Vocal or Instrumental
Psallo is NOT
Psallō IN THE
HEART or SILENT. The Key factor in the
Christian Assembly is that both male and
female remain silent "so that we might all come to
a knowledge of THE TRUTH or the Word of God.
Religious Music was performed by WOMEN or
EFFEMINATE Males. They both thought
that their condition and public persona proved
that they spoke for the "gods." Paul then
rebuffs all mediators in song and sermon but the
READER because:
1Tim. 2:5 For there is ONE GOD
and one
mediator between God and men,
the MAN
Christ Jesus;
Paul prevents and outbreak of WRATH or an ORGY
The Evil Psallo
I. In gen., to play upon a stringed
instrument; esp., to
play upon the cithara, to
sing to the cithara: psallere saltare elegantius, Sall. C. 25,
2
canituri, SING
and cantare marked as SORCERY.
saltare et cantare;
Cic. Catil. 2.10.23
Suet. Tit. 3
Saltatio
Dancing was originally closely connected with
religion. Plato thought all dancing should be
based on religion, as it was, he says, among the
Egyptians. It has been shown under Chorus
that the chorus in the oldest times consisted of
the whole population of a city, who met in a
public place to offer up thanksgivings to the god
of their country by singing hymns and performing
dances. These dances, which, like all others, were
accompanied by music,
David's Dirty Dancing with the Camp following
girls PATTERN
In
that regard, epic's position is parallel to
that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively
delivery the same effect as that of acting. There is a persistent association
between theatrics, bad
rhetoric and effeminacy.
Rhetoric
was forever at pains to disentangle itself from unwanted
associations with female deception and histrionic art,
because it was viewed as the art of socially weak women and
slaves,and
rhetoricians of all ages have assiduously
fought against any trace of bodily and vocal practice associated with
these groups.
However,
from the examples that I have just used, it
is evident, I believe, which art of
music I
consider appropriate in the training of the orator and to what extent.
Nevertheless,
I think that I need to be more explicit in
stating that the music which I prescribe is not
the modern
music
which has been emasculated by the
lascivious melodies of the effeminate
stage
and has to no
small extent destroyed the amount of manly vigor that we still possessed.
I refer
rather to the music of old with which
people used to sing
the praises of brave men and which the brave
themselves used to sing.
But this
fact does not justify degeneration into sing-song
or the effeminate modulations now in vogue. There is an
excellent saying on this point
attributed to Gaius Caesar while he was
still a boy:
"If you
are singing, you sing badly; if
you are reading, you sing."
The
Evil Psallo psallere saltare ēlĕgans
I. In the ante-class.
period in a bad sense, luxurious,
effeminate, fastidious,
nice: elegans homo non dicebatur cum
laude mulier (Phrynewith formo
saltātor
, ōris, m. salto,
I.a
dancer (generally among the Romans with an
accessory contemptuous signif.), Cic. Off. 1,
42, 150; id. Mur. 6,
13; id. Deiot.
10, 28; id. Fin. 3,
7, 24; Quint. 1, 12,
14; 11, 3, 89;
Suet. Calig.
54; id. Ner. 6;
Macr. S. 2, 10 al.
--saltātĭo ,
ōnis, f. id.,
I. a
dancing; concr., a dance, Quint. 1, 11,
18 sq.; 2, 18, 1;
Scipio Afric. ap. Macr. S.
2, 10: multarum deliciarum comes est extrema saltatio, Cic. Mur. 6,
13; id.
Brut. 62, 225; id. Fin. 3,
7, 24; Quint. 11, 3,
128; Suet. Tit. 7
al. Plur., Plaut. Stich.
5, 2, 11.
--dēlĭcĭae ,
ārum, f. (sing. dēlĭcĭa , ae,
f.; [delicio; that which allures, flatters the
senses], delight, pleasure, charm, allurement;
deliciousness, luxuriousness, voluptuousness,
curiosities of art; sport, frolics, etc.
(freq. and class.; for syn. cf.: voluptas, libido,
delectatio, oblectatio, delectamentum,
oblectamentum).
E-lēgo
, āvi, 1, v. a.,
I.to
convey away (from the
family) by bequest,
to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215.
