In the first 2 posts of this series of Paul Through Mediterranean Eyes, I mentioned that Corinth was a town known for its brass works, dating back to 4th century B.C. In fact, earlier in the book, author Kenneth E. Bailey says that many of the craftsmen likely escaped Corinth during its destruction in 146 B.C. and returned to restart the guilds when the city was reborn.
Bailey cites a source that says the bronze work was performed in the center of the city and then tells a personal story of visitor's brass-maker's market in Aleppo, Syria, in the 1980s. Bailey says that at first, he asked for directions, but soon he didn't need them anymore—the hammering and clanging of more than 200 craftsman led him there. "Even though all of this craftsmanship was taking place in open air, the noise was deafening," Bailey remembers, "To talk to any of the skilled workmen, I was obliged to bend down, place my lips within 2 inches of the artisan's ear, and show at the top of my voice. The noise levels were ear-splitting."
In the next paragraph, Bailey points out that "as tentmakers, Paul, Aquila, and Priscilla would have needed to be present in the marketplace in order to pursue their trade and contact customers. Enduring the high-pitched racket of banging brass would have been a common experience for all Corinthians every time they entered the market" (pages 360-361).
After reading this and imaging the clanging, hammering, and shouting going on, how does the imagery in this verse ring even louder?
"If I speak in the tongues of men and of angels, but have not love, I am banging brass or a clanging cymbal" 1 Corinthians 13:2 (NIV)
WOW! I can hear it now, the difference, the cacophony of noise, in a way I couldn't before!
Paul continues the brass metaphor in verse 7, with the list that begins with love covers all things (the NIV says "always protects", but the verb used here is stego, which has to do with the connection of keeping water in (or out). In fact, the noun form of this verb means "roof", because of its meaning of being waterproof. "As brass manufacturers, the Corinthian metal workers would have been careful to make pitchers, bowls, and drinking cups that did not leak (page 376).
Finally, in verse 12, there's another brass-work metaphor, this time having to do with mirrors—which, in the ancient world, were made of brass. They had an interesting practice in that when someone ordered a mirror, the artist would offer to etch the face (or back) of the mirror along the lines of the customer's interests. Discovering that the buy worshipped Poseidon (for instance), the brass worker would obligingly lightly etch the face of Poseidon (and perhaps other gods) on the mirror. Then, upon rising in the morning and looking into the mirror, you would have the pleasure of 'seeing yourself among the gods.... But alas, the mirror soon tarnished and the mind games quickly grew old. The person was not really among the gods, and they did not talk to him or her" (page 381).
So, how does knowing the above custom, shed new light on the setting of this verse?
"For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall know fully, even as I have been fully known." 1 Corinthians 13:12 (ESV)
I love how Paul used contextual examples in each of his letters that his readers would have immediately picked up on and recognized. It would have shown his intimate knowledge of their world (and struggles) as well as made it so understandable in a time when it all seemed like uncharted waters.
I don't know about you, but now I can't stop hearing the clanging brass when I think of this chapter. What a powerful image of how not to live!
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