Christian conversion.

At the time I picked up Octoberon I was not yet aware of Orwell’s Nineteen Eighty-Four, so I didn’t have a point of reference for the lyrics.3 Oh, but now I certainly do:

“MAY DAY”
(John Lees)

The rock on which I stand is slowly sinking in the sand
The sheer realities of life are rushing by
I am looking out at life and I don’t know what’s wrong or right
And I can’t even see the bright side of the moon

I stopped a man in the street today
And I asked him, “Sir, is it night or day?”
He just stared in disbelief
I asked again but he walked away
He said, “Don’t you know?”
I said, “Can’t you say? Is there something in between?
Is it something I’ve not seen?
Did it change so fast or was it just a dream?”

Time and time again I’ve tried to recreate the past few days
Evaluate the constants from the haze
But every time I think I’m right, they say I’m wrong
“This day is night and night is day –
It’s there in black and white”

Night is light and dark is day
If I disagree they say I’m insane
And the treatment will begin
If I say that the day is light
They just point my eyes to the blinding night, saying,
“We can’t set you free if you always disagree,
So the State is going to pay your doctor’s fee”

They put me out in the pouring rain
To enjoy the sun or to feel the pain
Of the nightmare life’s become
I asked a man in the street today
Or was it yesterday or the day before?
“Is there something I’ve not seen?
Is there something in between?
Did it change so fast or was it just a dream?”

The rock on which I stand is now beneath the ever-flowing sand
The sheer realities are here to stay
I’m looking out at life and now I know what’s wrong and right
It’s what you hear and what you read and what they say

I saw a man in the street today
Asked another man, “Is it night or day?”
He just stared in disbelief
He said, “Friend, it’s your lucky day
I’m a party man, won’t you step this way?
I’ve got something you’ve not seen.”
Now I know it’s not a dream
It just came so fast, that something in between

1 I also wince at the fifth line’s “dear God”, for, to me, it breaches the 3rd Commandment.  Lyrically, I understand why Lees wrote it in, but it comes off a bit frivolous. It doesn’t appear reverential but as a parallel to “you know” in the fourth line; but, “oh no” would have been much better. In fact, I propose that substitution for anyone wishing to cover the song.
2 See Songfacts.
3 The lyrics may have been influenced by David Bowie’s 1974 LP Diamond Dogs, with its dystopian landscape, as based on Orwell’s book. Bowie uses hyperbole to get the dystopian message across, then exaggerates the extent to which one will go to numb its inevitable emotional toll: They’ll split your pretty cranium, and fill it full of air / And tell you that you’re eighty, but brother, you won’t care / You’ll be shooting up on anything, tomorrow’s never there / Beware the savage jaw of 1984 (“1984”). But after the requisite preconditioning, the apocalyptic vision is accepted, welcomed: Someone to claim us, someone to follow / Someone to shame us, some brave Apollo / Someone to fool us, someone like you / We want you Big Brother (“Big Brother”). For his part, John Lees describes the workings and outworkings of the ‘Ministry of Truth’.

Art Intimates Scripture: In the Winter of ‘The American Four Seasons’

24:36 “Now, concerning that day and hour, no one knows—not even the angels of heaven, and not even the Son—except the Father alone. 37 For as the days of Noah, so will be the Parousia of the Son of Man. 38 For as in those days before the Flood, they were eating and drinking, marrying and giving in marriage, until the day when Noah entered the ark 39 —and they did not realize until the Flood came and carried them all away. So will be the Parousia of the Son of Man. 40 At that time, two men will be in the field: one is received and one is disregarded. 41 Two women will be grinding in the mill: one is received and one is disregarded.”1

What follows below is strictly my own interpretation and application of Philip Glass’ Violin Concerto No. 2, aka The American Four Seasons. But the composer explicitly welcomes such individual interpretation:

[Robert McDuffie’s] interpretation, though similar to my own, proved to be also somewhat different. This struck me as an opportunity, then, for the listener to make his/her own interpretation. Therefore, there will be no instructions for the audience, no clues as to where Spring, Summer, Winter, and Fall might appear in the new concerto—an interesting, though not worrisome, problem for the listener. After all, if Bobby and I are not in complete agreement, an independent interpretation can be tolerated and even welcomed.2

A bit of background information is necessary to explain my interpretation/application. The concerto is composed in eight parts, with a prologue preceding the first movement, and each succeeding movement preceded by a song:

Prologue
Movement I
Song No. 1
Movement II
Song No. 2
Movement III
Song No. 3
Movement IV

The Prologue and songs are short solo violin pieces. In contrast, the movements incorporate the ensemble. The Prologue, then, serves as a prelude to Movement I, while the songs function as interludes bridging each Movement.

In view of its overall structure, each Movement correlates to one of the four seasons. It seems best to conceive these seasons as proceeding in order beginning with spring, then summer, fall, and winter. Thus far, this is fairly straightforward.

Digressing just a bit while providing additional context, I must say I really like this piece. I think it is fairly accessible, even to the Classical music hesitant (or Classical music “purist” put off by ‘minimalism’). Movement I may be the most ear-pleasing. The slower and more melancholic Movement II features some achingly beautiful moments, after which it segues into its waltz section—my favorite part of the concerto. The up-tempo Movement III lifts the mood of II, and its quasi-harpsichord accompaniment and occasional flourishes—played on a synthesizer—merges the past with the contemporary. Movement IV is the fastest and musically the ‘busiest’ of them all:

I interpret these movements as indicating segments of time in chronology—as opposed to literal seasons of a calendar year. As such, Movement I correlates to the birth of the USA and each successive Movement relates to subsequent time periods. Movement IV, then, represents the time period we are currently living within. The American Empire is in the winter of its existence.

The winter of America seems to be moving exponentially faster than previous seasons. Notice how Movement IV’s tempo quickens sharply, almost chaotically, just before it abruptly ends. I interpret that as analogous to the USA’s forthcoming demise.

Interestingly, Movement IV is seven minutes long. Just before its halfway mark it slows a bit, briefly pausing altogether before beginning anew. It returns to the original tempo, yet as it begins to decrease instrumentation, it appears to slow a bit. Following that, the full ensemble reenters. The violin plays faster arpeggios (the overall tempo remaining the same), until the tempo rapidly increases and the violinist speeds his bowing to match. Then the end.

Though the concerto was written specifically for Robert McDuffie (and it was premiered with this violinist featured), the above was performed by violinist Gidon Kremer’s Kremerata Baltica ensemble. In the liner notes for this release, new seasons, Kremer remarks:

The subject of seasons in music has always interested me and has become the focus of a number of my recordings and concert programs . . . Why the seasons? Why “new seasons”? As an artist I’ve always tried to keep in step with the times. Time and seasons are virtually synonymous.3

In the Greek of the New Testament, “time” is chronos, while “season” (or “appointed/proper time”) is kairos. The latter term, kairos (as opposed to chronos), is used when referring to Jesus’ Parousia—His return to usher in the end of all things. [See Not One Parousia, But Two.] For example, kairos is found twice in the Parable of the Tenants (21:34 and 21:41). And the term is found just after the section of Scripture beginning this post:

24:42 “Therefore, be alert, because you do not know on what day our Lord is coming. 43 But be certain of this: If the owner of the house had known which segment of nighttime the thief was coming, he would have been alert and would not have let his house be broken into. 44 Considering this, you must also be ready, because the Son of Man is coming at an hour you do not expect.

45 “Who then is the faithful and wise servant whom his master has put in charge of his household—the one giving them nourishment in season [kairos]? 46 Blessed is that servant whom his master finds so doing when he comes! 47 Amen I say to you that he will put him in charge of all his possessions. 48 But if that wicked servant should say in his heart, ‘My lord delays’ . . .”

How long till the closing of this American winter season I will not venture or dare to predict.  Yet I do suspect the end of the empire will come near the end of it all, though, again, I will not hazard a guess as to timing (concerning that day and hour, no one knows . . . except the Father alone). But I want to be ready, no matter the case.

Only time will tell in this season. Sadly, most will continue “eating and drinking, marrying and giving in marriage”, oblivious to the coming wrath.

Let’s endeavor to keep each other alert.

_____________________________

1 After exegeting this passage, I consulted a few commentaries, especially regarding vv. 40 and 41. Some attempt to read too much into the context, construing 39’s ēren (“carried away” [some translate “taken away”, neglecting other nuances in the term]) as parallel to paralambanetai (“is received” [“is taken”, by many]) in 40 and 41, thereby concluding both refer to judgment. But this is clearly incorrect. 24:31 illustrates that the Son of Man sends His angels to “gather His elect” at His Parousia. This ‘gathering’ is what is referred to in paralambanetai in both 40 and 41. This is why I contrast “received” with “disregarded” in 40 and 41. One is “received” as part of the elect, the other is “disregarded” and s/he will be among those who will mourn (24:30). One is received as a child of God, the other is disregarded just as s/he disregarded the Son of Man. Donald A. Hagner (Matthew 14–28, WBC [Dallas, TX: Word Books, 1995]) is a fount of clarity here (24:40–41): “Presumably, those who are “taken” [ED: or “received”] are among the elect whom the angels of the Son of Man are to gather at his coming (v 31), while those who are left await the prospect of judgment. The application of these verses is made clear in the exhortation that follows” (p 720).

