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2 For we all stumble in many [ways]. If anyone does not stumble in word, he is a mature man, able also to bridle the whole body.
2 For we all offend in many ways. If anyone does not offend in word, he is a perfect man. And he is then able, as if with a bridle, to lead the whole body around.
2 For in many things we all stumble. Anyone who does not offend in word, this one is a perfect man, and able also to subdue his whole body.
2b perfect man Theme of Completion and Wholeness James again picks up the theme of wholeness and perfection, first discussed at Jas 1:4, "that you may be complete and whole, lacking in nothing" (cf. →James: Perfection / Wholeness in James).
The Greek teleios echoes Jesus' teaching ("Be perfect just as your heavenly Father is perfect" (Mt 5:48), just as it ties in with the Stoic doctrine that the person who has all the virtues is perfect and complete. Here James refers specfically to the teacher as the "complete man" (Ancient Texts 1:4a; Ancient Texts 1:4b; Biblical Intertextuality 1:4b; Peritestamental Literature 1:4a).
2b in word Internal and External Logos The Stoics distinguished between an internal logos (endiathetos logos) and a "spoken" or "uttered" logos (prophorikos logos) (→SVF 2.43). Here James seems to have in mind the latter, while Jas 1:18,21 likely refers to the former; cf. → 71. See also this distinction in Migr.Jas 3:11 (Peritestamental Literature 3:11).
1–12 An Ethics of Language The connection of this pericope with Jas 2:14–26 is not obvious. In general, however, it sustains James' concern with proper speech (→Speech in James). The specific concern of Jas 2:14–26 was the consistency between speech (confession of faith) and action. The major point of Jas 3:1–12 is clear enough: James exhorts his readers to control their tongues.
Among the most notable individual passages:
2a in many [ways] Adverbial Use of the Adjective The plural adjective polla may thus nuance the verb "to stumble":
Since James immediately refers to going astray in the specific aspect of speech, the latter translation makes better sense.
2a stumble Metaphor for Sinning The Greek ptaiô, literally meaning "to stumble," is also used at Jas 2:10. The literal sense of stumbling was expanded to making a mistake, suffering a misfortune, or sinning. In this way, it would also resonate with the Greek hamartanô, which literally means to miss a target, but is figuratively used to denote sinning (Ancient Texts 3:2a; Biblical Intertextuality 3:2a; Peritestamental Literature 3:2a).
2b does not stumble in word Irony? Interpreters disagree on whether this statement is to be taken at face value as an actual possibility, or whether James means it ironically or hyperbolically, in the sense, "If someone would be able to not go astray in speaking [though this is impossible]..."
Given the centrality of the theme of wholeness (perfection) in James, however, one should take James' word at face value. James clearly thinks it possible to be a "perfect man": "so that you may be complete (perfect) and whole, lacking in nothing" (Jas 1:4). But "pefect" here does not mean flawless but complete, perfected, fully matured. For the Stoics, the "complete" man is able to control his passions. Nonetheless, Jesus' teaching in Mt 5:48—"be perfect as your heavenly Father is perfect"—is undoubedtly at work here. Cf. Ancient Texts 1:4a; Ancient Texts 1:4b; Peritestamental Literature 1:4a; Biblical Intertextuality 1:4a.
2b word Semantic Range of Logos Literally meaning “word,” logos has a rich range of meaning (→James: Philosophical background of logos).
In this context, the most natural referent is speech, since a discourse concerning the ability to control one’s tongue immediately follows this verse (Jas 3:2–5). Since James is discussing teachers, logos could also be translated as "teaching" in the sense of the content of one's teaching; cf. Lk 10:39: "[Mary] sat beside the Lord at his feet listening to him speak" (lit.: "listening to his logos"). → ad loc. takes it in this sense: Tract. Iac.doctrina recte fidei (col. 75).
