The Bible in Its Traditions

James 3:3–4

Byz S TR
Nes S
V

Consider that we put bits in horses' mouths that they may obey us, and we guide their whole body.

Now if we put the horses` bridles into their mouths that they may obey us, we turn about their whole body also.

For so we put bridles into the mouths of horses, in order to submit them to our will, and so we turn their whole body around.

Byz V
Nes
S TR

Consider also the ships: although they are so large and are driven by fierce winds, they are guided by a very small rudder wherever the impulse of the pilot desires.

Behold, the ships also, though they are so great and are driven by rough winds, are yet turned about by a very small rudder, whither the impulse of the steersman willeth.

Behold also the ships, great as they are, when driven by severe winds, they are turned about with a very small rudder, wherever the pilot wishes.

Text

Literary Devices

4f,5:4,7,9,11 Look Call for Attention James uses the verb idou (V = ecce) several times throughout the work to call special attention to what follows.

Suggestions for Reading

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.  

Artistry: Coinage of a "Classic"

Structure
  • In contrast with other parts of James that are a collection of materials that have no clear relationship, Jas 3:1–12 is a coherent composition that features substantial rhetorical design (Literary Devices 3:1–12).
Rhetorics
Philosophy

Reception

Among the most notable individual passages:

Literary Devices

4a driven by fierce winds Image from Greco-Roman Moral Tradition: Chaotic Storms James again employs the image of fierce winds at sea first used at Jas 1:6 to evoke the inner state of a man with conflicting thoughts. Here too James alludes to a Greco-Roman moral tradition, appropriated by Hellenistic Judaism, in which the passions are symbolized as fierce storms on the sea (e.g., 4 Macc. 7:1–3). See also Ancient Texts 3:4b; Peritestamental Literature 3:3-4.

Textual Criticism

3a See : Byz S TR | V Nes: For if

  • Some minuscules read ide ("see").
  • The first hand of א , A, and B read ei de, ("and if" or "but if").
  • א also adds "for" (gar), the reading accepted by Nes; also V reads autem.

Ide is more in keeping with James' regular style, although it may be due to iotacism, as eide would have been pronounced the same as ide. The mss. evidence favors ei de. See below Comparison of Versions 3:3a.

Reception

Comparison of Versions

3a See Following some miniscules, part of the Byz tradition reads ide ("see"). The TR reads idou: "behold!" V (si autem) follows the first hand of א in reading ei de ("and if" or "but if"). See above Textual Criticism 3:3a.

Christian Tradition

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:

  • Ps.-Andreas Catena ad Jas 3:3–4 "If we drive back the high spirit (thrasos) of a horse with a bridle, and change the rushing course (hormê) of a ship with a small rudder, how much more should we guide the tongue by right reason (orthos logos) to what is good" (Cramer 1844, 8:19–20). Ps.-Oecumenius Comm. Ep. Cath. ad loc. repeats this interpretation (col. 484).
  • Ps.-Andrew of Crete Bios 7: James placed a restraint on the tongue and taught that one should both remain silent and speak according to reason (kata logon; Noret 1978, 52). See also Literary Devices 1:26.

Text

Literary Devices

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. 

God's Rule of the Universe

  • Ps.-Aristotle Mund. 6 [400B] "as the helmsman (kubernêtês) in the ship, as the charioteer in his chariot, as the leader in a chorus, as the lawgiver in a city, as the commander in a military camp, so is God in the Universe" (theos en kosmôᵢ; Forster 1955, 402–3). Dio Chrysostom Borsyth. 50 = Or. 36.50) also compares the governor of the world with a charioteer ; see also Lucian of Samosata Iupp. Trag. 50. 

Application to Speech

Context

Ancient Texts

4b wherever the impulse of the steersman wishes Use of Stoic Terminology?

Impulse

  • "Impulse" (Greek: hormê) can refer to any rapid motion, or an effort or strong desire. It is a standard term used in the Stoic analysis of human action; the "movement (phora) of the soul towards something" (Stobaeus Anth. 2.86.17; →SVF 3:169; Long and Sedley 1987, 1:317).
  • According to Plutarch Stoic. rep. 1037F, Chryssipus understood one's hormê to be his own logos commanding him to do something (logos prostatikos autôᵢ tou poiein; Cherniss 1976, 450). James seems to use it in a Stoic sense here. 

Wishes

Wishing (Greek: boulomai) is often connected in Stoic and other Greek philosophical discourse with a deliberate rational choice, as contrasted with a descision based on passions:

  • Philo Leg. 3.223 "When the charioteer is in command and guides the horses with the reins, the chariot goes the way he wishes" (bouletai; Colson 1929, 452–53).