2 Taken from “NOTES” tab here: Philip Glass recordings: Violin Concerto No. 2 – The American Four Seasons 2010.

3 Liner notes to Gidon Kremer | Kremerata Baltica, new seasons (Glass, Pärt, Kancheli, Umebayashi), 00289 479 4817, © 2015 Deutsche Grammophon, GmbH, Berlin.

One Composer’s Conception of Time

“I saw a mighty angel descending from heaven, clad in a cloud, having a rainbow upon his head. His face was like the sun, his feet like pillars of fire. He placed his right foot on the sea, his left foot on the land; and, supporting himself on the sea and the land, he raised his hand heavenward and swore by the One Who lives forever and ever, saying: ‘There shall be no more time, but in the day of the trumpet of the seventh angel the mystery of God shall be consummated.’”

– Apocalypse of St. John, 10:1–2, 5–71

So begins Olivier Messiaen’s preface to his Quartet for the End of Time (Quatuor pour las Fin du Temps). We might call it the prologue or the prelude to his preface, for this excerpt from Revelation (aka Apocalypse of Jesus Christ) provides the sole inspiration for the entire piece.

The quartet here is unusual in that it is not the typical string quartet (two violins, viola, and cello), instead consisting of piano, violin, cello, and clarinet. Messiaen finished composing this chamber music work while imprisoned during World War II. A sympathetic guard provided the needed materials for the captive composer. Quartet for the End of Time premiered in Stalag VIII-A in Görlitz, Germany (modern day Zgorzelec, Poland).

In his preface he describes how the composition’s “musical language” evokes time, timelessness, and eternity:

Certain modes, realizing melodically and harmonically a kind of tonal ubiquity, draw the listener into a sense of the eternity of space or infinity. Particular rhythms existing outside the measure contribute importantly toward the banishment of temporalities. (All this remains mere striving and stammering if one ponders upon the overwhelming grandeur of the subject!)2

By “[p]articular rhythms existing outside the measure” the composer means irregular rhythms; in some sections the number of beats per bar (measure) varies. In the first movement, for example, one instrument is assigned notes/chords to be played at specific intervals, while another is given different notes to be played at different intervals.3 Such intermixing represents “the banishment of temporalities”.4 These musical effects express time nearing its end, after which it will segue into eternity.

The composition consists of eight movements, two of which center on Christ. The first of these, the much-lauded fifth movement, is titled “Praise to the Eternity of Jesus”. The composer explains:

Jesus is here considered as one with the Word [Logos]. A long phrase, infinitely slow, by the cello magnifies with love and reverence on the eternality of the powerful and gentle Word, “whose years will never cease.” Majestically, the melody unfolds at a sort of distance, both tender and supreme: “In the beginning was the Word, and the Word was with God, and the Word was God.”

As I understand the composer, he appears to recognize that the earthly Jesus (the Word become flesh) preexisted as the Word. That is, there is continuity in the ‘Person’ of “the Word” and the Person of Jesus Christ. At the same time, then, he seems to correctly recognize that Jesus is coextensive with the Word only at the point of the Incarnation. Before that point in time the Word was not with flesh, and the Word was simply “the Word”.

Thus, while the Word eternally exists, Jesus has a beginning in time—at the instant of Incarnation, at the Conception of the Virginal Birth. In other words, though the Word exists eternally, the Word began a new mode of existence at the Incarnation—as Jesus of Nazareth, Jesus the Christ—which did not alter His eternality. Stated another way, the Word has unbounded eternality; comparatively, Jesus Christ has bounded eternality—bounded at the moment of the Virginal Conception, when the Word took human nature unto Himself (see An Eternal Christological Conundrum).

The second movement exalting Jesus Christ is the final (eighth) one: “Praise to the Immortality of Jesus.”

Expansive violin solo as counterpart to the cello solo of the fifth movement. Why this second eulogy? It addresses itself more specifically to the second aspect of Jesus—to Jesus the man, to the Word made flesh, resurrected immortal in order to share His life with us. It is total love. Its slow ascent towards the highest pitch is the ascension of man towards his God, of the child of God towards his Father, of the divinized creature towards paradise.

In keeping with his Roman Catholic faith, it seems likely the composer has in mind Athanasius, whose words were revised a bit to become the pithy aphorism “God became man so that man could become God”. That Messiaen understood this not as a full-on capital ‘D’ Deification seems evident in the last sentence above, especially the French créature divinisée. This retains the Creator-creature distinction, for a creature cannot truly become “Divinized”—capital ‘D’. The created cannot become just like the Creator. That would be oxymoronic. We are ‘partakers of the Divine nature’ (2Peter 1:4), not wholly Deity, God.5

Coming full circle, one last aspect of Messiaen’s preface commands our attention: his translation/interpretation of time in the prologue/prelude. A quick search of various English translations finds quite a variety in Revelation 10:6. Of this, the composer states:

“There are people who understand [the Biblical passage as] ‘there will be no more delay.’ That’s not it. [Instead it is] ‘there will be no more Time’ with a capital ‘T’; that is to say, there will be no more space, there will be no more time. One leaves the human dimension with cycles and destiny to rejoin eternity. So, I finally wrote this quartet dedicating it to this angel who declared the end of Time.”6

His is an interesting interpretation. As for the translation, Messiaen is technically correct. Let’s look at the Greek (transliterated):

Hoti chronos ouketi estai
That time no-longer will-be
That time will be no longer
That time will no longer be
That there will be time no longer
That there will be no more time

The first Greek word, hoti, can be understood as “that”, followed by a statement, in narrative form, of what someone had said. Or it can be construed as the beginning of a quotation, as Messiaen construes it, along with a few English translations. Messiaen goes a bit further, though, by prefacing this statement by the angel with “saying” (French: disant), which is not in the Greek. The composer also capitalizes “Time” (French: Temps).

Those versions that render this either as a quotation of the angel as “There will be no more delay” or the narrator’s reporting of what the angel had said as that there will be no more delay are making interpretive decisions based on the larger context. It is beyond the scope of this blog post to go into more detail, but the reader is free to make any comment on this.

The composer follows the words accompanying movement VIII—and thus concludes his preface—with the same words he had used parenthetically earlier in the preface, this time without the parentheses: All this remains mere striving and stammering if one ponders upon the overwhelming grandeur of the subject!

In sum, Messiaen offers an intriguing take on the Revelation 10 passage, which then functions as a basis for his unique conception of time musically, as realized in his chamber music piece Quatuor pour las Fin du Temps (Quartet for the End of Time). That this piece was conceived and completed while a WWII captive makes it perhaps all the more intriguing.

___________________________

1 As translated from Olivier Messiaen’s French, with the assistance of various online helps.

2 Again, as translated from Messiaen’s French, though comparing with the English translation in the CD  liner notes of RCA Victor Gold Seal (reissue of original 1976 RCA Red Seal), MESSIAEN Quatuor pour la Fin de Temps, Tashi (Peter Serkin, Ida Kavafian, Fred Sherry, Richard Stoltzman), 7835-2-RG, BMG Classics, © 1988 BMG Music. The translation in the above text above differs, e.g., in “the eternity of space or infinity” as compared to liner notes’ “the eternity of space or time” (the French is infini), and in “if one ponders upon” as compared to “if one compares it to” (French is songe à). The rest of the translations follow similar methodology.

3 See Lawrence University’s Gene Biringer’s “Analysis” tab here: I. Liturgie de cristal. Also, under the “Musical Elements” tab the author writes: [Heterophonic texture] can also describe certain polyphonic textures, like that of the first movement of Messiaen’s Quartet, in which there is no discernable relationship among some of the parts . . .  the violin and clarinet parts, which are meant to evoke birdsong, are so independent of the cello part and, especially, the homophonic piano part that they seem to occupy a wholly different sonic world . . . here four characters are speaking simultaneously, unresponsive and perhaps even oblivious to the others. Instead of a harmonious counterpoint between independent but related melodies, we hear a juxtaposition of seemingly unrelated ideas – a true heterophony.