2a stumble Metaphor for Sinning In the scriptural tradition, the metaphorical sense of ptaiô as sinning is attested, but not common (Literary Devices 3:2a):
1–4 bridle his entire body also Reason Controls the Passions Some commentators understood James to refer to the Greek philosophical principle that reason (logos) must control the passions of the body:
2:14–3:2a Divisio Textus
See also →James: Medieval Divisio Textus.
2c body Connotations of "Body"
→ ad loc. lists other options: James uses "body" to mean an aggregate group, hence "body of sins" or "body of passions" (20:79). Comm.
2f bridle his entire body also Long-drawn Metaphor of Bridling a Horse Jame again uses the Greek chalinagôgeô, meaning literally "to bridle a horse," first used at Jas 1:26; the word here sets up the image of bridling a horse in 3:3. James here draws on an extensive classical literary and philosophical background (Literary Devices 1:26; Ancient Texts 1:26b).
References to riders controlling horses and pilots controlling ships are common in Greco-Roman philosophical and moral texts as illustrations of the principle that right reason should control unruly forces, such as the passions.
2a we all stumble Universal Fallibility
The most common classical meaning of this word is literally to stumble against something → 31.11.5, citing a proverb warning against stumbling twice against the same stone) or, metaphorically, to err ( Hist.→ 160d: to stumble in one's mind). Theaet.
This idea of univeral sinfulness is commonplace in Hellenistic moral discourse:
2a we all stumble Universal Sinfulness
2b perfect man Completion and Wholeness (Perfection) In ancient Greek and Hellenistic Jewish philosophy, the "complete man" possesses all the virtues; the "complete man" and the "wise man" are closely connected (cf. Ancient Texts 1:4a; Ancient Texts 1:4b; Peritestamental Literature 1:4a; Ancient Texts 3:2b).
2a we all stumble Universal Sinfulness
This passage was a common proof-text to demonstrate that all humans sin, including baptized Christians.
Several authors conclude that James refers to venial or light sins.
Many commentators connect these lighter sins specifically with the sins of speech that James turns to in Jas 3:3–12.
An awareness of universal sinfulness serves a moral purpose, writes →: it can be the basis for a profound humility, and sharpen one's resove to commit few sins (20: 137). Comm.
2b–12 Divisio Textus
See also →James: Medieval Divisio Textus .
2b does not stumble in word How Can One Avoid Sinning in One's Speaking?
The interpretive tradition often specifies ways in which one might possibly stumble in one's speech:
2a we all stumble Universality of Sin This text was cited as a proof-text against the Pelagian position that Christians no longer needed to pray for the forgiveness of their own sins:
Later teaching continues to see it as a proof-text for universal sin, including post-baptismal sin:
See above Christian Tradition 3:2a.
1:1–5:20 James Depictions of the Author Depictions of James, the author of the epistle, in paintings, statues, manuscript illustrations, engravings, woodcuts, and embroidery on liturgical vestments are particularly prominent in the Middle Ages. A common consensus of the artists is that the author of the epistle is James the Just, leader of the Jerusalem church; he is typically further identified with James, son of Alphaeus, one of Jesus' Twelve (Mk 3:18), and "James the Less" (Mk 15:40). The iconography of James draws particularly on accounts of James recorded in → 23 and Hist. eccl.→ 2, who in turn draw on accounts from Clement of Alexandria and Hegesipus. See also Vir. ill.→James: Introduction.
Several prominent features of these portrayals may be noted:
The following images are noteworthy:
James holds a club.
James, who resembles his brother Jesus, is second from his left. This full-scale copy was the main source for the— unfortunate—twenty-year restoration of the original (1978–1998). It includes several lost details such as Christ's feet, the transparent glass decanters on the table, and the floral motifs of the tapestries that decorate the room's interior. It was first mentioned in 1626 by the author Bartolomeo Sanese as hanging in the Certosa di Pavia, a monastery near Pavia, Italy, but it is unlikely that it was intended for this location. At some point, the upper third of the picture was cut off, and the width was reduced. Giampietrino is thought to have worked closely with Leonardo when he was in Milan. A very fine, full-size copy of this painting, before it was cut down, is installed at Tongerlo Abbey in Westerlo, near Antwerp, Belgium.
