¹ tn Grk “But.” The temporal notion (“for now”) is implied in the epistolary aorist (“I have considered”), for Epaphroditus was dispatched with this letter to the Philippians.

¹ sn The antecedent of the pronoun This is conceptual, most likely referring to the Philippian Christians standing firm for the gospel. Thus, their stand for the gospel is the dual sign of their opponents’ destruction and of their own salvation.

² tn Several alternatives for translating vv. 3-5 are possible: (1) “I thank my God every time I remember you, yes, always in my every prayer for all of you. I pray with joy because of your participation…” (see NAB; also M. Silva, Philippians [BECNT], 43-44; G. D. Fee, Philippians [NICNT], 76-80); (2) “I thank my God because of your every remembrance of me. Always in my every prayer for all of you I pray with joy. [I am grateful] for your participation…” (see Moffatt; also P. T. O’Brien, Philippians [NIGTC], 58-61). Option (1) is quite similar to the translation above, but sees v. 4a as more or less parenthetical. Option (2) is significantly different in that Paul thanks God because the Philippians remember him rather than when he remembers them.

² sn The reason why Paul refers to Epaphroditus as his brother, coworker, fellow soldier, etc., is because he wants to build up Epaphroditus in the eyes of the Philippians, since Paul is sending him back instead of Timothy. This accent on Epaphroditus’ character and service is implied in the translation “For he is…”

¹ sn Conduct yourselves (Grk “live your lives as citizens”). The Philippians lived in a free Roman city, and thus understood from their own experience what it meant to live as citizens. Paul is here picking up on that motif and elevating it to the citizenship of heaven. Cf. 3:20 (our citizenship is in heaven).

¹ sn Your participation (Grk “fellowship”) could refer to Paul rejoicing because of the Philippian converts’ “fellowship” in the gospel along with him, but it is more likely that this refers to their active “participation” with him in the gospel by means of the financial support they sent to Paul on more than one occasion, discussed later in this letter (4:10-19, esp. 4:15-16).

¹ sn The phrase Through Silvanus means either that Silvanus was the secretary (amanuensis) who assisted Peter in writing or composing the letter (cf. Rom 16:22) or that he carried the letter to the churches. The latter sense is more likely since this is the meaning of the Greek wording when it is used elsewhere (cf. Acts 15:23; Ignatius, Letter to the Romans 10:1; Letter to the Philadelphians 11:2; Letter to the Smyrnaeans 12:1; Polycarp, Letter to the Philippians 14), though it is perhaps possible that both ideas could be incorporated by this expression. For a detailed argument regarding this issue, see E. R. Richards, “Silvanus Was Not Peter’s Secretary: Theological Bias in Interpreting διὰ Σιλουανοῦ…ἔγραψα,” JETS 43 (September 2000): 417-32.

¹ tn Grk “with fear and trembling.” The Greek words φόβος and τρόμος both imply fear in a negative sense (L&N 25.251 and 16.6 respectively) while the former can also refer to respect and awe for deity (L&N 53.59). Paul’s use of the terms in other contexts refers to “awe and reverence in the presence of God” (P. T. O’Brien, Philippians [NIGTC], 284; see discussion on 282-84). The translation “awe and reverence” was chosen to portray the attitude the believer should have toward God as they consider their behavior in light of God working through Jesus Christ (2:6-11) and in the believer’s life (2:13) to accomplish their salvation.

⁴ sn Many scholars regard Rom 4:25 to be poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage.

³ tc Many significant mss, as well as several others (P²⁶ א A G Ψ 33 1739 1881 M), have a reversed order of these words and read “Jesus Christ” rather than “Christ Jesus” (P¹⁰ B 81 pc). The meaning is not affected in either case, but the reading “Christ Jesus” is preferred as slightly more difficult and thus more likely autographic (a scribe who found it would be prone to change it to the more common expression). At the same time, Paul is fond of the order “Christ Jesus,” especially in certain letters such as Romans, Galatians, and Philippians. As well, the later Pauline letters almost uniformly use this order in the salutations. A decision is difficult, but “Christ Jesus” is slightly preferred.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

² sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

³ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

³ sn Which. The antecedent (i.e., the word or concept to which this clause refers back) may be either “what I am suffering for you” or the larger concept of the recipients not losing heart over Paul’s suffering for them. The relative pronoun “which” is attracted to the predicate nominative “glory” in its gender and number (feminine singular), making the antecedent ambiguous. Paul’s suffering for them could be viewed as their glory (cf. Col 1:24 for a parallel) in that his suffering has brought about their salvation, but if so his suffering must be viewed as more than his present imprisonment in Rome; it would be a general description of his ministry overall (cf. 2 Cor 11:23-27). The other option is that the author is implicitly arguing that the believers have continued to have courage in the midst of his trials (as not to lose heart suggests) and that this is their glory. Philippians 1:27-28 offers an interesting parallel: The believers’ courage in the face of adversity is a sign of their salvation.

² sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.