4 For further—and better—explanation, see Peter Gutmann’s Classical Notes site, particularly here.

5 See Roman Catholic Catechism 460.

6 As quoted from the Lawrence University site (see Biblical Source tab) as found in Rebecca Rischin, For the End of Time: The Story of the Messiaen Quartet (New York, NY: Cornell University Press, 2003), p 51.

Not Declining the Divine Name?

John writes some strange things in Revelation, aka The Apocalypse of Jesus Christ. An angel fills a golden censer with fire from the heavenly altar, and throws it to the earth. And there’s an angel standing in the sun, crying with a loud voice to birds flying mid-heaven, “Come and gather together for the great supper of God.”

More mundane perhaps is the case below. It appears John does not decline the Divine Name. Now why would that be strange?

The One Who Is

Before proceeding directly, some necessary background must be provided. The applicable verbiage in Revelation 1:4, our subject verse, comes not from the Hebrew but the Greek of Exodus 3:14.1 This portion of the Greek ‘Old Testament’ was translated from the Hebrew Bible (Tanakh) by Jews in the middle of the 3rd century BC.2 Exodus 3:13 is included, in order to provide necessary context:

3:13 Then Moses said to God, “Behold: I shall go to the sons of Israel and say to them, ‘The God of our fathers has sent me to you.’ They shall ask me, ‘What is His Name?’ What shall I tell them?” 14 God replied to Moses, “I AM THE ONE WHO IS [EGŌ EIMI HO ŌN].” Then He said, “So tell the sons of Israel, ‘THE ONE WHO IS [HO ŌN] has sent me to you.’”3

Moses is concerned that telling the Israelites “The God of our fathers has sent me to you” will be deficient. They may also want to know His Name. In response, God first provides what appears to be His Name:4I AM THE ONE WHO IS.” The pertinent portion is THE ONE WHO IS, for this forms part of God’s directive to Moses when He speaks again:  “So tell the sons of Israel, ‘THE ONE WHO IS [HO ŌN] has sent me to you.’”

It will prove beneficial to examine the (transliterated) Greek. We will begin with an overly literal word-for-word translation, and then proceed until we reach a more suitable rendering at the bottom. In the first part of verse 14 is God’s initial reply to Moses:

EGŌ EIMI HO ŌN
I I-am the being/existing5
I am the existing (one)
I am the-one existing
I am He-who exists/is
I am He Who Is
I am The One Who Is

EGŌ is simply the first person singular pronoun “I”. The second word, EIMI, is the first person singular finite verb “be” (“I-am”). Since person and number are encoded in all Greek finite verbs, each one has a built-in subject. In this instance, it is the first person singular “I”. Therefore, strictly speaking, the pronoun “I” (EGŌ) is not necessary and likely implies emphasis. So, the initial part of God’s response should be understood as the emphatic “I AM”.

The third word, HO, is the Greek article.6 It can be crudely translated simply “the”. In our context, the article functions to substantivize the participle following it. In other words, the Greek article + participle here form a noun, a nominative.

To further explain, a Greek participle is a non-finite verb, which means it can never be a complete sentence unto itself.7 Participles can function either as adverbs (modifying a verb) or adjectives (modifying a noun). When the article precedes it, as it does here (the article HO + participle ŌN), the participle is functioning as an adjective. And when the combination of article + participle stands alone,8 it is a substantival, taking the place of a noun. HO ŌN is in the nominative case, functioning here as the predicate nominative. ŌN is the masculine singular present participle of “be” (=“being”, “existing”, “is”), and taken together with the article yields: THE ONE WHO IS.

A Greek article also encodes grammatical gender (masculine, feminine, or neuter), matching that of its associated part of speech—in this case the participle. Hence, they are both masculine. Therefore, a valid translation is HE WHO IS. For our purposes, we will use THE ONE WHO IS.9

Thus, we translate the above I AM THE ONE WHO IS. The predicate nominative of this proclamation then becomes the subject nominative in God’s instructions to Moses to tell the sons of Israel: ‘THE ONE WHO IS has sent me to you.’

With this background provided, we shall proceed to the applicable portion of Revelation 1:4:

1:4 John to the seven ekklēsiais in Asia: Grace to you, and peace from [apo] THE ONE WHO IS [HO ŌN], THE ONE WHO WAS [HO ĒN], and THE ONE WHO IS COMING [HO ERCHOMENOS]…

John the Revelator is using poor Greek grammar! In the first instance [HO ŌN], it appears John does not decline the Divine Name. To be more specific, in the prepositional phrase (PP) beginning with apo (“from”), THE ONE WHO IS should be grammatically declined to the genitive case [TOU ONTOS], not remain in the nominative case [HO ŌN]. R. H. Charles explains John’s apparent rationale:

We have here a title of God conceived in the terms of time. The Seer [John] has deliberately violated the rules of grammar in order to preserve the divine name inviolate from the change which it would necessarily have undergone if declined. Hence the divine name is here in the nominative [case].10

Mathewson provides further comment:

This PP [prepositional phrase] is one of the first clear examples of John’s numerous solecisms. Here the preposition apo is followed by the nominative case (ho) rather than the expected genitive (tou). There is broad agreement that the grammatical incongruity is intentional . . . The most likely explanation is that by grammatical incongruity the author wishes to draw attention to the titular nature of this expression and the OT text from which it comes: Exod 3:14.11

Of the three elements, the first [HO ŌN] and third [HO ERCHOMENOS] follow the same pattern. Each uses the nominative case in the form of the substantival Greek article + participle after their common preposition apo (“from”). So, both seem to follow the same logic and purpose, if grammatically odd.

The second element, however, is grammatically worse than the other two! It is not ‘merely’ a nominative where it should be in the genitive case. It is in the incongruous form of Greek article + finite verb. Recall that a finite verb encodes person and number; so, each has a built-in subject, and each can form a complete sentence. Thus, if we were to translate the second element word-for-word, it would be the nonsensical THE ONE WHO HE WAS, HE WHO HE WAS, THE HE WAS, or THE WAS. In other words, even when standing on its own—outside the apo (“from”) PP—this construction (article + finite verb) is nonsensical.

Yet this can be explained somewhat. The verb “be” in Greek (EIMI) lacks a past participle, and so the finite verb ĒN (WAS) is substituted as the closest compromise. The purpose of the article preceding it—though absolutely wrong grammatically—is to retain parallelism with the other elements in this PP to the extent possible.12

But one might contend (this writer would) that THE ONE WHO IS [HO ŌN] by itself sufficiently connotes eternality; that is, if God simply IS, then this implies He has no beginning and no end.13 Swete observes that “the [Jewish] Targums read into the words [the Hebrew of Exodus 3:14] a reference to the infinite past and future of God’s eternal ‘now’”.14 

In his Prepositions and Theology, Murray J. Harris refers to this text of Rev 1:4.15 After providing various explanations for the grammatical anomalies, he concludes, “The easiest and most common explanation is that this threefold title of Yahweh is an indeclinable noun that by its very form effectively highlights the unchangeable and eternal character of God.”16

Divine Name or Title?

The careful reader may have observed that HO ŌN is sometimes referred to as the Divine Name and other times as a title or part of a longer title, depending on the source. The larger context of Exodus 3 may provide clarity on this. Following is the same selection above but with the next two verses included:

3: 13 Then Moses said to God, “Behold: I shall go to the sons of Israel and say to them, ‘The God of our fathers has sent me to you.’ They shall ask me, ‘What is His Name?’ What shall I tell them?” 14 God replied to Moses, “I AM THE ONE WHO IS.” Then He said, “So tell the sons of Israel, ‘THE ONE WHO IS has sent me to you.’” 15 Then God spoke again to Moses, “So, say this to the sons of Israel: ‘The LORD [Hebrew: YHWH], the God of your fathers—God of Abraham, God of Isaac, and God of Jacob—has sent me to you.’ This is My Name forever and how I am to be remembered from generation to generation.16 Now go and gather together the elders of Israel and say to them, ‘The LORD [YHWH], the God of your fathers, appeared to me—God of Abraham, God of Isaac, and God of Jacob…’ ”

Observe that God specifically states His Name as “The LORD [YHWH]” in verse 15. The Greek ‘OT’ consistently translates the Tetragrammaton (YHWH) as KYRIOS. English versions usually render this the all caps LORD. The portion following His Name, “the God of your fathers”, should probably be understood such that it further describes/defines “The LORD [YHWH]”.

So what do we make of THE ONE WHO IS? Is it to be understood as yet another Name? A Title?

Prior to the transcription of the Targums, a section of the Jewish pseudepigraphic work Sibylline Oracles dated ca. 2nd century BC–20 BC17 describes God as existing eternally, by using present participles of “be” [accusative forms]:

3:15 But He, Himself eternal, has revealed Himself 16 as One Who Is/Exists [ONTA], and so even heretofore exists [prin EONTA], and yet even still hereafter.18

The way this is phrased, it seems that the first part of the sentence (“But He, Himself eternal, has revealed Himself as One Who Is/Exists”) is intended to state God’s eternality, while the rest of the phrase further describes it. He exists, meaning He has existed at all times past up to and including the present, and will continue to exist into the future. And this selection provides a clue to further define John’s likely intention.

