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3 Consider that we put bits in horses' mouths that they may obey us, and we guide their whole body.
3 Now if we put the horses` bridles into their mouths that they may obey us, we turn about their whole body also.
3 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.
4 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.
4 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.
4 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.
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.
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:
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.
3a See : Byz S TR | V Nes: For if
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.
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.
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:
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.
4b wherever the impulse of the steersman wishes Use of Stoic Terminology?
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:
See also Ancient Texts 1:18a.
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 Reason Controls the Passions
2b–12 Divisio Textus
See also →James: Medieval Divisio Textus .
3f horses’ mouths ...ships: Various Interpretations of James’ Analogies
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.