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Anything
which added to the promise of Jesus to remove the
laded burden (songs)
and the burden laders perverts the gospel of REST:
the word rest
forbits all commercial or entertaining
performances used to create
"spiritual anxiety through religious rituals."
4190. poneros,
pon-ay-ros´; from a derivative of 4192; hurtful,
i.e. evil (properly, in effect or influence, and
thus differing from
2556, which refers rather to essential character, as
well as from 4550,
which indicates degeneracy from original
virtue); figuratively, calamitous;
also (passively) ill, i.e. diseased; but
especially
(morally) culpable, i.e. derelict,
vicious, facinorous; neuter
(singular) mischief, malice, or
(plural) guilt; masculine (singular) the
devil, or (plural) sinners: -- bad,
evil, grievous, harm, lewd,
malicious, wicked(-ness).
See also 4191.
Phortos
a burden is anything imposed to be performed as the
works of human hands denies that Jesus paid it all.
A. make, produce, first of
something material, as manufactures, works of art, epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai,
Prasso
III. achieve, effect,
accomplish
“tina Nēreidōn p. akoitin” Id.N.5.36;
humnon p. grant power of
song, ib.9.3;
II. Att., vulgar stuff, rubbish,
balderdash, Ar.Pax748
(anap.) Pl.796.
ph. erōtos, of Europa on the
bull
A laded Burden is: A. poieō , A.
make, produce, first of something
material, as manufactures, works of art,
3. of
sacrifices, festivals, etc., celebrate, “ p. hira” Hdt.9.19,
cf. 2.49
; p. sabbata observe
the Sabbath, LXXEx.31.16;
4. after Hom.,
of Poets, compose, write, p. dithurambon, epea, Hdt.1.23,
4.14;
“ p. theogoniēn Hellēsi” Id.2.53;
p. Phaidran, Saturous, Ar.Th.153,
157;
p. kōmōdian, tragōdian, etc., Pl.Smp.223d;
“ palinōdian” Isoc.10.64,
Pl.Phdr.243b,
etc.; “ poiēmata” Id.Phd.60d:
abs., write poetry, write as a poet, “ orthōs p.” Hdt.3.38;
“ en toisi epesi p.” Id.4.16,
cf. Pl.Ion534b:
folld. by a quotation, “ epoēsas pote . .” Ar.Th.193;
“ eis tina” Pl.Phd.61b;
“ peri theōn” Id.R.383a,
etc.
A laded Burden is B: To
Study or practice of drama , atos, to/, (draō)
II. action
represented on the stage, drama, play, Ar.Ra.920,
Arist.Po.1448a28,
etc.; mē en tō d. not in the
action on the stage, ib. 1460a31;
exō tou d. ib. 1453b32;
“ d. poiein” Ar.Ra.1021;
“ saturikon d.” Pl.Smp.222d
(with play on 1):
metaph., stage-effect of any kind, “ ta eleina tauta d. eisagein” Id.Ap.35b:
also, tragical event, Plb.23.10.12,
Him.Ecl.1.12,
etc.
A laded Burden is C. Sullog-ismos
,
A. computation,
calculation
2. in the Logic of Arist., a
syllogism or deductive argument,
defined provisionally as an argument in which,
certain things being
posited, something different from them
necessarily follows, APr.24b18,
cf. 47a34, al.;
of several kinds, e.g. ho apodeiktikos s. APo.74b11; o( dialektikos s. Top.100a22; eristikos s. ib. b24; sts. opposed to epagōgē (q.v.); ho ex epagōgēs s. the syllogism
which springs out of induction, APr.68b15; “ to enthumēma s. tis” Rh.1355a8.
Epagōg-ē
, 4. allurement, enticement,
“tais elpisi kai tais e.” D.19.322.
b. incantation, spell, in pl.,
Pl.R.364c,
Lg.933d;
Hekatēs phaskōn epagōgēn gegonenaispell,
Thphr.Char.16.7.
7. leading away into captivity,
captivity, LXX Is.14.17:
generally, distress, misery,Si.23.14
(pl.of tax-gatherers demand from one as
the price for a thingsaying that Hecate
had put it under a ib.
A laded Burden is D. Eur.