There are contemporaneous secular works describing ‘gods’ as existing eternally. But they use Greek finite verbs instead of participles. “Zeus was, Zeus is, Zeus shall be” (Pausanias, Greciae descriptio, 10.12.10).19 Also, “Aion, the god of time, ‘is and was and will be’”.20

Comparatively, Aune notes, “The title [HO ŌN] was known to Jews in Asia Minor as attested by an inscription on an altar from Pergamon that reads THEOS KYRIOS HO ŌN EIS AEI.21 This could be rendered: “God, the LORD, the One who exists/is forever.”

Taken altogether, it is the opinion of this writer that the phrase I AM THE ONE WHO IS in Exodus 3:14 is God’s declaration of His eternal existence—His proclamation of His Divine attribute of eternality. Assuming so, THE ONE WHO IS, then, was used as a Divine Title, not a Divine Name. It seems possible it reflects (part of) a self-description inherent in His Divine Name YHWH, the Tetragrammaton.

Therefore, assuming the above, in apparent reverence, John the Revelator kept this Divine Title HO ŌN intact, instead of subjecting it to the usual grammatical declining. But what about the rest of John’s phrase?

Note that John’s full expression does not follow the pattern in any of the others above. Perhaps the most obvious difference is the third element, which does not reflect ‘infinite future’ but rather God’s coming (HO ERCHOMENOS) at the culmination of salvation-history—the eschaton, the end of all things from our earthly perspective.22 This fact more foundationally supports the position that HO ŌN by itself sufficiently expresses eternality.

Less clear is the time referent, temporal or eternal, for the grammatically incongruous second element (HO ĒN) in the three part phrase. It could be a corollary to “the beginning/originator of God’s creation” (HĒ ARCHĒ TĒ KTISEŌS TOU THEOU) in Revelation 3:14.23 If so, the second and third elements would reflect the entirety of salvation-history, from beginning to end.

If all this holds, John’s expression would reflect God’s intrinsic Self-existence in the Divine Title in the first element, while the second and third elements together would represent the termination points of salvation-history.

___________________________

1 The Hebrew of the first words of God in Exodus 3:14 is usually rendered I AM THAT I AM.

2 The Greek ‘OT’ is part of the larger Septuagint (LXX), which includes a body of works known as the Apocrypha, aka Deuterocanon (“second canon”) in some traditions.

3 We must also take note that in the next verse God continues the same line of thought, this time by explicitly explaining and stating His Name; however,  John the Revelator does not reference this portion directly. More on this below.

4 Or perhaps this is God’s way of proclaiming an ontological attribute, one exclusive to Him: His eternality. The LORD God simply IS. See note 13.

5 “I am THE BEING” is Brenton’s translation.

6 While English has both a definite article (the) and an indefinite article (a), Greek has only one article. 

7 This is in distinction from finite verbs (see EIMI above), which can and do sometimes form complete sentences unto themselves, since both person and number are appended morphologically. A great example is Jesus’ final word on the Cross in John 19:30: Tetelestai. It is a 3rd person singular perfect tense-form verb, in the middle voice, and in the indicative mood. It is best translated “It is finished”, or, perhaps better, “It has been finished.”

8 A Greek article + participle can also function as an attributive adjective, if it is modifying a noun, thus further describing that noun.

9 Masculine gender here is to correlate with THEOS, GOD, which is also masculine in grammatical gender. While HE WHO IS works, it is subject to possible misinterpretation in English—that God is male in a biological sense.

10 R.H. Charles, Revelation of John, A Critical and Exegetical Commentary; ed. Samuel Rolles Driver, Alfred Plummer, and Charles A. Briggs; Accordance electronic ed. (Edinburgh: T. & T. Clark, 1920), para 41640. Charles adds: “It could have been preserved in classical Greek, i.e. apo tou ho ōn. But our author shows no knowledge of this construction” (para 41640; Greek transliterated, bold added for emphasis). Yet the Textus Receptus (the Greek text underlying the KJV) inserts tou here (see this site, e.g.); but, take notice of Charles’ comment that John “shows no knowledge of this construction”. The language/dialect of Classical Greek, from which tou would emanate in this instance, ended about 400 years before the Koine Greek of the NT era. As far as I can determine, the Textus Receptus sources only one manuscript for Revelation here, specifically GA 2814 (12th century), and this tou appears to be a singular reading. That is, it appears to be the only extant manuscript with this reading. Yet, quite a few manuscripts (including 𝔐 [Majority Text]) insert the genitive for “God” (theou) between apo and the nominative HO ŌN, in an attempt to smooth out the grammar.

11 David L. Mathewson, Revelation: A Handbook on the Greek Text, Baylor Handbook on the Greek New Testament (Waco, TX: Baylor University Press, 2016), p 4 (Greek transliterated).

12 Cf. Charles, Revelation, para 41641.

13 Craig R. Koester (Revelation, The Anchor Yale Bible [New Haven: Yale University Press, 2014]) comments that the neuter form of article + EIMI present participle [TO ON] had been used to imply eternality: “Greco-Roman sources sometimes used the form to on for God as “the existent one” or as “being” (Seneca the Younger, Ep. 58.7, 17; Plutarch, Mor. 393B–C)” (p 215).  See notes 4 and 5.

14 Henry B. Swete, The Apocalypse of John: The Greek Text with Introduction, Notes and Indices, 3rd ed. (London: MacMillan, 1917), p 5. This is in the public domain and available online here. And here the Targums understand the Hebrew of Exodus 3:14 as I SHALL BE WHO I SHALL BE [Gr. ESOMAI HOS ESOMAI].

15 Murray J. Harris, Prepositions and Theology in the Greek New Testament: An Essential Reference Resource for Exegesis (Grand Rapids, MI: Zondervan, 2012), pp 66–67

16 Harris, Prepositions and Theology, p 67. Cf. Swete, Apocalypse: This construction “must be explained by regarding the whole phrase as an indeclinable noun” (p 5).

17 See J. J. Collins, “Sibylline Oracles” in James H. Charlesworth, Ed. The Old Testament Pseudepigrapha: Apocalyptic Literature & Testaments, Anchor Bible Reference Library (New York, NY: Doubleday, 1983): “[Verses 1–45] could have been composed at any time in the late Hellenistic period or early Roman periods. If we assume that they originally formed a unit with any part of 46–92, we can fix their date more precisely . . . Verses 46–62 must be dated shortly after the battle of Actium” (p 360).

18 The Greek (transliterated): all’ autos avedeixev aiōnios autos eauton onta te kai prin eonta, atar pali kai metepeita. Charles renders it: “But he, himself Eternal, hath revealed himself as One who is and was before, yea and shall be hereafter.”

19 The Greek here is Zeus ēn, Zeus estin, Zeus essetai (Ζεὺς ἦν, Ζεὺς ἔστιν, Ζεὺς ἔσσεται).

20 Koester, Revelation, p 215.

21 David Aune, Revelation: Revelation 1–5, Word Biblical Commentary 52A (Dallas, TX: Word Books, 1997) p 30, (Greek transliterated).

22 Charles, Revelation, opines that the present participle of erchomai [“is coming”] is used here instead of the future form, “with a definite reference to the contents of the Book and especially to the coming of Christ, 1:7; 2:5, 16; 3:2; 22:7, 12, etc., in whose coming God Himself comes also [ED: in 1:8, e.g.]” (para 41641).

23 Note the first words of John’s Gospel: “In the beginning (ARCHĒ) was (ĒN) the Word”.

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Similarly themed posts:

An Eternal Christological Conundrum

Looking Past the Future

Jesus’ Kingly Appearance

Being Blessed

Da Pacem, Domine (Give Peace, O Lord)

[This is a slight revision of a post from 3 years ago.]

Estonian composer Arvo Pärt had been commissioned to compose a work to be premiered at a peace concert in Barcelona on July 1, 2004. The piece, “Da Pacem Domine” (Give Peace, O Lord), was begun two days after the March 11, 2004 Madrid train bombings, in memoriam. It has been performed in Spain every year since.

The text of “Da Pacem Domine” has its origins as an antiphon circa 6th or 7th century (though, as the liner notes to Pärt’s 2005 release Lamentate and the 2009 In Principio state, this piece is based on 9th century Gregorian antiphon), a Christian hymn sourced from 2 Kings 20:19, 2 Chronicles 20:12,15 and Psalm 72:6-7. Prior to Pärt’s adaptation, it was apparently last used in Roman hymnals (and perhaps in the Church of England) in the late 1800s.

