KJV: Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man!
YLT: Jesus, therefore, came forth without, bearing the thorny crown and the purple garment; and he saith to them, 'Lo, the man!'
Darby: (Jesus therefore went forth without, wearing the crown of thorn, and the purple robe.) And he says to them, Behold the man!
ASV: Jesus therefore came out, wearing the crown of thorns and the purple garment. And Pilate'saith unto them, Behold, the man!
| ἐξῆλθεν | Went forth |
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Parse: Verb, Aorist Indicative Active, 3rd Person Singular Root: ἐξέρχομαι Sense: to go or come forth of. |
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| ὁ | - |
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Parse: Article, Nominative Masculine Singular Root: ὁ Sense: this, that, these, etc. |
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| Ἰησοῦς | Jesus |
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Parse: Noun, Nominative Masculine Singular Root: Ἰησοῦς Sense: Joshua was the famous captain of the Israelites, Moses’ successor. |
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| ἔξω | outside |
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Parse: Adverb Root: ἔξω Sense: without, out of doors. |
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| φορῶν | wearing |
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Parse: Verb, Present Participle Active, Nominative Masculine Singular Root: φορέω Sense: to bear constantly, wear. |
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| ἀκάνθινον | thorny |
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Parse: Adjective, Accusative Masculine Singular Root: ἀκάνθινος Sense: thorny, woven out of twigs of a thorny plant. |
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| στέφανον | crown |
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Parse: Noun, Accusative Masculine Singular Root: στέφανοσ2 Sense: a crown. |
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| πορφυροῦν | purple |
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Parse: Adjective, Accusative Neuter Singular Root: πορφύρεος Sense: purple, dyed in purple, made of purple fabric. |
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| ἱμάτιον | robe |
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Parse: Noun, Accusative Neuter Singular Root: ἱμάτιον Sense: a garment (of any sort). |
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| λέγει | he says |
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Parse: Verb, Present Indicative Active, 3rd Person Singular Root: λέγω Sense: to say, to speak. |
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| αὐτοῖς | to them |
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Parse: Personal / Possessive Pronoun, Dative Masculine 3rd Person Plural Root: αὐτός Sense: himself, herself, themselves, itself. |
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| Ἰδοὺ | Behold |
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Parse: Verb, Aorist Imperative Active, 2nd Person Singular Root: ἰδού Sense: behold, see, lo. |
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| ἄνθρωπος | man |
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Parse: Noun, Nominative Masculine Singular Root: ἄνθρωπος Sense: a human being, whether male or female. |
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Greek Commentary for John 19:5
Present active participle of πορεω phoreō an early frequentative of περω pherō denoting a continual wearing, though not true here (only temporary). Jesus bore the mockery with kingly dignity as part of the shame of the Cross (Hebrews 12:2). Behold, the man Ecce Homo! by Pilate. This exclamatory introduction of Jesus in mock coronation robes to the mob was clearly intended to excite pity and to show how absurd the charge of the Sanhedrin was that such a pitiable figure should be guilty of treason. Pilate failed utterly in this effort and did not dream that he was calling attention to the greatest figure of history, the Man of the ages. [source]
From the Praetorium. [source]
Not φέρων , bearing, but the frequentative form of that verb, denoting an habitual or continuous bearing; hence, wearing, as though it were His natural dress. [source]
Reverse Greek Commentary Search for John 19:5
An adjective. Found only here, John 19:5, and Revelation 18:16. Mark uses the noun πορφύρα , purple, which also occurs in Revelation 17:4; Revelation 18:12. See on Luke 16:19. Matthew has κοκκίνην , scarlet. [source]
