Christ is the Parade 117 analyze the order of the parade, challenging the common opinion of commentators that Paul understood the apostles/angels to be the captives (22). The following is a sketch of the historical arrangement of a Roman Triumphus: at the head of this ostentatious pageant came the magistrates and the senate, who were followed by trumpeters and some spoils of war. Then came the flute players, ahead of white oxen to be sacrificed in the temples, along with some representative captives from the conquered territory, including such dignitaries as the king, driven in chains in front of the ornate chariot of the general, the ‘triumphator’ (the one honored by the triumph), who wore the garb of Jupiter and carried a scepter in his left hand. A slave held a crown over his head whispering into his ear “memento te hominem” (“Remember you are human”). The victorious army followed, shouting “Io, triumphe!” (“Hail, triumphant one!”). As the procession ascended the Capitoline Hill, some of the leading captives (usually royal figures or the tallest and strongest of the conquered warriors) were taken aside into the nearby prison and executed. Sacrifices were offered upon arrival at the temple of Jupiter Capitolinus. Twofold was the purpose of a triumph: to thank the gods who had guaranteed the victory and to glorify the valor of the triumphator (23). Based on the findings above, we propose the following identification of the objects of triumph in such a traditional parade: the apostles would take the place of senators and magistrates preceding the general, that is, Christ, while the angels follow Him in metaphorical association with the army in marching order. Paul’s modified appropriation of the image, however, implies that both groups are integrated in Christ. The entire parade consists “in Christ” (24). This assumes a deeper meaning when contemplated in the light of Paul’s theology about the Church as Christ’s Body, propounded in Col 1,18. Also, the context of fragrance in 2 Cor 2,14-16 (25) urges the reader to understand the metaphor positively: the ministers and angels triumph with —————— (1990) 257-271; S. HAFEMANN, Suffering and the Spirit. An Exegetical Study of II Cor 2:14–3:3 within the Context of the Corinthian Correspondence (WUNT II/19, Tübingen 1986); P. MARSHALL, “A Metaphor of Social Shame: thriambeuein in 2Cor 2:14”, NT 25 (1983) 302-317. (23) Cf. HARRIS, Corinthians, 240; see also Webster’s New International Dictionary of the English Language (Springfield 21944) 2718; The Oxford English Dictionary (Oxford 1933) XI, 386; The Oxford Latin Dictionary (Oxford 1982) 1979; New Catholic Encyclopedia (Farmington Hills 2003) XIV, 209. (24) St. Paul’s Epistles to the Corinthians, NaBi, 177 also underline the union that exists between the subject and the objects of the parade: “God passes through the world in triumph by means of the Gospel, associating the Apostles with his progress”. (25) No less than four times in three verses: v. 14 th;n ojsmh;n th'" gnwvsew" aujtou' fanerounti di∆ hJmw'n ejn panti; tovpw/:; v. 15 Cristou' eujwdiva ejsme;n tw/' qew'; and v. 16 oi|" me;n ' ojsmh; ejk qanavtou eij" qavnaton, oi|" de; ojsmh; ejk zwh'" eij" zwhvn. (26) Hereby we fundamentally disagree with HARRIS, Corinthians, 247, who identifies them as captives. Harris mirrors the opinion of the vast majority of scholars: “In a similar way, Col 2:15 says that God first disarmed (ajpekdusavmeno") the powers and authorities and then boldly displayed them in public (ejdeigmavtisen ejn parrhsiva/) by leading them, as already defeated enemies, in triumphal procession through Christ (qriambeuvsa" aujtou;" ejn aujtw). They were driven, as it were, before the victor’s chariot as silent testimony to the /' superior might of their conqueror. [...] they are involuntary, sullen captives and silent witnesses to the commander’s conquest”.