The vlogger below set this prayer of peace—as sung by the Estonian Philharmonic Chamber Choir & Paul Hillier—against a backdrop of soberingly haunting black and white war-themed images:

Da pacem, Domine,
in diebus nostris,
quia non est alius
qui pugnet pro nobis
nisi tu, Deus noster

Give peace, O Lord,
in our time,
for there is no other
who fights for us
but you, our God

Yet I offer this more broadly. To all in need of peace for any or a variety of reasons, may the Prince of Peace grant it to you faster than you can say “amen”.

What Did Pilate State in John 19:22?: Conclusion (repost)

[This is the second of a two-part repost in recognition of Holy Week. See part I.]

In the conclusion here I shall more closely explore the three verses leading up to Pontius Pilate’s pithy phrase in John 19:22. Due to the rather technical nature of the explanation below, I shall provide a summary as preface.

A ‘mismatch’ in Greek grammatical gender in Jesus’ response to Pilate in John 19:11 may well indicate that Pilate’s God-given authority had a more specific application for his role in the Passion (18:28–19:22). His final phrase (19:22) provides the climax to this circumscribed role. Clues to such an elevated role are found in the narrator’s use of specific verbiage in 19:19 and again in 19:20. These include John’s borrowing of the Latin titulus and yet another ‘mismatch’ in grammatical gender. The Latin titulus becomes the Greek titlos, an apparent neologism, and the ‘mismatch’ occurs in this new word and what is translated “it had been inscribed/written”. The latter phrase (and slight variations) is frequently used before Scripture quotations.

Before proceeding to the analysis, some necessary background in John’s Gospel will be provided first.

Events Leading Up to Jesus’ Arrest

In reaction to Jesus’ increasing popularity following the miracle of Lazarus’ revivification (11:38-45; 12:9-11), some of ‘the Jews’9 conferred with the chief priests and the Pharisees who then summoned the Sanhedrin (11:46-47). They were concerned they would eventually lose their “place and nation” (11:48). While “place” in its Scriptural context may refer to the Temple, it may well (also) mean the leaders’ privileged positions, which were granted by, yet subject to, Roman authority.

At this meeting Caiaphas, the High Priest (11:49) said, “…it is better that one man die for the people than for the whole nation to perish” (11:50; cf. 18:14). The narrator of the Gospel adds:

51 He did not say this of himself but, as High Priest that year he prophesied that Jesus was going to die for the nation, 52 and not only the nation, but also that He would unite into one the children of God who are dispersed.10

The Greek words for “children of God” above are found only here and in 1:12 in John’s Gospel. Thus, ironically, the fulfillment of his words would have different consequences than he likely assumed (cf. 7:35), and would result in the inclusion of Gentile believers as children of God on equal footing (12:32; cf. 4:42; Rom 2:28-29).

They then plotted Christ’s death (11:53), apparently conspiring to arrest Him at the next available opportunity toward that end (11:55-57).

In the meantime, the Devil cast into the heart of Judas Iscariot the desire to betray Jesus (13:2; cf. 13:18, 21). Shortly thereafter, at the Last Supper, “Satan entered into him” (13:27), and then Judas left to carry out his betrayal (13:30). Soon after that he went to an olive grove where he knew Jesus often met with his disciples, bringing with him “a detachment of soldiers and some officers of the chief priests and the Pharisees” (18:1-3).

Jesus’ Arrest and Trials

Jesus was subsequently arrested and brought before Annas, the father-in-law of Caiaphas (18:12-14), who questioned Him (18:19-23) before sending him on to Caiaphas (18:24). Then Christ was led to Governor Pilate’s palace (18:28).

Pilate enquired about the charges levied against Jesus (18:29), and with no direct answer given (18:30) he instructed them to “judge him by your own law” (18:31).11 ‘The Jews’ replied, “We are not authorized to execute anyone” (18:31). This was to fulfill the kind of death Jesus would suffer (18:32; cf. 12:33), as He indicated earlier—being “lifted up”, i.e., crucified (12:32).

Yet the fact that Roman soldiers (18:3) were employed in Jesus’ capture indicates Pilate may well have been apprised of the charges before Christ was presented to him. This would account for his first question to Jesus: “Are you ‘the king of the Jews’?” (18:33). Pilate’s words here could be intended, alternatively, as showing incredulity (cf. Isa 53:2): “You are ‘the king of the Jews’?”12 After Jesus informed him that His kingdom is not of this world (18:36, 37), Pilate found him without guilt, then asked the Jews if they would agree to release Him as per the annual tradition of freeing one prisoner at Passover (18:38-39). The Jews chose Barabbas instead (18:40).

With that Pilate had Jesus flogged (19:1). The soldiers, mocking Jesus’ ‘purported’ kingship, put a crown of thorns on His head and clad Him in a purple robe (19:2-3).

After this, still unconvinced of Christ’s guilt, Pilate tried once more to persuade them to reconsider (19:4). When Jesus came out wearing the crown of thorns and the purple robe, Pilate said (19:5), “Behold, the man!” This is probably Pilate’s way of challenging their charge of His [Jesus’] alleged claim of political kingship.

In response the chief priests and their officials shouted out (19:6): “Crucify! Crucify!” In return Pilate told them to crucify Him—knowing they couldn’t of course—again stating he found the charges to be without foundation (19:6). ‘The Jews’ countered using a different tact, “We have a law, and according to this law He must die, for He made Himself God’s Son” (19:7; cf. 5:18; 10:33). They were likely appealing to Leviticus 24:16, accusing Jesus of blasphemy.

Upon hearing their new allegation Pilate grew more afraid (19:8). Having been immersed in Greco-Roman polytheism, Pilate may have thought Jesus a ‘divine man’. Whatever the case, this new claim prompted him to ask Jesus, “Where are you from?” (19:9). When Christ remained silent Pilate apparently grew agitated, adding, “Don’t you know I have the authority to release you and I have the authority to crucify you?” (19:10). Jesus responded, “You would have no authority over me if it had not been given to you from above; therefore, the one who has delivered me over to you is guilty of a greater sin” (19:11; cf. 10:17-18).

From this point forward Pilate kept seeking to release Him. But, in persistence, ‘the Jews’ shouted, “If you release this fellow, you are no friend of Caesar’s—anyone who makes himself a king opposes Caesar” (19:12). Note the verbal connection between “makes himself a king” and “made Himself God’s Son” (cf. 5:18, 10:33) above.

It was around the “sixth hour” (noon) on the Day of Preparation of Passover week (19:14; cf. 13:1). With this time marker we know that Jesus’ impending death, only a short time away, would be around the same time when priests would begin slaughtering paschal lambs (Exo 12).13 Now the “Lamb of God” (1:29; cf. 1 Cor 5:7; Heb 9:11-15; 1 Pet 1:19; Rev 5:6) is about to meet a similar fate at about the same hour (cf. Exo 12:46; John 19:33, 36).

In response to their last statement (19:12), Pilate brought Jesus out and said (19:13-14), “Here is your king!” To that they shouted: “Take that man away! Take away! Crucify him!”14

Pilate answered (19:15), “Shall I crucify your king?”

The chief priests, in feigned allegiance to Caesar for the sake of expediency, answered (19:15), “We have no king but Caesar!” Their claim could be understood as a denial of their own God, their King (Jdg 8:23; 1 Sam 8:7; Psa 136:3)—at Passover, no less.

Their response was intended to dissuade Pilate from releasing Jesus, as doing so would make it appear he recognized Him as a rival to Caesar’s kingship. And thus Pilate failed in his efforts to free Jesus. ‘The Jews’ and the chief priests forced his hand, and so he handed Jesus over to them for crucifixion. Obviously unhappy with this turn of events, Pilate would exact revenge against them.

The Crucifixion and Pilate’s Enduring Statement

With Jesus formally sentenced, the soldiers took charge (19:16). After carrying His cross, He was ‘lifted up’, placed between two others (19:17-18).

Below is the brief section leading up to and including Pilate’s final statement in John’s Gospel. Each occurrence of the Greek verb root “write” (graphō) is bolded. In addition, titlos is left untranslated, for it is difficult to provide a suitable one-word substitute. An exploration of these terms will commence further below.

19 Yet Pilate also wrote a titlos and fastened it to the cross. It had been inscribed: JESUS THE NAZARENE, THE KING OF THE JEWS. 20 Many of the Jews thus read this titlos, for the place where Jesus was crucified was near the city, and it had been written in Aramaic, Latin, and Greek. 21 The chief priests of the Jews therefore said to Pilate, “Do not write, ‘THE KING OF THE JEWS’, but that man, ‘SAID, I AM KING OF THE JEWS.’”15

22 Pilate answered, “What I have written, I have written.”

Pilate’s inscription was intended as an insult to the Jews. The pen is indeed mightier than the sword here—in more than one way.