Supp. 20 so now their mothers
would bury in the grave the dead, whom the
spear
has slain, but the victors prevent them and
will not allow them to take
up the corpses, holding the laws of the gods
in no honor. [20] Here
lies Adrastus on the ground with streaming
eyes, sharing with them the
burden of their prayer to me, and bemoaning
the havoc of the sword and
the sorry fate of the warriors whom he led
from their homes. And he urges me to use
entreaty to persuade my son [25] to take up
the dead and help to bury them, either by
winning words or force of arms, laying on my
son and on Athens
this task alone. Now it happened that I had
left my house and come to
offer sacrifice on behalf of the earth's crop
[30] at this shrine,
where first the fruitful corn showed its
bristling shocks above the
soil. And here at the holy altars of the two
goddesses, Demeter and the
Maiden, I wait, holding these sprays of
foliage, a bond that does not
bind, in compassion for [35] these childless
mothers, gray with age,
and in reverence for the sacred garlands. My
herald has gone to the
city, to call Theseus here, so that he may rid
the land of that which
grieves them, or loose these suppliant bonds,
[40] with pious
observance of the gods' will; for women should
in all cases invoke the
aid of men, women that are discreet.
A laded Burden is E. Aristoph.
Peace 748 Chorus
The Chorus turns and faces the audience.
Undoubtedly the comic poet who [735] mounted
the stage to praise
himself in the parabasis would deserve to be
handed over to the sticks
of the beadles. Nevertheless, oh Muse, if it
be right to esteem the
most honest and illustrious of our comic
writers at his proper value,
permit our poet to say that he thinks he has
deserved a glorious
renown. First of all, he is the one who has
compelled his rivals no
longer [740] to scoff at rags or to war with
lice; and as for those
Heracleses, always chewing and ever hungry, he
was the first to cover
them with ridicule and to chase them from the
stage; he has also
dismissed that slave, whom one never failed to
set weeping before you,
[745] so that his comrade might have the
chance of jeering at his
stripes and might ask, “Wretch, what has
happened to your hide? Has the
lash rained an army of its thongs on you and
laid your back waste?”
After having delivered us from all these
wearisome ineptitudes and
these low buffooneries, he has built up for us
a great art, like a
palace with high towers, [750] constructed of
fine phrases, great
thoughts and of jokes not common on the
streets. Moreover it's not
obscure private persons or women that he
stages in his comedies; but,
bold as Heracles, it's the very greatest whom
he attacks, undeterred by
the fetid stink of leather or the threats of
hearts of mud. He has the
right to say, “I am the first ever dared to go
straight for that beast
with the sharp teeth [755] and the terrible
eyes that flashed lambent
fire like those of Cynna, surrounded by a
hundred lewd flatterers, who
spittle-licked him to his heart's content; it
had a voice like a
roaring torrent, the stench of a seal, the
unwashed balls of a Lamia
and the arse of a camel
A laded Burden is F. Aristoph.
Pl. 771
Wife Do you refuse these gifts?
Plutus [795] I will accept them at
your
fireside, as custom requires. Besides, we
shall thus avoid a ridiculous
scene; it is not meet that the poet should
throw dried figs and
dainties to the spectators; it is a vulgar
trick to make them laugh.
Wife [800] You are right. Look!
yonder's Dexinicus, who was already getting
to his feet to catch the figs as they flew
past him.
A laded Burden is G Erōs ,
ōtos, o(, acc.
erōn for : (heramai, eraō A):—love,
mostly of the sexual passion, “thēlukratēs e.” A.Ch.600
(lyr.)
III.
at Nicaea, a funeral wreath, EM379.54.
The Kleros
of Aphrodite: hence, of oracles, E.Hipp.1057,
Ph.
838; “Hermēs gar ōn klērō poiēseis oid' hoti” Ar.Pax365;
III. of the Levites, “Kurios autos klēros autou” LXX De.18.2:
hence, of the Christian clergy, “en klērō katalegomenos”
khthōn
, h(, gen. khthonos,
hupo khthonos, of the
nether world, “Tartaron cf.
A.Eu.72;
hoi hupo kh. philoi, i.e.
those in the shades below, Id.Ch.833
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Jesus
Christ died to REMOVE this
burden: Click for Isaiah 28
Because
ye
have said, We have
made a covenant
with
death,
and with hell
are we at agreement; when the
overflowing scourge shall pass
through, it
shall not come
unto
us: for we have made
lies our
refuge, and
under falsehood
have we
hid ourselves:
Is.28:15
A
vital focus of
questioning was the world
of the dead. The
recently deceased
might exert influence
on the living for good or for
bad. Offerings to the dead, which
were required by custom, were
intended, among other purposes, to
make them well
disposed.
