Christ Over All: Col. 1:15-20

The Apostle Paul is known for the power and elegance of his writing. Of the authors in the New Testament, none compare to his rhetoric. Though his writings take the form of letters, he manages to fill them with instruction, warnings, loving encouragement, and in some instances passages that are almost poetry. The two greatest examples of possible poetry are Philippians 2:6-11 and Colossians 1:15-20. The latter, Colossians 1:15-20 is the focus of our study. Like Philippians 2:6-11, our passage in Colossians is widely considered to be a hymn or part of one.<1> Though it is still debated. However, despite the importance of the exact genre of the passage, our main question should be what was Paul’s purpose with Colossians 1:15-20? Over the next couple of weeks, I will publish two more articles where we will look at the interpretation of Colossians 1:15-20 and what it means for us today. This article’s focus will be solely on the structure of the passage and how that helps us properly interpret it.

1: The Elusive Genre of Col. 1:15-20

As mentioned above, the exact genre of Col. 1:15-20 has been debated by a variety of scholars for some time. Some scholars argue it is a hymn along with Phi. 2:6-11, or at least a part of an older hymn.<2> Whether or not Paul himself composed this passage or took it from a tradition is not important for our study. Due to the ambiguity of this passage some scholars caution against placing it in too strict of a category.<3> But though they hesitate to label this passage, they are quick to point out the style that Paul uses. Though it may be difficult to label it as strict poetry, the writing is more elegant than Paul’s typical writing<4> and stands out in both style and vocabulary from the surrounding passages.<5> In particular, there seems to be a rhythmic feel and parallels in the vocabulary between the first and second halves of the passage<6>, which we will discuss this more in the next section. Due to the lack of consensus and the warnings from several scholars, it seems appropriate to avoid defining the genre of Col. 1:15-20. I will only go so far as to say that it is seems closer to poetry than typical writing.

2: The Structure of Col. 1:15-20

Though the genre may never be known for our passage, that does not hinder us from studying the structure of it. Along with the debate over the genre, scholars also have not come to a consensus on the structure of the passage. They argue from 2 to 5 stanzas—the paragraphs in poetry—in the passage.<7> One of the more common views is that there are two stanzas.<8> Some scholars argue that the passage contains two stanzas with an independent transition in between.<9> They propose the following structure:<10>

Stanza 1: vv. 15-16

¹⁵

He is the image of the invisible God, the firstborn of all creation.

¹⁶

For by him all things were created, in heaven and on earth, visible and invisible, whether thrones or dominions or rulers or authorities— all things were created through him and for him.

Transition: vv. 17-18a

¹⁷

And he is before all things, and in him all things hold together.

^18a

And he is the head of the body, the church.

Stanza 2: vv. 18b-20

^18b

He is the beginning, the firstborn from the dead, that in everything he might be preeminent.

¹⁹

For in him all the fullness of God was pleased to dwell,

²⁰

and through him to reconcile to himself all things, whether on earth or in heaven, making peace by the blood of his cross.<11>

What is interesting is that one scholar, who argues for two larger stanzas with no transition, notes that vv. 17-18a are the climax of the passage, or at least the point at which the two main ideas come together.<12> This appears to support the idea of vv. 17-18a as a transitional piece. N.T. Wright on the other hand argues for four parts. Section 1: vv. 15-16; section 2: v. 17; section 3: v. 18a; section 4: vv. 18b-20. What is interesting is that Wright does seem to imply that sections 1 and 4 are greater than 2 and 3.<13> Wright’s structure then, like Garland’s, results in the two middle sections appearing more as transitions than actual stanzas. By combining Wright’s sections 2 and 3, you get the exact same transitional piece that we are arguing for. For Wright’s main reason for dividing the transition into two parts is the parallelism found between them. This reasoning appears to be a bit arbitrary, because a parallel between two lines does not necessitate there being two different stanzas, particularly when the parallelism is surface level.

2.1: Parallels Throughout

The question then becomes why we should think there are two stanzas with a transition in between. The most foundational reason one can find is in the themes throughout the passage. Col. 1:15-20 has two and only two main themes in it: creation and re-creation.<14> What is supposed to be the first stanza discusses the role of Christ in the original creation of “all things”. Stanza two is all about Christ’s role in the new creation, that is re-creating or renewing “all things” through the reconciliation by his sacrifice. The transition plays with both themes, where the first and second lines correspond to the first and second stanzas. A deeper look at the passage reveals a multitude of parallels between the two stanzas. Though Wright used similar reasoning in dividing the transition into two parts, the number of parallels between the two stanzas far outweighs the single parallel idea in the transition. Rather than the parallels being the foundation of the difference between the two stanzas, as in Wright's proposed structure, they support the two themes found in the passage. The main parallel phrases are as follows: He is (

ὅς

ἐστιν

); the firstborn (

πρωτότοκος

); For by him (

ὅτι

ἐν

αὐτῷ

); in heaven and on earth (

ἐν

τοῖς

οὐρανοῖς and

ἐπὶ

τῆς

γῆς); through him (

δι᾽αὐτοῦ

). These occur, with slight variations, in almost the same order in both stanzas.