Girardian
Reflections on the Lectionary:
5.4.2 Behind the
anthropological predilections against the victim's
perspective, there is a very practical,
quasi-historical reason: namely, the victim
is shunned and often killed. In the
ancient world, the role of music
during ritual sacrifice was often to drown
out any cries from the victim. (45)
It is crucial that the victim not be
heard. The practical mechanics of making
victims means that it is unusual for the
victim's perspective to survive. In the world
of ancient ritual it was probably impossible.
45. The Greek verb
myo means to close the
mouth or shut the eyes. There is debate
about whether myo plays a crucial role
in the etymology of other significant words
such as myth, mystery, and
even music. These etymologies make
sense within the Girardian hypotheses.
Myth
means to close ourselves to the victim
and tell the tale according to the
perpetrator's perspective;
mystery cults are based on the silence
of the victims; music derives from
drowning out
the voice of the victim
5.5 In general,
then, the survival of the victim's
perspective is highly unusual as a
historical phenomenon -- until more recent
history, that is, when the victim's
perspective has finally established a
beachhead in Western culture, namely, the
cultures most often in closest contact with
the Gospel (more on this below). (And it
must be emphasized that the close contact is
in the category of being an accident of
history and not by any meritorious claims
for Western culture. In short, the
perspective of the victim has established a
place in Western culture not because of any
inherent merit in Western culture but
because of the historical accident of being
in close proximity to the Gospel over a long
period of time.)
mŭlĭer , II.
Transf., as a term of reproach,
a woman, i. e. a coward, poltroon:
non me arbitratur militem, sed mulierem, Plaut. Bacch.
4, 8, 4.
Cic. Catil. 2.10.23
In these bands are all the gamblers,
all
the adulterers, all the unclean and shameless
citizens.
These boys, so witty
and delicate,
have learnt not only to
love and to be loved,
not only to sing and to
dance,
but also to brandish daggers and
to administer poisons;
and unless
they are driven out,
unless they
die, even should Catiline die,
I warn
you that the school of Catiline would exist in
the republic.
But what do those wretches want?
Are they going to take their wives with them to
the camp? how can they do without them,
especially in these nights? and how will they
endure the Apennines,
and these frosts, and this snow?
unless they think that they will bear the winter
more easily
because
they have been in the habit of dancing naked
at their feasts. O
war much to be dreaded, when
Catiline is going to have his bodyguard of
prostitutes!
Suet. Tit. 3 While
yet a boy, he was remarkable for his noble
endowments both of body and mind; and as he
advanced in years, they became still more
conspicuous.
He had a fine person,
combining an equal mixture of majesty and grace;
was very strong, though not
tall, and somewhat corpulent.
Gifted with an excellent memory,
and a capacity for all the arts of peace
and war; he was a perfect master of the use of
arms and riding; very ready in the Latin and
Greek tongues,
both
in verse and prose; and such was the
facility he possessed in both,
that he would harangue and VERSIFY
extempore.
Nor was he
unacquainted with MUSIC,
but could both SING
and PLAY upon the HARP sweetly
and scientifically.
I have likewise been informed
by many persons,
that he was remarkably quick
in writing short-hand,
would in
merriment and jest engage with his secretaries
in the imitation of any
hand-writing he saw, and often say, "
that he was admirably qualified for
forgery."
The Evil Psallo includes:
Phrȳnē , ēs, f., =
Phrunē.
II. A
Roman courtesan, Hor. Epod.
14, 16.
Quint.
Inst. 2 15.9 So
also according to general opinion Phryne was
saved not by the eloquence of Hyperides,
admirable as it was, but by the sight of her
exquisite body, which she further revealed
by drawing aside her tunic. And if all these
have power to persuade, the end of oratory,
which we are discussing, cannot adequately
be defined as persuasion.
componere
Plin. praef. § 25: carmen, Cic. Mur.
12, 26: carmina, Tac. Or. 12; id. A. 3,
49: epistulas, blanditias tremulā voce, T
2. In a bad
sense, soft, effeminate, unmanly, weak
(syn. effeminatus): philosophus tam mollis, tam languidus, tam enervatus, Cic. de
Or. 1, 52, 226: Sabaei, Verg. G.
1, 57: viri molles, i. e. pathici, Liv. 33,
28; Sen. Ep.