People occasionally
deposited with
their offerings a letter telling
the deceased of their problems and
asking for assistance. A few of
these letters are complaints to
the
deceased person, alleging that he
or she is afflicting
the writer.
This written
communication with the
dead was confined to the very few
literate members of the
population,
but it was probably part of a more
widespread oral practice.
Some tombs of
prominent people acquired minor
cults
that may have originated in
frequent successful recourse to
them for
assistance. Britannica
Online
See The Feast
of Tabernacles
in Jerusalem
The Marzeah
in
Amos 5
"The
marzeah had an extremely
long history extending at least
from the 14th century B.C.
through
the Roman period. In the 14th
century B.C., it was prominently
associated with the ancient
Canaanite city of Ugarit (modern
Ras
Shamra), on the coast of
Syria...
The
marzeah was a pagan
ritual that took the
form of a social
and religious association...
Some scholars regard the funerary
marzeah as
a feast for--and
with--deceased
ancestors
(or Rephaim, a
proper name in the
Bible for the inhabitants of Sheol)."
(King, Biblical
Archaeological
Review, Aug, 1988, p. 35, 35)
"These
five elements are: (1)
reclining or relaxing, (2)
eating a meat meal, (3) singing
with harp
or other musical accompaniment,
(4) drinking wine and (5)
anointing
oneself with oil." (King, p.
37).
"we
recognize the same
elements: the sacrifices and
libation, the cultic feast in
which the
congregation gets a share of
food and drink after it has been
blessed
by the king, and the
merry-making, now in the form of
instrumental
and vocal music. But the central
act of the ritual, which was
performed by the king, is called
literally 'drinking' the god
(Gurney, O. R. Some Aspects of
Hittite Religion, p. 33-34,
Oxford
University Press, 1977)
"The
normal order of events was
a meal, followed by a drinking
party. Entertainment might
include
anything from a rhetorcian or
philosopher discoursing on some
topic,
to musical entertainment, to
sexual dalliance."
"Plutarch
implicitly contrasts
a serious dinner featuring a
sage as the after-dinner speaker
with
the other sorts of
dinners--where sexual play with
the girl
flute-players or hetairae was
common." (Witherington, Ben, Why
Not
Idol Meat, Bible Review, June
1994, p. 41-42).
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Pragma^t-euomai ,
2. to be engaged in business, spend one's
time in business
2. of authors, elaborate a work,
Ar.Nu.526;
of a science, work out, “ha thelei”
4. simply, write, treat, “poiētēs ōn pepragmateutai peri to hieron” IG11(4).544.5 (Delos,
iii B. C.); ta pepragmateumena hup' autō his works,
composilions,
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331. anathema,
an-ath´-em-ah;
from 394; a
(religious) ban or (concretely) excommunicated (thing
or person): —
accused, anathema, curse, x great.
1 Cor 16:22 If any man love not the
Lord Jesus
Christ, let him be Anathema Maranatha.
The Levites cursed by Jacob were
abandoned
to carry out the work of the "lord" in the worship
of the starry host
for a nation sentenced to be returned to "beyond
Babylon." They were
dedicated to the Lord and "had no inheritance in
Israel."
-Anathêma
, /, (anatithēmi) A. that
which is set up: hence, like agalma, votive
offering set up in a temple, Hdt.1.14,92,
S.Ant.286,
etc.; “a. ek leitourgiōn” Lys.26.4.
2. used by Hom.
only in first sense of agalma, delight,
ornament, “molpē t' orkhēstus te: ta gar t' anathēmata daitos” Od.1.152,
cf. 21.430,
IG14.1390; tois tekousin anathēma biotou, of children, E.Fr.518, cf. Pl.Hp.Mi.364b;
to help deserving poverty is “basilikou ploutou a. kai kataskeuasma lamprotaton” D.H.19.14.
-Agalma , atos, to/, acc. to Hsch. pan eph' hō tis agalletai,
A. glory, delight, honour, Il.4.144,
etc.; kephalaisin andrōn agalmata (sc. lophoi) Alc.15; khōras a., of an ode, Pi.N.3.13,
cf. 8.16;
2. pleasing gift, esp. for the
gods, “a. theōn” Od.8.509,
of a bull adorned for sacrifice, ib.3.438;
of a tripod, Hdt.5.60,
al.; generally, = anathēma, IG1.37312a, etc.;
“Kharēs eimi . . a. tou Apollōnos” GDI5507
(Miletus); “anthēken a.” Simon.155; so, Hekatēs a . . . kuōn, because sacred
to her, E.Fr.968,
= Ar.Fr.594a;
a. Aida, of a
tombstone, Pi.N.10.67.