Since first century Greek texts lacked punctuation (and spacing between words!), there is some ambiguity as to the exact request of “the chief priests of the Jews” and how they wished to amend Pilate’s original words. I interpret their intention was to replace ‘…THE KING OF THE JEWS’ in the inscription with ‘…SAID, I AM KING OF THE JEWS’, resulting in their proposed verbiage JESUS THE NAZARENE SAID, I AM KING OF THE JEWS. They wanted the words to reflect a claim of Jesus, not a claim of the Jewish nation. From their perspective, the inscription as it stood may “appear to be a formal declaration of Jesus’ identity rather than a charge against Him.”16

Pilate was well aware their charges had been trumped up, so he was undoubtedly taking much pleasure in making a mockery of them in response to their mocked allegiance to Caesar at Jesus’ expense. They may have forced his hand, but he showed them who ultimately had the upper hand.

But Pilate’s vindication would have other ramifications. While we understand the theological implication in Pilate’s inscription—as it stands it makes a true statement of Jesus’ Kingship—taking a closer look at the context while investigating related historical background provides a stronger foundation upon which to construe it this way.

Other Signs

It was not uncommon in first century Rome for a criminal on his way to execution to be accompanied by a sign stating both his name and the offense for which He was condemned. It was either (a) carried by an official walking in front of him17 or (b) hung around his own neck.18 But there is not much historical evidence for placing this same sign on the criminal’s cross, and what is available is ambiguous.19 We must note that none of the Gospels mention anyone carrying a sign of this sort during the Via Dolorosa. This is not to definitively claim someone had not, however. We merely have no explicit evidence. What we know for certain is that a sign was placed onto Jesus’ cross indicating His supposed crime.20

The word used in both instances above referring to the sign accompanying condemned criminals is the Latin titulus. John’s titlos—found only here in 19:19 and 19:20 in all Scripture (and seems to be first used by John)—is a ‘loanword’ from this Latin term. Titulus had rather broad applications in first century Latin texts. In addition to the two examples previously cited, the word was used by Pliny the Younger (ca. AD 61—113) for a notice to rent21 and by Roman poet Ovid (BC 43—AD 17/18) for a notice of public sale.22 It was also used to signify a grave marker.23 As can be deduced, the term applied to both the object inscribed and its inscription in these instances. However, for our purposes, more important is the fact that at times titulus was used solely for the inscription itself in distinction from the object on which it was inscribed.24

The term can refer to epitaphs (i.e., the inscriptions) as distinct from grave markers.25 Roman historian Titus Livius Patavinus (ca. BC 64/59—AD 12/17) applied it to Hannibal’s self-inscription on an altar in which he glowingly described his own achievements.26 Columella (ca. AD 4—70), a writer on agricultural concerns, used the word to reference titles of books.27 Ovid, in the very same work referred to in the previous paragraph, used titulus to signify the title of a pamphlet.28 And most pertinent here, in a work written around the time Christ was born, Ovid employed the term in reference to honorific titles—as applied to Augustus Caesar, for example.29 In similar fashion, in one context Ovid used it as a title acquired by assuming it from those conquered or from some heroic event, yet also in synonymity with “name” (Latin: nomen).30 Yet, given that Pilate’s purpose with the inscription was to antagonize ‘the Jews’, can we rightly apply any of these meanings (epitaph, title, name) to John 19:19?

The text in 19:19 states that Pilate wrote the titlos (titulus) and affixed it to the cross. The task of placing the titlos onto the beam, however, was almost certainly delegated. Yet given the preceding historical investigation—illustrating titulus could refer to either the inscribed object and its inscription or the inscription only—there are a number of possible scenarios with regard to the writing of the words. Perhaps Pilate dictated the desired text to a scribe for inscribing.31 Or maybe he himself penned the words on a papyrus (titlos) and then gave this document to a scribe for inscribing onto the (presumed) board of the titlos.32 It could be that he inscribed the titlos in Latin and then gave it to a secretary to translate and write the Aramaic and the Greek. Whatever the case, in some manner, Pilate wrote the titlos.

Textual Clues and Syntactical Pointers

There’s a grammatical issue in the latter part of v. 19 that may well have a bearing here. The words preceding the inscription—“It had been inscribed” in the translation above (akin to the English past perfect)—are translated from a participle reflecting a neuter subject, yet titlos is masculine. In other words, it does not refer to titlos. (Greek grammar usually requires grammatical gender match.) This exact syntax is found again in 19:20. So, to what or whom does it refer?

This is typically translated impersonally: “There was written” (“It [the inscription] read”).33 However, as Keener notes, each and every time this syntactical structure with this verb is used up to this point in John it references Scripture (it is written; it had been written).34 Keener concludes, “Thus John may ironically suggest that Pilate, as God’s unwitting agent (19:11), may carry out God’s will in the Scriptures.”35 Could God’s Spirit have superintended the writing of the inscription, despite Pilate’s vindictive purpose?

The words it is written in the verses prefacing Scripture references (2:17; 6:31, 45; 10:34; 12:14; 15:25; cf. 5:46; 8:17) are in the Greek perfect tense-form, while 12:16 contains a pluperfect—the same form as 19:19 and 19:20. Though all these are important to my argument here, key is the usage of 12:16, best rendered these things had been written.36 In that context, the narrator notes that the disciples recalled earlier events but only fully understood how they fulfilled Scripture from the vantage point of their post-glorification perspective (after Jesus’ resurrection).37 Before considering this line of inquiry further, how might 19:11 (which Keener referenced above) impact the interpretation in 19:19?

While the authority Pilate possessed in a general sense was certainly “from above” (anōthen), as it is for all rulers and authorities, this was not Jesus’ point here. Similar to v. 19, there is a mismatch in gender in v. 11. Just as the participle in 19:19 is neuter, so it had [not] been given is neuter in 19:11. The Greek word for authority, however, is feminine.38 Thus, if it had not been given to you from above does not refer to Pilate’s general conferred authority but instead is circumscribed to his specific role in the events unfolding at the time: “the fact that Jesus has been given into his hands has been determined by God”.39 More specifically, my contention here is that this specific authority was conferred to Pilate for his entire role in the Passion sequence.

Below is the pertinent portion of the verse:

19:11 ouk eiches exousian kat’ emou oudemian ei mē ēn dedomenon soi anōthen
not you have authority over me nothing if not was it having given you from-above
“You would have no authority over me if it had not been given to you from above.”

Going out a bit further, interestingly, this same syntactical format (‘not _____’ if it has/had not been given from God) is first found in John the Baptizer’s response to those who mentioned Jesus’ baptizing and the increasing numbers going to Him (3:26):

3:27 ou dynatai anthrōpos lambanein oude hen ean mē ȩ̄ dedomenon autō̧ ek tou ouranou40
not s/he be able person to receive and-not one if not may-be it having given him from heaven
A person is not able to receive not one thing if not it may be given to him/her from heaven
“A person is not able to receive anything if it has not been given to them from heaven.”

Though the Baptizer’s statement serves a particular purpose in its context, it should also be seen as a maxim, a general statement.41 These words of the Baptizer are the first with this syntactical structure in John’s Gospel, while Jesus’ words to Pilate are the last. Thus, in my opinion these form bookends, one opening and the other closing an inclusio. The Baptizer’s maxim then relates to some intervening uses of “give” (didōmi), such as parts of the Bread of Life discourse (e.g. 6:37, 39), Jesus’ Prayer (17:7, 11, 12, 22), and Jesus’ cup (18:11).42 Of course, it also relates to Jesus’ statement in 19:11 (ei mē ēn dedomenon, “if it had not been given”). The remaining verse fitting this grammatical structure (6:65) is thematically relevant:

6:65 oudeis dynatai elthein pros me ean mē ȩ̄ dedomenon autō̧ ek tou patros
no one is able to come to me if not may-be it having given him/her of the Father
“No one is able to come to Me if it has not been given to them by the Father.”

The point here is that while God places individuals in certain positions he also orchestrates specific events, using certain individuals to accomplish specific tasks in these events. Thus, understanding Pilate’s unique role in the Passion per Jesus’ phraseology in 19:11, we might be able to assume that this circumscribed, God-given authority extends to the inscription, especially when we consider the syntax in 19:19 and 19:20 (it had been inscribed) and how that relates to other uses of this same structure. Even still, can we make the leap that his words on the inscription are tantamount to writing Scripture? If so, what Scripture is referenced?