See also Ancient Texts 1:18a.

Peritestamental Literature

3f horses + Ships: Hellenistic Judaism’s Appropriation of Images of Greco-Roman Moral Discourse Like James, Hellenistic Judaism appropriated images taken from Greco-Roman moral discourse, often using the images of the chariot driver and the ship's helmsman. See Ancient Texts 3:4b.

Human Rule over the Rest of Creation

  • Philo Opif. 88  "And so the Creator made man after all things, as a sort of driver (hêniochos) and pilot (kubernêtês), to drive and steer the things on earth, and charged him with the care of animals and plants, like a governor (huparchos) subordinate to the chief and great King" (Colson 1929, 73). 

Human Reason Controls the Passions

  • Philo Leg. 3.223-24: Mind (nous) should rule over sense-perception; images of the chariot driver and ship's pilot illustrate. See also Philo Det. 53; Philo Agr. 67–77.

  • Philo Migr. 67: The rational part of the soul must govern the irrational parts; analogy of the charioteer.
  • 4 Macc. 7:1ff applies the pilot image to reason's control of the passions: "Like an outstanding pilot (kubernêtês), indeed, the reason (logismos) of our father Eleazar, steering (pêdalioucheô) the vessel of piety on the sea of passions (pathôn), though buffetted by the threats of the tyrant and swamped by the swelling waves of torture, in no way swerved the rudder of piety until he sailed into the haven of deathless victory." 

God's Providence Directs the Created World

  • Philo Conf. 115: The steering of ships and chariots is compared with God's providential rule over the created world.

See also Literary Devices 1:26; Peritestamental Literature 1:26b.

Reception

Liturgies

1–12 Use in Lectionary RCL : Proper 19, Year B.

1–10 Use in Lectionary

  • RML: Saturday, Week 6, Year 2.
  • BL : Tuesday, 32nd Week after Pentecost.

Christian Tradition

2b–12 Divisio Textus

  •  Ps.-Andreas Catena groups verses Jas 3:2b–12 under the heading, "That the rash and undisciplined (propetês kai ataktos) tongue brings death to its possessor. It is necessary to master it for the honor (euphêmia) and glory of God" (Cramer 1844, 8:19).

See also →James: Medieval Divisio Textus .

3f horses’ mouths ...ships: Various Interpretations of James’ Analogies

Moral Application

  • Gloss. Ord. ad 3:3: The interlinear gloss reads, "we put bits of continence (continentia) into our mouths so that we are obedient to our creator" (col. 1286).

Allegorical Interpretations

  • Bede Ep. cath. ad 3:4  reads James' illustration as an allegory: "The large ships on the sea are the minds (mentes) of men, whether good or bad, in this life; the strong winds by which they are threatened are the very appetites (appetitus) of the minds by which they are naturally driven to do something as a result of which they may reach a good or bad end; the rudder by which the ships of this world are brought around where the inclination of the helmsmen wishes is the very intention (intentio) of the heart by which the elect, after having passed through the waves of this world, arrive at the happy harbor of the heavenly fatherland" (Hurst 1985, 37–38; Hurst 1983, 204).
  • Lapide Comm. ad 3:3, interpreted in the mystical sense (mystice), the horse stands for the human body; the rider is Christ who bridles and directs the body by his grace (20:139–40).

Visual Arts

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 Eusebius of Cesarea Hist. eccl. 23 and Jerome Vir. ill. 2, who in turn draw on accounts from Clement of Alexandria and Hegesipus. See also →James: Introduction

Several prominent features of these portrayals may be noted:

  • Following the tradition that he was the first bishop of Jerusalem, James is often portrayed anachronistically in bishop's vestments.
  • James is often portrayed holding a fuller's club, alluding to the tradition that James was beaten to death with a such a club. Variations show him holding different types of clubs. Another related tradition shows James holding a bow such as one used by hat-makers of the Middle Ages.
  • James bears a striking physical resemblance to his brother Jesus.
  • One artistic tradition, based on accounts found in the preface to the Gloss. Ord. and de Voragine Leg. aur., portrays the infant James as part of a large extended family. According to this legend, St. Anne, mother of the Virgin Mary, had three children named Mary with three different husbands. James and his brothers Joses (Joseph), Simon, and Jude (cf. Mk 6:3) are the sons of Mary (daughter of Anne and Cleophas; cf. Jn 19:25) and Alphaeus (cf. Mk 3:18). James and his brothers are thus cousins of Jesus (son of Mary, daughter of Anne and Joachim) and of St. John the Evangelist and James the Greater (sons of Mary, daughter of Anne and Salomas).

