"let us never speak of 'divine kenosis' on the cross."

"Christ Jesus performs in his passion precisely the same performance of agapè as in the Trinity, because the Son that he is from all eternity never 'steps out' of/'leaves' [(«sort» de)] the Trinity, never alienates himself from or externalizes himself in relation to it, in accordance with the absurd (in order to go where?) and blasphemous (the Son, would he set aside [(se déferait-il de)] his [own] filiation?) doctrine of the philosophers.  The opposite is true:  Christ Jesus re-integrates the world—despite its finitude and sin—into the Trinitarian play [(jeu)]; he 'recapitulates all things' (Eph 1:10) in himself, 'to the end that God may be all in all' (1 Cor 15:28).  The Trinitarian paradox [that] the Son possesses nothing that he has not received and for this very [reason] is in principle absolutely—this [Trinitarian paradox] Christ Jesus articulates and accomplishes in the economy, from the depths of finitude and human [(notre)] sin. . . .  The 'kenosis' does not introduce the negation [(negatif)], the alienation, namely the 'death of God' into (or rather outside of) the Trinity; it renders manifest, to men trapped in the obscurity of sin and rotting in hatred of self and of all of all, the eternal play of the gift and of the abandonment in which the three [Persons] of the Trinity triumphantly rejoice [(triomphent et jubilant)].  The masterwork accomplished by Christ does not consist in the heroism of his virtues or the enormity of his suffering (for in itself neither the exemplarity of a model nor the pain of an expiation saves [(sauve qui que ce soit)]); it consists in this, that, like an inspired musician, he performs the melody and the orchestration to perfection [(la mélodie et l’orchestration les plus parfaits)] on an instrument that has now but a single remaining string (free choice), a single string rendered (by the perversity of evil) completely discordant.  With this instrument—our nature which plays always false—he plays perfectly true [(parfaitement juste)] in accordance with its true nature [(suivant sa propre nature)].  [On the] strength of this performance, he can promise us that we, too, we will come to play true (or almost), provided that we allow ourselves to be inspired by the same Spirit who unites him eternally with his Father."

     Jean-Luc Marion, "À partir de la Trinité," Revue internationale catholique Communio 40, no. 6 (novembre-décembre 2015):  33 (23-37).  And, on p. 36:

At the very least, let us never speak [(ne parlons jamais)] of 'divine kenosis' on the cross.  The Trinitarian glory is manifest in the kenosis, but the kenosis is not equivalent to it.  The kenosis must be contemplated from and in view of the Trinity.  The kenosis brings the Trinity to light [(expose)], but does not explicate [(explique)] it.  On the contrary, [the kenosis] is a question of a revelation, through the obscurity of sin, of the Trinitarian play—in which agapè goes beyond, in its gravity [(sérieux)], its travail, its patience, and its suffering, all that our poor understanding and profound resentment imagines to be the gravity of the concept.  There is infinitely more gravity in the Trinitarian joy than is found in the futility—grim to be sure, but finite—of our sin.  The Trinity is at work even in the kenosis, because the distance within [the Trinity] includes and surpasses even those [distances]—still finite—of evil, of sin, of death.  'Power (dunamis) is made perfect in weakness' (2 Cor 12:9) precisely because 'with God all things are possible (para tô theo panta dunata)' (Mk 10:27 & Lk 18:27).