So Matthew. Mark has ἀκάνθινον , the adjective, made of thorns, which John also uses in John 19:5. All attempts to define the botanical character of the thorns used for Christ's crown are guesses. The word for thorns used here is the only one that occurs in the New Testament; the σκόλοψ (thorn in the flesh) of 2 Corinthians 12:7, being properly an impaling-stake. Both the crowning with thorns and the flagellation are favorite subjects in Christian art. Some of the earliest representations of the latter depict the figure of the Lord as fully draped, and standing unbound at the column, thus illustrating the voluntariness of His sacrifice. In a MS. of the fourteenth century, in the British Museum, He stands, wholly clothed, holding a book in one hand, and blessing with the other. The more devout feeling which predominated in such representations was gradually overpowered by the sense of physical suffering. The earlier paintings represented the back turned toward the spectator, and the face, turned in a forced attitude, exhibited in profile. Later, the face and figure are turned full to the front, and the strokes fall upon the chest. Hence Jerome, in his commentary on Matthew, says that the capacious chest of God (was torn with strokes. The standing position is the accepted one, but instances occur in which the Savior is on the ground attached to the column by one hand. Such is the revolting picture by L. Caracci in the Bologna gallery, in which the soldier clutches Jesus by the hair as he plies the bundle of twigs. In a Psalter of the fifteenth century the Savior stands in front of the column, covering His face with His hands. -DIVIDER- -DIVIDER- According to the later type, the moment chosen is when the execution of the sentence is just beginning. One man is binding the hands to the pillar, another is binding together a bundle of loose switches. The German representations are coarser than the Italian, but with more incident. They lack the spiritual feeling which appears in the best Italian specimens. -DIVIDER- -DIVIDER- A field for a higher feeling and for more subtle treatment is opened in the moments succeeding the scourging. One of the very finest examples of this is the picture of Velasquez, “Christ at the Column,” in the National Gallery of London. The real grandeur and pathos of the conception assert themselves above certain prosaic and realistic details. The Savior sits upon the ground, His arms extended, and leaning backward to the full stretch of the cord which binds His crossed hands. The face is turned over the left shoulder full upon the spectator. Rods, ropes, and broken twigs lie upon the ground, and slender streams of blood appear upon the body. A guardian angel behind the figure of the Lord, stands bending slightly over a child kneeling with clasped hands, and points to the sufferer, from whose head a ray of light passes to the child's heart. The angel is a Spanish nursery-maid with wings, and the face of the child is of the lower Spanish type, and is in striking contrast with the exquisite countenance of Murillo's Christ-child, which hangs next to this picture, and which is of the sweetest type of Andalusian beauty. The Savior's face is of a thoroughly manly, indeed, of a robust type, expressing intense suffering, but without contortion. The large, dark eyes are ineffably sad. The strong light on the right arm merges into the deep shadow of the bound hands, and the same shadow falls with startling effect across the full light on the left arm, marked at the wrist by a slight bloody line. -DIVIDER- -DIVIDER- In the portrayal of the crowning with thorns, in a few instances, the moment is chosen after the crown has been placed, the action being in the mock-worship; but the prevailing conception is that of the act of crowning, which consists in pressing the crown upon the brow by means of two long staves. A magnificent specimen is Luini's fresco in the Ambrosian Library at Milan. Christ sits upon a tribune, clad in a scarlet robe, His face wearing an expression of infinite sweetness and dignity, while a soldier on either side crowds down the crown with a staff. The Italian artists represent the crown as consisting of pliable twigs with small thorns; but the northern artists “have conceived,” to quote Mrs. Jameson, “an awful structure of the most unbending, knotted boughs, with tremendous spikes half a foot long, which no human hands could have forced into such a form.” In a few later instances the staves are omitted, and the crown is placed on the head by the mailed hand of a soldier. [source]