Crucial to understanding the Gospel of John is to grasp that the author is writing from a perspective post-Jesus’ resurrection. After Pentecost, the Spirit had been given. And from this perspective the Spirit brings to remembrance past events, further illuminating them to the disciples (14:26; 16:12-15). At various points the narrator implies this by calling attention to some of Jesus’ previous statements (12:32 via 12:33 and 18:32|6:39 via 17:12 and 18:9). In 2:22 the narrator remarks that after “He [Jesus] was raised” the disciples ‘remembered’ His words and “they believed the Scripture (graphē, noun form of graphō) and the word that Jesus spoke” (in 2:19).  But what “Scripture” is ‘remembered’ here? It cannot be the one referenced in 2:16, for 2:17 specifically explains that particular one. By the context the intended Scripture referent appears to be the OT (Tanakh) in a general sense, as it relates to the resurrection.43

Somewhat similar to 2:22 is 12:16—the Triumphal Entry. Here the narrator states that the disciples fully realized that these things had been written about Him only “after Jesus was glorified”. “These things”—which is neuter in the Greek—refers to the Scripture referenced in 12:13 and 12:15. Yet in this same context the narrator relates it was not only the things that had been written but also these things done to Him. We can construe that this refers to the events acted out in fulfillment of those two Scriptures. However, oddly, if at the time of Jesus’ ministry the disciples didn’t understand that He was being proclaimed king, why did the crowd say these things? The seeming contradiction is reconciled if we understand it more broadly (similar to 2:22 above) to mean Jesus’ Kingship in the post-glorification sense.44 In other words, their initial interpretation of “king” was in a political sense, and then after they ‘remembered’ “these things”, God’s Spirit provided further illumination, as in 2:22.

Tying It All Together

Considering the immediately preceding regarding 2:22 and 12:16, and adding in the syntactical connection between 12:16 and 19:19-20, we have a point of contact. One may argue that the grammatical relationship (these things had been written > it had been written/inscribed) is a bit tenuous, but the thematic one certainly applies. Yet the strength of the thematic link should bolster the grammatical. If the narrator relates how the disciples’ remembrance was further illuminated (implying by virtue of the Spirit: 14:26; 16:12-15), then how much more would the narrator/writer himself be likewise illumined?45 When we factor in the syntactical relationship between 19:19-20 and all other uses of it is written / it had been written (as pertaining to Scripture) in conjunction with Pilate’s unique authority in the Passion as revealed in Jesus’ words in 19:11 (and this grammatical and thematic link to 3:27), we have a stronger case for tying all this together.

Therefore, my contention is that John wrote this with the understanding of a dual purpose for the inscription: one for Pilate’s vengeance, and one for the Spirit to make a true identity statement. In other words, John himself recognized that the words Pilate wrote had influence from the Spirit, so he chose (under influence of the Spirit) it had been inscribed/written as a way to make this connection. I further contend this is why John borrowed the Latin titulus in his use of titlos.

Assuming my argument here, one can see it is certainly no leap to enlarge the definition of John’s titlos to include “title” (THE KING OF THE JEWS) and/or “name” (JESUS THE NAZARENE) or both/and (JESUS THE NAZARENE, THE KING OF THE JEWS). Thus, rather than merely considering the wording on the inscription as an implication, we have grammatical and contextual reasons to assert with confidence that JESUS THE NAZARENE, THE KING OF THE JEWS is indeed written as a Messianic title, and/or a name, a proclamation in a literal sense—in addition to Pilate’s vindication. And the prefatory it had been inscribed designates that the words following, similar to the meaning in 12:16, refer to the OT (Tanakh) generally, rather than one specific verse or section. In other words, the Scripture that Pilate references on his titlos—under the superintending of the Spirit—is the OT (Tanakh) in a general sense, as it relates to Jesus’ Kingship.

Given all this, Pilate’s inscription, with the assistance of God’s Spirit, could be perceived as the climactic contravening of two statements by ‘the Jews’: Jesus “made Himself God’s Son” in 19:7 (cf. 5:18; 10:33) and “makes Himself King” in 19:12 (cf. 1:49; 12:13; 18:38), both encapsulated in Nathaniel’s proclamation in 1:49 “you are the Son of God; you are the King of Israel” (cf. 12:13).

If all this prevails, then the chief priests of the Jews’ plea to Pilate to amend the title may be interpreted ironically as an indirect attempt at usurping God’s authority by unknowingly trying to change Scripture. Interestingly, the narrator does not record that they ‘wanted to change’ (using allassō, e.g.) or something to that effect; instead they say to Pilate “do not write” (using graphō). This is yet another linguistic/grammatical and thematic link further cohering the four verses (19:19-22).

Yet Pilate refused to alter the altar: What I have written, I have written. What I have written, I stand by. The irony then is that Pilate, a pagan and acting as God’s unwitting agent, stood by God’s words, while the opposing Jews who had just executed their Messiah wanted to amend them.

So, what did Pilate “state”? His final words “What I have written, I have written” affirm his inscription, and by doing so, those words remain in Scripture in a state of having been written. And, if the analysis here is accepted, with God’s ‘hand’ on Pilate’s ‘pen’, Pilate ‘wrote’ New Testament Scripture, words that endure to this very day.46

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9 I place ‘the Jews’ in single quotes when the text uses οἱ Ἰουδαῖοι (hoi Ioudaioi), since this is the manner in which the Gospel of John chooses to identify this sub-group. Note, however, that while John’s characterization is mostly negative in the text here, there are quite a few times in the Gospel when the term is used in positive (2:6; 4:22; 8:31; 11:19, 31, 33, 36, 45; 12:9, 11; 19:31) or neutral (1:19; 2:13; 3:1, 22; 5:1, 15; 6:4; 7:2; 11:55; 13:33; 18:20; 19:20, 40, 42) settings (such as in describing a certain festival “of the Jews”), or times in which the group is perhaps understandably perplexed (2:20; 6:41, 52; 7:15; 7:35; 8:57; 10:19). The term’s meaning in John is a bit ambiguous and remains an enigma. Even the designation the Pharisees is sometimes used positively or neutrally (e.g. 9:16). However in this section of John’s Gospel ‘the Jews’ are Jesus’ adversaries.

10 My translation, as are all Scripture quotations in this article. The Latin is also my translation, assisted by online sources and, at times, by others’ English translations. My goal is to adhere closer to a formal equivalence than a dynamic or functional one. To that end, I endeavor to translate nouns for nouns, verbs for verbs, etc.

11 The words of Pilate here may well be an example of artistic license on the part of John the Evangelist. These may have been meant to be ironical in that, according to Mosaic Law—and in truth, of course—Jesus was not guilty of any crime.

12 Since Greek finite verbs encode person and number, a pronoun is not necessary unless the subject is ambiguous; thus, the presence of the pronoun “you” (συ) here is not necessary, and may be used for emphasis.

13 Here I’m following John’s intent in his presentation of events without trying to reconcile them with the Synoptic accounts. See Thompson, John: A Commentary, pp 388-390. Thompson presents a synopsis of (1) the difference between the Synoptic Gospel’s accounts regarding the timing of Jesus’ death as compared to John’s, (2) the problem of associating Jesus’ death with the “sixth hour” (noon) and how this does not seem to correlate with the timing of the slaughtering of Passover lambs.  However, John’s chronology indicates Jesus will be crucified later than noon (he had to first take up his own cross and then walk to the crucifixion site), and so her observations regarding the typical time range for sacrificing Paschal lambs (beginning a bit after 1:30 in the afternoon at the earliest) do not necessarily contradict this. Those attempting to reconcile John with the Synoptics employ various measures. See, e.g. Andreas J. Köstenberger’s contribution in G. K. Beale & D. A. Carson eds., Commentary on the New Testament Use of the Old Testament (Grand Rapids, MI: Baker, 2007), p 500.

14 The twice-used verb for “take away” (αἴρω, airō) has a somewhat broad semantic range that can mean take up as in to raise up to a higher position, move to another place, carry away. It seems likely a double meaning is intended here. That is, ‘lift that man up’ may be understood as the additional meaning, in irony.

15 The word translated “Aramaic” is Hebraisti, which some English versions render “Hebrew”. Following Harris (Murray J. Harris, John, Exegetical Guide to the Greek New Testament, Andreas J. Köstenberger & Robert W. Yarbrough, gen. eds. [Nashville, TN: B&H Academic, 2015], p 314), I construe the periphrastic ἦν + γεγραμμένον in v. 19 and v. 20 as akin to the pluperfect of γράφω (cf. 12:16), though I prefer to translate as an English past perfect rather than a simple past.

