菲利普斯的赞美赞美诗艺术上，诚实地，但大胆地描述了当上帝在基督里的“秘密时刻”颠倒了抛物线，当打蜡变得衰落时。它说它实际上始于伟大的自排空或脑区，我们在伯利恒呼吁伯利恒的化身，并以耶路撒冷的钉十字架结束。It brilliantly connects the two mysteries as one movement, down, down, down into the enfleshment of creation, and then into humanity’s depths and sadness, and final identification with those at the very bottom (“took the form of a slave”) on the cross. Jesus represents God’s total solidarity with, and even love of, the human situation, as if to say “nothing human is abhorrent to me.” God, if Jesus is right, has chosen to descend—in almost total counterpoint with our humanity that is always trying to climb, achieve, perform, and prove itself. He invites us to reverse the process too. This hymn says that Jesus leaves the ascent to God, in God’s way, and in God’s time. What freedom! And it happens, better than any could have expected. “And because of this, God lifted him up, and gave him the name above all other names.” We call it resurrection or ascension. Jesus is set as the human blueprint, the standard in the sky, the oh-so-hopeful pattern of divine transformation. Who would have presumed that the way up could be the way down? It is, as Paul says, “the Secret Mystery.” Trust the down, and God will take care of the up. This leaves humanity in solidarity with the life cycle, but also with one another, with no need to create success stories for itself, or to create failure stories for others. Humanity in Jesus is free to be human and soulful instead of any false climbing into “Spirit.” This was supposed to change everything, and it still will.