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.
O. E. Payne Psallo and the Instrumental Music Fallacy
O. E. Payne Supplied the North American Christian Convention with the rationale for insisting that the word PSALLO demands the use of mechanical instruments of music in worship. This paper will review the historic mentions of PSALLO to prove that psallo never meant to Play-a-Harp. Furthermore, using the historic mentions of Psallo INCLUDES the pagan and prostitute examples as the FOUNDATION of any musical content to what is defined as A School of Christ (Jesus and the Campbells).
George P. Slade in the 1878 American Christian Review attacked McGarvey's ground of New Testament silence by appealing to psallo. Having examined this approach for many years, McGarvey said in 1895 that anyone taking it "is one of those smatterers in Greek who can believe anything that he wishes to believe. When the wish is father to the thought correct exegesis is like water on a duck's back." Such strictures did not keep Briney from resorting to the argument again a decade later.(18)
Ephesians 5:6 Let no man deceive you with vain WORDS:
In Latin literature 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 (Phryne—with formo
saltātor , ōris, m. salto,
--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: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.
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.)
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!
The Evil Psallo includes: Phrȳnē , ēs, f., = Phrunē.I. A celebrated hetœra in Athens, so wealthy that she offered to rebuild the city of Thebes after it had been destroyed by Alexander: “nec quae deletas potuit componere Thebas Phryne,” Prop. 2, 6, 6; cf. Quint. 2, 15, 9; Val. Max. 4, 3, ext. 3.—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
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 KhalkosA.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.
Jo Bass Resource: G.E.Jones.Spiritual.Understanding.E.R.Harper.html
FOR because of these things cometh the WRATH of God
upon the children of disobedience.
Wrath Orge from 371ι oregomai, or-eg´-om-ahee; middle voice of apparently a prolonged form of an obsolete primary (compare 3735); to stretch oneself, i.e. reach out after (long for): — covet after, desire.Theophilus to Autolycus
orgē , hē, org-aō to be getting ready to bear, growing ripe for something Aphrodis-ios
A.belonging to the goddess of love, “ergon II. Aphrodisia, ta, sexual pleasures
III. Aphrodision, to, temple of Aphrodite, “mainesthai [The mad women in Corinth]
3. c. gen., Panos orgai visitations of Pan's wrath, Id.Med. 1172 ; but
-ma^nia (A), Ion. -iē, h(, (mainomai) II. enthusiasm, inspired frenzy, “m. Dionusou para” E.Ba.305; “apo Mousōn katokōkhē te kai m.” Pl.Phdr. 245a; theia m.,
OPPOSITE . sōphrosunē anthrōpinē, ib.256b, cf. Prt.323b, X. Mem.1.1.16; “tēs philosophou m. te kai bakkheias” Pl.Smp.218b
Mousōn “kanakhan [Clanging Brass]. .
theias antiluron mousas” S.Tr.643 [Frency caused by Lyre and Music]
Aiakō moisan pherein” Pi.N.3.28;
katokōkhē II. being possessed, inspiration, “theia moira kai katokōkhē” Pl.Ion536c; “apo Mousōn k.” Id.Phdr.245a
Plat. Phaedrus 245a ills is found. And a third kind of possession and madness comes from the Muses. This takes hold upon a gentle and pure soul, arouses it and inspires it to songs and other poetry, and thus by adorning countless deeds of the ancients educates later generations. But he who without the divine madness comes to the doors of the Muses, confident that he will be a good poet by art, meets with no success, and the poetry of the sane man vanishes into nothingness before that of the inspired madmen.Eur. Med. 1172 And one old woman among the servants, thinking, I suppose, that a frenzy from Pan or one of the other gods had come upon her, raised a festal shout to the god, until she saw the white foam coming between her lips and her eyesThis Eve, on account of her having been in the beginning deceived by the serpent, and become the author of sin, the wicked demon, who also is called Satan, who then spoke to her through the serpent, and who works even to this day in those men that are possessed by him, invokes as Eve.58 And he is called "demon" and "dragon," on account of his revolting from God. For at first he was an angel. And concerning his history there is a great deal to be said; wherefore I at present omit the relation of it, for I have also given an account of him in another place.
Ephesians 5:6 Let no man deceive you with VAIN WORDS:Note 58 Referring to the bacchanalian orgies [WRATH] in which " Eva " was shouted, and which the Fathers professed to believe was an unintentional invocation of Eve, the authoress of all sin.
The word "abomination" is also key to understanding the context. In Hebrew, the word "to 'evah," (abomination) is almost invariably linked to idolatry. In the passages from which both verses are taken, God tells Moses to tell the people not to follow the idolatrous practices of the people around them, people who sacrificed their children to Molech, or who masturbated into the fire to offer their semen to Molech, for example. Chapter 20 starts off with the same warning.
"To 'evah" also means "something which is ritually unclean."
FOR because of these things cometh the wrath of God upon the children of disobedience.