The following images are noteworthy:

  • A painting of James in the Armenian Sts. James Cathedral, Jerusalem: James is dressed in episcopal robes, wears a miter and holds a crozier (Gowler 2014, 54).
  • Blessed James Apostle. In the Stav. Bib. (1093-97) illuminations of the apostle James are at the introduction to the Catholic epistles (f. 197 r→) and at the beginning of his epistle (f. 197 v→.). The apostle stands, holding a book.
  • Apostle James the Less, statue, south portal of Chartres Cathedral, early 13th century.

Anonymous, James Among Other Apostles (sculpture on limestone, early 13th c.),  South Portal, Chartres Cathedral, France

© D.R. Photo Mary Ann Sullivan→ 

James holds a club.

  • Leonardo da Vinci (1495-98), The Last Supper, Santa Maria delle Grazie, Milan. 

Giampietrino (1495–1549), The Last Supper (oil on canvas, ca. 1520, after Leonardo da Vinci [1452–1519], The Last Supper [1495-1498]),  298 cm x 770 cm

Royal Academy of Arts, London, exhib. Magdalen College, Oxford

Public Domain © Wikicommons→ 

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. 

  • Lucas Cranach the Elder (1509), Infant Saint James among his relations, a triptych in the Stadelsches Kunstinstitut, Frankfurt, Germany. The infant Jesus, his mother Mary, and Mary's mother St. Anne are portrayed in the center. To the right is St. Anne's other daughter Mary, her husband Zebedee, and sons John the Evangelist and James the Greater. To the left is another of St. Anne's daughters named Mary with her husband Alphaeus; their children James, Joses (Joseph), Simon, and Jude are in the left and center panels.

Lucas Cranach the Elder (1472–1553), The Holy Kinship, (mixed media on lime, Wittenberg, 1509), Altarpiece, central panel: 100.4 × 121.1 cm; wings: 40 × 120 cm

Städel Museum — 1398, Frankfurt am Main

Public Domain © Wikicommons→

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 de Voragine Leg. aur. 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.

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.

  • Paolo Veronese (Caliari) James as Bishop (1500s). Burghley House Collection, Lincolnshire, UK. The Bridgeman Art Library. James with crozier and miter, holding a book.

Paolo Veronese Cagliari (1528-1888), Saint James, (oil on canvas, ca. 1578), 200 X 85 cm, One of the volets of the organ of the church of San Jacopo, Murano, Venice — the other is a portrait of St. Augustine.

Burghley House Collection, Lincolnshire, UK, © A Graduate of Pomona→

  • Saint James the Less, painting by El Greco (c. 1612), Museo del Greco, Toledo, Spain. 

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El Greco (Domenikos Theotokópoulos) 1541-1614, The Apostle James the Greater, (Oil on canvas, 1610-1614), 100 cm X 80 cm

 Museo de El Greco→ (Toledo, Spain), © Wikicommons, 

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

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Nicolò Bambini (1651-1736), San Giacomo Minore (Oil on canvas, 1722-1723), Communion of St James (Series of the Twelve Apostles), Presbytery: right wall, center, Saint Stae,Venezia, © Chorus Venezia→ 

The risen Jesus appears to James and breaks bread with him (based on an account recorded in Jerome Vir. ill. 2, said to be drawn from the Gospel according to the Hebrews).

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Angelo de' Rossi (1671 – 1715), Jacobus Minor (Sculpture on marble, 1710-1711), Gli Apostoli, (h: 424 cm), Nef, San Giovanni in Laterano, Roma, © Wikicommons

James holds a book and club.

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James Tissot (French, 1836-1902), James the Lesser, (Opaque watercolor over graphite on gray wove paper, 1886-1894), 30.6 x 23.5 cm, Brooklyn Museum, 00.159.237, © Brooklyn Museum photograph, 2008

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.

Eastern Orthodox traditions

  • James the Just, Russian icon, 16th century. Novgorod. James is depicted in episcopal robes and holds a book.

Anonymous, James the Just, (pigments on wood, mid. 16th c.), icon, Novgorod or Moskow, Novgorod

Public Domain © Wikicommons→,

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.

  • Martyrdom of James the Just. Illustration from the Menologion of Basil II. (PG 117:6-612). Late 10th, early 11th c. AD. Vatican Library. Vat.gr. 1613. Image 131.→  

For discussion of visual depictions, see Gowler 2014, 53-62; Bedford 1911.