Lexical Summary sugkuptó: To bend together, to be bent over, to stoop. Original Word: συγκύπτω Strong's Exhaustive Concordance bow together. From sun and kupto; to stoop altogether, i.e. Be completely overcome by -- bow together. see GREEK sun see GREEK kupto NAS Exhaustive Concordance Word Originfrom sun and kuptó Definition to bend forwards, bow down NASB Translation bent double (1). Thayer's Greek Lexicon STRONGS NT 4794: συγκύπτωσυγκύπτω (T WH συνκύπτω (cf. σύν, II. at the end)); (from Herodotus down); to bend completely forward, to be bowed together (cf. σύν, II. 3): by disease, Luke 13:11. ((Job 9:27); Sir. 12:11 Sir. 19:26.) Topical Lexicon The Graphic Portrait of BondageThe lone occurrence of the verb translated “was bent over” (Luke 13:11) depicts a woman whose spine had collapsed into a permanent forward hunch. Her body language communicates more than pain; it pictures the crushing power of affliction. In Scripture a bowed frame often connotes grief or heavy oppression (Psalm 38:6; Psalm 145:14). The evangelist Luke employs the term to show that her disability was not superficial: she “could in no way straighten herself.” Human remedies were exhausted; only a direct act of God could reverse her condition. Luke’s Narrative Setting Luke, a physician, is careful with medical detail. He notes the duration—eighteen years—and places the scene in a synagogue on the Sabbath (Luke 13:10-13). By coupling a dramatic physical disorder with the holiest day of rest, the Gospel writer heightens the contrast between religious formalism and the compassion of Jesus. The woman’s stooped posture meant she would have looked at little more than the dust on the synagogue floor. Yet on that sacred day the Messiah lifted her gaze to heaven. The Conflict Over the Sabbath When Jesus healed her, the synagogue ruler protested: “There are six days for work; so come and be healed on those days, not on the Sabbath” (Luke 13:14). This reaction exposes a legalism that would keep sufferers in bondage for the sake of man-made boundaries. Jesus responded by appealing to common-sense mercy: “Does not each of you on the Sabbath untie his ox or donkey from the stall and lead it to water? Then should not this daughter of Abraham, whom Satan has bound for eighteen long years, be released from her bondage on the Sabbath?” (Luke 13:15-16). The healing, therefore, becomes a commentary on the Sabbath’s true intent—to provide rest, renewal, and freedom in fellowship with God. A Sign of Messianic Liberation Luke links the woman’s condition to demonic oppression: she had “a disabling spirit” (Luke 13:11). Her straightening is thus a visible demonstration that the kingdom of God has arrived, overthrowing the dominion of darkness (Luke 11:20-22). Prophetic Scripture had foretold that the Servant of the Lord would “proclaim liberty to the captives” (Isaiah 61:1). The synagogue audience witnessed that promise fulfilled before their eyes. The woman immediately glorified God, joining the chorus of Luke’s Gospel where the marginalized—tax collectors, lepers, the lame—publicly praise the Redeemer who restores them. Historical and Cultural Insights • Physical deformities in first-century Judaism frequently carried social stigma; many believed such conditions resulted from sin (compare John 9:2). By calling her “a daughter of Abraham,” Jesus restores not only her health but her covenant dignity. • Medical texts from the Greco-Roman world describe spinal ankylosis and severe osteoporosis, ailments that can force a person into permanent flexion. Luke’s terminology matches clinical descriptions of complete forward curvature, underlining the magnitude of the miracle. • Synagogues often featured teaching platforms enclosed by seating along the walls. A severely stooped woman would have struggled even to enter without drawing attention, making her public healing all the more striking. Theological Themes 1. Total inability and divine initiative: The woman “could in no way straighten herself,” emphasizing that salvation—from sin or Satan—comes only by grace (Ephesians 2:1-5). 2. Release from Satanic bondage: Jesus explicitly identifies the source of her affliction as Satan, illustrating His authority over spiritual powers (1 John 3:8). 3. The proper use of the Sabbath: Far from abolishing it, Christ clarifies that the day is designed for acts that display God’s restorative intent (Mark 2:27). 4. Restoration to full stature: Her immediate straightening anticipates the eschatological hope when all creation “will be liberated from its bondage to decay” (Romans 8:21). Related Biblical Imagery • Psalm 146:8: “The LORD lifts up those who are bowed down.” These parallels show that God consistently opposes whatever bends His image-bearers out of shape, whether physical, moral, or spiritual. Pastoral Application • Compassion over custom: Ministry must place human need above rigid schedules and traditions. Mercy never violates God’s law; it fulfills it. • Hope for the long-suffering: Eighteen years of pain did not exhaust the Lord’s attention. Chronic sufferers can trust that divine timing is perfect. • Spiritual posture: While the body may bend under life’s weight, faith looks up. Worship realigns the soul, even before physical relief comes. • Authority in prayer: Because Christ still releases captives, believers may confidently intercede for those oppressed by illness or demonic influence, anticipating that He “is the same yesterday and today and forever” (Hebrews 13:8). Conclusion The solitary New Testament use of this vivid verb freezes a moment when the Messiah straightened what Satan had bent. The bowed woman becomes a living parable of redemption: from dust to dignity, from oppression to praise. Her account assures every generation that the risen Christ still speaks deliverance, enabling the crippled to stand tall and glorify God. Forms and Transliterations συγκύπτουσα συγκυρούντα συγκυρούσαις συγκύψας συνκυπτουσα συνκύπτουσα sunkuptousa synkyptousa syn'kýptousaLinks Interlinear Greek • Interlinear Hebrew • Strong's Numbers • Englishman's Greek Concordance • Englishman's Hebrew Concordance • Parallel Texts |
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