Hekatēs a . . . kuōn, because sacred
to her, E.Fr.968,
= Ar.Fr.594a;
a. Aida, of a
tombstone, Pi.N.10.67.
-Molp-ē , h(, (melpō)
A. dance or rhythmic
movement with song, Od. 6.101,
Il.18.606.
2. more freq. song, 1.472;
“ molpēs te glukerēs kai amumonos orkhēthmoio” 13.637;
“ molpē t' orkhēstus te” Od.1.152,
cf. Hes.Th.69,
Sapph.Supp.25.5,
Pi.O.10.84, 6.97
(pl.), A.Ag.106
(lyr.), etc.: Com. in lyr., “ molpa klagga” Mnesim.4.57 (anap.):
metaph., ou m. suriggos ekhōn the note,
S.Ph.212
(lyr.): also in late Prose, as Luc.Salt.23.
Apollo in Revelation is Abaddon or Apollyon
and the muses are the Locusts in John's coded
message.
-Hom.
Od. 1.125 Heralds poured water over
their hands, and maid-servants heaped by them
bread in baskets, and youths filled the bowls brim
full of drink; and
they put forth their hands to the good cheer lying
ready before them.
[150] Now after the wooers had put from them the
desire of food and
drink, their hearts turned to other things, to
song and to dance; for
these things are the crown of a feast. And a
herald put the beautiful
lyre in the hands of Phemius, who sang perforce
among the wooers; [155]
and he struck the chords in prelude 2
to his sweet lay.
But Telemachus spoke to flashing-eyed Athena,
holding his head close,
that the others might not hear: “Dear stranger,
wilt thou be wroth with
me for the word that I shall say? These men care
for things like these,
the lyre and song, [160] full easily, seeing that
without atonement
they devour the livelihood of another, of a
man whose white bones, it
may be, rot in the rain as they lie upon the
mainland, or the wave
rolls them in the sea.
-Hom.
Od. 21.401
A Levite musician who entered
into a
holy place would be sacrificed: modern musicians
claim that they are
dedicated to the Lord. There are several Biblical
examples which prove
that they will be cast alive into the lake of fire.
3. of a slave in a temple, a. poleōs devoted to
this service by the city, E.Ion310.—Cf.
anathema.
Any
object so sacrificed or devoted
to the Lord
could not be redeemed (Num. 18:14; Lev. 27:28,
29); and hence the idea
of exterminating was connected with the
word. The Hebrew verb (haram)
is frequently used of the extermination of
idolatrous nations. It had a
wide range of application. The anathema or
herem was a person or thing
irrevocably devoted to God (Lev. 27:21, 28); and "none
devoted shall be
ransomed. He shall surely be put to death" (27:29).
The Hebrew word
therefore carried the idea of devoted to
destruction (Num. 21:2, 3;
Josh. 6:17); and hence a majority of scholars have
treated the word
anathema similarly, generally as meaning a
thing accursed. For example,
in Deut. 7:26 an idol is called a herem =
anathema, understood to mean
a thing accursed
Sorry bout that but you will not be able to believe
it: Time is short
and that is why the Church of Christ thread tries to
silence just
quoting the Bible: music means to silence the voice
of the victim.
Hebrews 12:25 See that ye refuse not him that
speaketh.
For if they
escaped not who refused him that spake on earth,
much more
shall not we
escape, if we turn away from him that speaketh from
heaven:
Hebrews 12:26 Whose voice then shook the earth:
(the trumpet sound)
but now he
hath promised, saying,
Yet once
more I shake not the earth only, but also heaven.
Hebrews 12:27 And this word, Yet once more,
signifieth the
removing of
those things that are shaken, as of things that are
made, t
hat those
things which cannot be shaken may remain.
Hebrews 12:28 Wherefore we receiving a kingdom which
cannot be moved,
let us have grace,
whereby we may serve God acceptably with reverence
and
godly fear:
Hebrews 12:29 For our God
is a consuming fire.
Christ in Isaiah 30 says that hell is prepared for
God to drive His
enemies into: the MARKS are wind, string and
percussion instruments.
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