87: disciplina, effeminate,
III. A
procuress, Tib. 2,
6, 45.
The Evil Psallo includes:
căno ,
cĕcĭni, cantum (ancient I.imp.
cante = canite, once canituri, Vulg. Apoc.
8, 13), 3, v. n. and a.
[cf. kanassō, kanakhē, konabos; Germ.
Hahn; Engl. chanticleer; kuknos, ciconice;
Sanscr. kōkas = DUCK; A. With
carmen, cantilenam, versus, verba, etc., to
sing, play,
rehearse, recite
Rev. 8:12 And the
fourth angel sounded,
and the
third part of the sun was smitten,
and the
third part of the moon,
and the
third part of the stars;
so as
the third part of them was darkened,
and the
day shone not for a third part of it, and the
night likewise.
Rev. 8:13 And I beheld, and heard an angel
flying through the midst of heaven,
saying
with a loud voice, Woe, woe, woe,
to the
inhabiters of the earth by reason of
the
other voices of the trumpet of the three
angels,
which
are yet to sound!
ka^na^kh-ē
, Dor. -Kha, hē, (kanassō) Od.6.82;
odontōn men k. pele gnashing
of teeth, Il.19.365,
Hes.Sc.164:
k. aulōn sound
of flutes, Pi.P.10.39
(pl.), B.2.12,
cf. S.Tr.642
(lyr.); of the lyre, h.Ap.185.
ka^na^kh-eō
, a Verb expressing various sounds, kanakhēse de Khalkos
A.r ang, clashed,
Od.19.469;
kanakhousi pēgai plash,
Cratin.186;
kanakhōn holophōnos alektōr crowing,
., k. melos
to let a song ring loud,
A.R.4.907.
CLANGING BRASS
khalkos
sidēros de kai kh. polemōn organa Pl.Lg.956a
SUITABLE FOR OFFERINGS IN TEMPLES OR
ANATHEMA
organon
, to, (ergon, erdō) A.instrument,
implement, tool, for making or doing
a thing,
3. musical instrument, Simon.31, f.l.
in A.Fr.57.1
; ho men di' organōn ekēlei anthrōpous,
of Marsyas, Pl.Smp.215c
; aneu organōn psilois logois
ibid., cf. Plt.268b
; o. polukhorda
Id.R.399c,
al.; met' ōdēs kai tinōn organōn Phld.Mus.p.98K.;
of the pipe, Melanipp.2,
Telest.1.2.
Sal. Cat. 25 In the
number of those ladies was Sempronia, a
woman who had committed many crimes with the
spirit of a man. In birth and beauty, in
her husband and her children, she was extremely
fortunate;
she was skilled in Greek and
Roman literature;
she could sing, play, and
dance, *
with greater elegance than became a
woman of virtue,
and possessed many other
accomplishments that tend to excite the
passions. But nothing was ever less
valued by her than honor or chastity. Whether
she was more prodigal of her money or her
reputation, it would have been difficult to
decide. Her desires were so ardent that she
oftener made advances to the other sex than
waited for solicitation. She had
frequently, before this period, forfeited her
word, forsworn debts, been privy to murder, and
hurried into the utmost excesses by her
extravagance and poverty. But her abilities were
by no means despicable; she could compose
verses, jest, and join in conversation either
modest, tender, or licentious. In a word,
she was distinguished by much refinement of wit,
and much grace of expression.
* Sing, play,
and dance] Psallere, saltare. As psallo
signifies both to play on a
musical instrument,
and to sing to it while
playing, I have thought it necessary to give
both senses in the translation.
However Psallō.
used in Scripture does NOT include
plucking a harp to make music.
Even the Vocal or Instrumental
Psallo II.
In partic., in ecclestiacal Latin, to sing
the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1
Cor. 14, 15
Everyone in Corinth wanted to
speak their own sermons and sing their own
songs. They wanted to speak in their own tongue
or MINOR DIALECT while most in Corinth could
understand Koine Greek. Unless there was someone
to translate they should keep silent.
1Cor. 14:15 What is it then?
I will pray WITH the spirit,
and I will pray WITH the
understanding also:
I will sing WITH the spirit,
and I
will sing WITH the understanding also.
SPEAKING connected to TONGUES includes Playing
Musical Instrument.
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