16 Thompson, John: A Commentary, p 398.

17 In Roman historian Suetonius’ (c. AD 69—122) Caligula—Emperor from AD 37 to 41—an account of a slave sentenced to execution by the Emperor for stealing silver (32.2) was “preceded by a sign indicating the cause for his punishment” (Latin: praecedente titulo qui causam poenae indicaret). Cf. for a similar account in the 2nd century (AD 177) Eusebius, Ecclesiastical History, 5.1.44, in which someone carried a board (πίναξ, pinax) in front of Attalus with the inscription THIS IS ATTALUS THE CHRISTIAN.

18 In Suetonius’ Domitianus (10.2-3)—Domitian was Roman Emperor from AD 81 to 96—the sign describing the charge was placed upon the accused gladiator himself (cum hoc titulo: Impie locutus parmularius; “with this sign [upon him]: ‘A Parmularian [gladiator] impiously spoke’”).

19 Craig S. Keener, The Gospel of John: A Commentary, two volumes (Peabody, MA: Hendrickson, 2003) p 2.1137. “The posting of the accusation on the cross is not well attested, either because those describing the crucifixion had already mentioned it being carried out . . . or because the practice was not in fact standard although, given the variations among executions, in no way improbable . . . (p 2.1137, n 608).

20 Although only Matthew (27:37) and Mark (15:26) specifically refer to a sign stating the cause (aitia) for which Jesus was crucified, this does not mean we cannot infer this from the other Gospels (cf. John 19:6).

21 Letters, 7.27 (“To Sura”): Athenodorus legit titulum: “Athenodorus read the notice (to rent the haunted mansion)”.

22 In Remedia Amoris (Cures for Love), for the notice of sale (Latin: sub titulum, “‘under’ the notice”, i.e., “using the notice”) for the household items the unscrupulous girl had plundered (302). Cf. the oft-neglected Marvin R. Vincent, Vincent’s Word Studies in the New Testament (Peabody, MA: Hendrickson, 2009), p II.283. Cf. Tibellus (c. BC 55-BC 19), Elegiae, 2.4.54: ite sub imperium sub titulumque; “you go under her command and under the notice.”

23 Pliny the Younger: Letters, 6.10.3: post decimum mortis annum reliquias neglectumque cinerem sine titulo sine nomine iacere: “ten years postmortem his remains have been cast down and neglected, without a grave marker and without a name.” That titulus in this context does not mean “epitaph” (the inscription itself as distinct from the marker) is evident by the next line of the epistle, in which the author specifies the words the deceased wanted inscribed (inscriberetur) as his epitaph. Also see Ovid, Fasti, Book IV.23, 44, in which titulus refers to a scroll and the writing upon it (longum scriberet annum vidit  . . . proximus est titulis Epytus: “to see what he might have engraved on the roll . . . next on the scroll is Egyptus”).

24 See F. R. Montgomery Hitchcock, “The Use of γράφειν,” Journal of Theological Studies old series 31 (1930), pp 272-273.

25 Martial (ca. AD 38/41—102/104), Epigrammata (published between AD 86 and 103), I.93.4: Plus tamen est, titulo quod breviore legis: ‘Iunctus uterque sacro laudatae foedere vitae, famaque quod raro novit, amicus erat’: “Yet more is what you glean from this brief epitaph: ‘Knit in the sacred bond of life with an honored reputation rarely known: they were friends’.” Cf. Ovid, Epistulae: Sappho Phaoni, 15.190-195; cf. Pliny the Younger, Letters, 9.19.3: . . . si immortalitatem quam meruere sectantur, victurique nominis famam supremis etiam titulis prorogare nituntur: “ . . . if they now seek immortalization, and the names they have so greatly earned in glory and fame to secure, and to perpetuate themselves by epitaphs.” By the context it seems possible that both the inscription and the grave marker are included in titulus here, but the primary meaning is certainly the epitaph/inscription itself.

26 Titus Livius, Ab Urbe Condita (The History of Rome), 28.46.16 aram condidit dedicavitque cum . . . titulo: “he erected and dedicated an altar with . . . an inscription.”

27 De De Rustica, Book IX, preface: tituli, quern prae-scripsimus huic disputationi: “the title, which we have prefixed to this discourse.” Cf. De De Rustica, Book VIII, preface; cf. Quintilian (ca. AD 35—100), Institutio Oratoria, Book 2.14.4: quos hac de re primum scripserat, titulis Graeco nomine utatur: “from earlier [works] which he had written, Greek name titles were used.” In other words, he used Greek names as titles in earlier works.

28 Remedia Amoris, in the very first line of the poem (1): titulum nomenque libelli, “name and title of this little book”. I interpret this as epexegetical such that “name” further defines titulus. In other words, “name” refers to the title (and ‘title’ refers to the name) on the book’s title page, in order to differentiate it from the other meaning of titulus as both inscription and inscribed object (title page). Alternatively, the terms titulus and nomen could be synonymous here. See note 30.

29 Fasti, Book III.419-420: Caesaris innumeris . . . accessit titulis pontificalis honor; “To Caesar’s innumerable . . .  titles the honor of Pontificate was added.” Cf. M. Tullius Cicero (BC 106—BC43), Against Piso, 9.19: posset sustinere tamen titulum consulatus: “might have the power to sustain the title of consulate.”

30 Fasti, Book I.599-604: si a victis, tot sumat nomina Caesar, quot numero gentes maximus orbis habet, ex uno quidam celebres aut torquis adempti aut corvi  titulos auxiliaris habent. Magne, tuum nomen rerum est mensura tuarum; sed qui te vicit, nomine maior erat: “If Caesar claims names from those conquered, let him take as many as the mighty globe has nations! From one event some celebrate—either from a neck-chain won or allied ravens—the titles they possess. O great one [Pompey the Great], your name is the measure of your deeds, but he who conquered you was greater in name.” Cf. Ovid, Fasti, Book IV.115, in which the goddess Venus is referred to as the titulus of a calendar month. See note 28 for another possibility.

31 See Hitchcock, “The Use of γράφειν,” pp 271-273.

32 Ibid.

33 E.g., Harris, John, p 314. See note 15 above.

34 Keener, Gospel of John, p 2.1138. All but one of the Scripture verses Keener cites here are perfects (as the periphrastic ἔστιν γεγραμμένον: 2:17; 5:46; 6:31, 45; 8:17; 10:34; 12:14; 15:25), the lone exception being 12:16, a pluperfect (the periphrastic ἦν + γεγραμμένα). While the perfects are important, it is this exception in the pluperfect that provides the primary link for the argument I shall put forth here.

35 Keener, Gospel of John, p 2.1138. The author understands Pilate’s conferred authority in 19:11 in a general sense (pp 2.1126-27) rather than in the more circumscribed view I shall pursue below. And Keener does not mention the grammar ‘mismatch’ issue at all.

36 It is actually a periphrastic, an equivalent to the pluperfect—see note 34.

37 See, e.g., the late Larry Hurtado’s pre-publication Remembering and Revelation: The Historic and Glorified Jesus in the Gospel of John.

38 More specifically, the participle δεδομένον is neuter. It would have to be the feminine δεδομένη to agree with the feminine ἐξουσίαν (authority) here. Cf. C. K. Barrett, The Gospel According to St. John: An Introduction with Commentary and Notes on the Greek Text, 2nd ed. (Philadelphia: Westminster, 1978) p 543. In addition, it may be that Jesus’ answer here includes a roundabout answer to the question Pilate posed in 19:9: “Where are you from?” Answer: ἄνωθεν, “from above”.

39 Rudolf Bultmann, The Gospel of John, transl. G. R. Beasley-Murray, Gen Ed., R. W. N. Hoare & J. K. Riches (Philadelphia, PA: Westminster, 1971), p 662. Cf. George R. Beasley-Murray, John, Word Biblical Commentary, D. Hubbard, G. Barker, gen. eds. (Waco, TX: Word, 1987), pp 339-340. Yet neither mentions the grammatical gender mismatch as does D. A. Carson: The Gospel According to John, Pillar New Testament Commentary, D. A. Carson, gen. ed. (Grand Rapids, MI: Eerdmans, 1991), pp 600-602. But, Carson appears to terminate the circumscribed authority at Pilate’s capitulation in 19:13 (p 603); however, my position here is that this does not terminate until Pilate’s final words in 19:22.

40 There is a difference here in that a neuter subject is found in ἕν, hen (one) from the apodosis.

41 C. K. Barrett, The Gospel According to St. John, p 222.

42 This does mean to imply, of course, that 3:27 (and 6:65 just below) is no longer applicable as a general maxim.

43 See C. K. Barrett, The Gospel According to St. John, p 201.

44 See Carson, The Gospel According to John, pp 433-434.

45 See Jörg Frey, Theology and History in the Fourth Gospel (Waco, TX: Baylor University Press, 2018), pp 151-154.

46 Alternatively, John the Gospel writer took certain liberties in fashioning his Gospel, and in so doing, re-formed some words to make his theological and christological points.

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