Rare verb, once in Aristotle and in a late Christian inscription, and 1 Corinthians 7:9 and here, from εγκρατης egkratēs common adjective for one who controls himself. The athlete then and now has to control himself (direct middle) in all things (accusative of general reference). This is stated by Paul as an athletic axiom. Training for ten months was required under the direction of trained judges. Abstinence from wine was required and a rigid diet and regimen of habits.A corruptible crown (πταρτον στεπανον phtharton stephanon). Στεπανος Stephanos (crown) is from στεπω stephō to put around the head, like the Latin corona, wreath or garland, badge of victory in the games. In the Isthmian games it was of pine leaves, earlier of parsley, in the Olympian games of the wild olive. “Yet these were the most coveted honours in the whole Greek world” (Findlay). For the crown of thorns on Christ‘s head see note on Matthew 27:29; Mark 15:17; John 19:2; and John 19:5. Διαδημα Diadēma (diadem) was for kings (Revelation 12:3). Favourite metaphor in the N.T., the crown of righteousness (2 Timothy 4:8), the crown of life (James 1:12), the crown of glory (1 Peter 5:4), the crown of rejoicing (1 Thessalonians 2:9), description of the Philippians (Philemon 4:1). Note contrast between πταρτον phtharton (verbal adjective from πτειρω phtheirō to corrupt) like the garland of pine leaves, wild olive, or laurel, and απταρτον aphtharton (same form with α a privative) like the crown of victory offered the Christian, the amaranthine (unfading rose) crown of glory (1 Peter 5:4). [source]
Στεπανος Stephanos (crown) is from στεπω stephō to put around the head, like the Latin corona, wreath or garland, badge of victory in the games. In the Isthmian games it was of pine leaves, earlier of parsley, in the Olympian games of the wild olive. “Yet these were the most coveted honours in the whole Greek world” (Findlay). For the crown of thorns on Christ‘s head see note on Matthew 27:29; Mark 15:17; John 19:2; and John 19:5. Διαδημα Diadēma (diadem) was for kings (Revelation 12:3). Favourite metaphor in the N.T., the crown of righteousness (2 Timothy 4:8), the crown of life (James 1:12), the crown of glory (1 Peter 5:4), the crown of rejoicing (1 Thessalonians 2:9), description of the Philippians (Philemon 4:1). Note contrast between πταρτον phtharton (verbal adjective from πτειρω phtheirō to corrupt) like the garland of pine leaves, wild olive, or laurel, and απταρτον aphtharton (same form with α a privative) like the crown of victory offered the Christian, the amaranthine (unfading rose) crown of glory (1 Peter 5:4). [source]
Accusative retained after this passive verb of clothing, as so often. Πορπυρους Porphurous is old adjective for purple (from πορπυρα porphura), in N.T. only here and John 19:2, John 19:5. See preceding verse for κοκκινος kokkinos Perfect passive participle of χρυσοω chrusoō old verb, to gild, to adorn with gold, here alone in N.T.With gold and precious stone and pearls (χρυσιωι και λιτωι τιμιωι και μαργαριταις chrusiōi kai lithōi timiōi kai margaritais). Instrumental case. Χρυσιωι Chrusiōi is cognate with the participle. Λιτωι τιμιωι Lithōi timiōi is collective (Revelation 18:12, Revelation 18:16; Revelation 21:19). There is a ζευγμα zeugma also with μαργαριταις margaritais (Revelation 18:12, Revelation 18:16; Revelation 21:21), for which word see Matthew 7:6. Probably John is thinking of the finery of the temple prostitutes in Asia Minor.Full of abominations Agreeing with ποτηριον potērion “cup” (neuter singular accusative). Some MSS. read γεμων gemōn (nominative masculine like εχων echōn in Revelation 17:3, quite irregular). For βδελυγματων bdelugmatōn (genitive after γεμον gemon) see Matthew 24:15; (Mark 13:14), common in the lxx for idol worship and its defilements (from βδελυσσω bdelussō to render foul), both ceremonial and moral. See Jeremiah 15:7.Even the unclean things of her fornication (και τα ακαταρτα της πορνειας αυτης kai ta akatharta tēs porneias autēs). Either the accusative after γεμον gemon as in Revelation 17:3 (and full of the unclean things of her fornication) or the object of εχουσα echousa like ποτηριον potērion f0). [source]