The side and central panels describe a a great hall with blue grey walls and three-colored tiles. In the side panels are depicted the half sisters of Virgin Mary, called after their fathers Mary Cleophas (left) and Mary Salome (right) together with their husbands.
Left panel: St. Mary Cleophas and Alphaeus (with the features of Friedrich the Wise with their two sons, the Apostles St. James the Less (at her breast) and Joseph Justus, called St. Barnabas, as annunciator of the Gospel of Matthew depicted with a book.
Central panel: Joseph, who seems to seems to sleep, the Virgin, dressed in blue with yellow lining, Anna and the Christ Child on her knee, who is stretching out his hand towards an apple given to him by Virgin Mary. Anna's three husbands following → are shown in the background in the matroneum: on the left Joachim, who is attracted by the holy women in front of him and whose relation is also shown by the corresponding blue and yellow color of his dress, Cleophas (with the physiognomy and chain of Emperor Maximilian I and Salomas, with the physiognomy of Sixtus Oelhafen von Schöllenbach, secretary of Friedrich III, Maximilian I and Karl V), who are talking to each other. There is an architectural structure by a great stone bench in the foreground of the central panel with two marble columns on the sides, over which is strectched a cloth of gold. On the right column is a tablet with date and signature: [LVCAS CHRONVS FACIEBAT ANNO 1509. The parapet of the matroneum is decorated by a sculptured frieze with dancing putti holding six escutcheons with the six fields of Electorate of Saxony. In the hall are shown the 17 members of the Holy Kinship. In the central panel are shown two more children of Mary Cleophas and Alpheus, the Apostles Simon, patron saint of weavers, dyers, tanners and saddlers and Jude, who went on mission and suffered their martyrdom together and therefore are regularly depicted together. Leg. aur.
Right panel: St. Mary Salome and Zebedee (with the features of Frederick III, Elector of Saxony, and his brother Herzog Johann der Beständige). St. Mary Salome, dressed in gold with dark red lining, is combing her son Saint James the Greater and while Saint John the Evangelist is hiding in her dress.
James is shown holding a Bible, symbolizing his status as a scriptural writer, in one hand. James is depicted in the Mannerist style with elongated form and without any of the traditional iconographic symbols
The risen Jesus appears to James and breaks bread with him (based on an account recorded in → 2, said to be drawn from the Gospel according to the Hebrews). Vir. ill.
James holds a book and club.
James, resembling Jesus, prayers on his knees with outstretched arms. It perhaps reflects Hegesippus' statement that James spent so much time in prayer that his knees were as hard as a camel's.
The inscription bearing the name of the saint has disappeared, but the iconography—facial features and beard shape —suggest that the icon is of James. Byzantine art places him among the founding fathers of the Church. As the creator of the first liturgy containing memorial services and the author of the message, which speaks of the healing power of prayer (Jas 5:14-16), he was also worshipped in ancient times as a healer. In Novgorod, James is prayed for the end of the epidemics. In sacred iconography, the representations of James of Jerusalem alone are very rare. We know the icons of Novgorod in which he is represented with other saints: Nicholas the Thaumaturgist, James the brother of God, Ignatius the bearer of God, end of the 15th c.; James the brother of God, Cosmas and Damian, 2nd quarter of the 16th c. The icon comes from the best workshops in Moscow or Novgorod.
2b perfect man The Meaning of "Perfect" Commentators try to clarify what James means by "perfect," especially since James has just insisted that all people stumble in many ways.
2a we all stumble Universal Sinfulness The sinfulness of all humans is a common topos in Scripture:
See Ancient Texts 3:2a.
2b stumble in word Controlling One’s Tongue The biblical wisdom tradition warns of the need to control one's tongue (Biblical Intertextuality 1:19c; Biblical Intertextuality 1:19bc; Biblical Intertextuality 1:26).