Stanza 1: Vv. 15-16

He is (

ὅς

ἐστιν

) (v. 15) The firstborn (

πρωτότοκος

) (v. 15) For in him (

ὅτι

ἐν

αὐτῷ

) (v. 16) In heaven and on earth (

ἐν

τοῖς

οὐρανοῖς

and

ἐπὶ

τῆς

γῆς) (v. 16) Through him (

δι᾽αὐτοῦ

) (v. 16)

Stanza 2: Vv. 18b-20

He is (

ὅς

ἐστιν

) (v. 18b) The firstborn (

πρωτότοκος

) (v. 18b) For in him (

ὅτι

ἐν

αὐτῷ

) (v. 19) Through him (

δι᾽αὐτοῦ

) (v. 20 On earth and in heaven (

ἐπὶ

τῆς

γῆς

and

ἐν

τοῖς

οὐρανοῖς

) (v. 20)

Not only do these parallels support the idea of two stanzas, for the transition does not share in the above phrases, but it also supports the idea of this passage as being more than typical writing. Another parallel found throughout the passage, in both the stanzas and the transition, is the phrase “all things”. This helps tie the stanzas together. For as Christ created all things, so he will renew and reconcile all things.

Though it may seem unnecessary to study the structure of this passage, it does help us understand what Paul is telling the Colossians. Because of the parallels and the seemingly poetry of this passage, we can see that the two themes: creation and re-creation/reconciliation, work together and are related. In using this “poetry” Paul is trying to make a connection between the two. Just as Christ is the creator he is the reconciler and the one who will renew and recreate all things. Sure, Paul could have just said that, but this passage gives us a beautiful picture of who Christ is and his role. Something else to remember, is that the New Testament was likely intended to be read aloud. Paul knew that his letters would be read out loud to an audience. What better way to teach than through a hymn or song? We all know how easy it is for a song to get stuck in our heads. By writing in this way, Paul was ensuring that his listeners/readers would remember what was said. The next part will deal with the interpretation of the passage and what Paul’s purpose was behind it.

Bibliography

Bauckham, Richard.

Jesus and the God of Israel: God Crucified and Other Studies on the New Testament's Christology of Divine Identity.

Grand Rapids: Wm. B. Eerdmans Publishing Co., 2009. Bruce, F.F. "The "Christ Hymn" of Colossians 1:15-20."

Bibliotheca Sacra

, 1984: 99-111. Gorman, Michael J.

Apostle of the Crucified Lord: A Theological Introduction to Paul and His Letters.

2nd. Grand Rapids: Wm. B. Eerdmans Publishing Co., 2017. Moo, Douglas J., et al.

NIVAC Bundle 7: Pauline Epistles.

Grand Rapids: Zondervan, 2000. Sumney, Jerry L.

Colossians: A Commentary.

Louisville: Westminster John Knox Press, 2008. Wright, N.T.

Colossians and Philemon.

London: InterVarsity Press, 2008. <1>           Richard Bauckham.

Jesus and the God of Israel: God Crucified and Other Studies on the New Testament's Christology of Divine Identity

. (Grand Rapids: Wm. B. Eerdmans Publishing Co., 2009), 137. <2>           Bauckham,

God of Israel,

137. <3>           Moo, et al.,

NIVAC,

2142; Sumney,

Colossians,

61. <4>           Bruce,

Christ Hymn,

99; Michael J. Gorman.

Apostle of the Crucified Lord: A Theological Introduction to Paul and His Letters

. 2nd. (Grand Rapids: Wm. B. Eerdmans Publishing Co., 2017), 554; N.T. Wright,

Colossians and Philemon

. (London: InterVarsity Press, 2008), 67. <5>           Ibid,

Colossians,

60-61. <6>           Ibid,

Colossians,

60. <7>           Ibid,

Colossians,

61. <8>           Bruce,

Christ Hymn,

100; Gorman,

Paul,

556; Moo, et al.,

NIVAC,

2144; Sumney,

Colossians,

61. <9>           Bruce,

Christ Hymn,

100; Sumney,

Colossians,

61. <10>         Bruce,

Christ Hymn,

100; Sumney,

Colossians,

61-63. <11>         Col. 1:15-20, ESV. <12>         Moo, et al.,

NIVAC,

2144. <13>         Wright,

Colossians and Philemon,

68-69. <14>         Bruce,

Christ Hymn,

100; Gorman,

Paul,

556; Moo, et al.,

NIVAC,

2144; Wright,

Colossians and Philemon,

69.