-LOGOS or rational discord of God made audible and capable of being recorded.Ephesians 5:7 Be not ye therefore partakers with them.
Opposite. The-a_ma. theēma , atos, to/, (theaomai) A. sight, spectacle of a sight which gives pleasure, To saturate your sight with pleasures.
OPPOSITE -Mathema that which is learned, a lesson, learning, knowledge,
Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment, to sphodron kai enthousiastikon p. Longin.8.1; “pathos poiein” Arist. Rh.1418a12;
Opposite epagōgēs 2. bringing in to one's aid, introduction
b. incantation, spell, in pl
speech, delivered in court, assembly
VI. verbal expression or utterance, lego, lexis
-Lexis A.speech, OPPOSITE ôidê
Ephesians 5: 8 FOR ye were sometimes darkness,
BUT now are ye LIGHT in the Lord:
walk as children of light:
Ephesians 5:9 (For the fruit of the Spirit
is in all goodness and righteousness and TRUTH;)
Ephesians 5:10 Proving what is ACCEPTABLE unto the Lord.
Ephesians 5:11 And have no fellowship with the unfruitful works of darkness,
BUT rather reprove them.
Ephesians 5:12 For it is a shame even to speak of those things which are done of them in secret.
Ephesians 5:13 BUT all things that are reproved are made manifest by the light:
for whatsoever doth make manifest is light.
Ephesians 5:14 Wherefore he saith, Awake thou that sleepest,
and arise from the dead, and Christ shall give GIVE THE LIGHT
Ephesians 5:15 See then that ye walk circumspectly, not as fools,
BUT as wise,
Ephesians 5:16 Redeeming the time, because the days are evil.
Ephesians 5:17 Wherefore be YE not unwise,
BUT YE understanding what the WILL [WORD] of the Lord is.
vŏluntas 3. A last will, testament: “defensio testamentorum ac voluntatis mortuorum
ccording to the will, with the consent, at the desire of any one: testāmentum , i, n. testor, I.the publication of a last will or testament; a will, testament
testamenta nuncupare, to announce or acknowledge before witnesses,“defensio a. The legal maintenance of a right: “libertatis,”thel-ēma
2 Corinthians 3.14 14] But their minds were hardened, for until this very day at the reading of the old COVENANT the same veil remains, because in Christ it passes away.
velamen in lectione veteris testamenti manet non revelatum quoniam in Christo
Matthew 7.21 Not everyone who says to me, 'Lord, Lord,' will enter into the Kingdom of Heaven; but he who does the WILL of my Father who is in heaven
After the Christian Churches began secting out of the Disciples over their denominational structure they used the ORGAN as a wedge to try to add Churches of Christ in Tennessee by the ploy of "The Commission on Unity." They sent the books to targeted preachers with an insert for the book to be returned: I have one of the original "sent" books. That led to the Debates at the now Grand Old Opry house.
The original list of historic mentions of "psallo" was by:
George P. Slade in the 1878 American Christian Review attacked McGarvey's ground of New Testament silence by appealing to psallo. Having examined this approach for many years, McGarvey said in 1895 that anyone taking it "is one of those smatterers in Greek who can believe anything that he wishes to believe. When the wish is father to the thought correct exegesis is like water on a duck's back." Such strictures did not keep Briney from resorting to the argument again a decade later.(18)
Instrumental Music is Scriptural (and commanded)
By O. E. Payne, The Standard Publishing Company, 1921
This book was sent to a select group of preachers thought to be "translatable" by the Commission On Unity
Sending out copies with "return to sender" (in this writer's collection) pasted in front "That you may have the advantage of these facts and use them in the interest of truth and unity to 'the breaking down of the middlewall of partition" and for the restoring of fellowship between those that use and those that do not use instruments in the church, this book is sent out, which after reading please return to The commission On Unity, Nashville Tenneessee.The Boswell-Hardeman Debate:
Page 148. This is our first example of anyone thinking that PSALLO meant to Play on a Harp: psallo just means to pluck something with your fingers but NEVER with a plectrum or guitar pick. The base idea is to pluck on a bow string to make it twang to send forth a singing arrow into enemies. If you pluck a string psallo still just means "pluck" and even if you pluck a harp that sound does not make melody unless you define the mode or melody.
O. E. Payne: Not using instruments is ERROR: Error: when Paul instructed us to psallo, he meant for us to sing, unaccompanied, reread the above, I beg you, and care enough for the truth HERE AND NOW TO GIVE UP THE ERROR.
In fact Paul commanded that we SPEAK the Biblical Text.
O. E. Payne on Athenaeus: 200 A. D. A the nams (636) . In this passage the speaker is talking of a tragedian, Diogenes, who wrote a play , '' Semele.'' _1 The worship of Cybele and Bacchus by women with drums, cymbals, flutes, etc., is described, after which occur the subjoined words:
"Worshipping Artemis with correspondent twangings [psalnio is] of the three-cornered pectis, striking the magadis in corresponding measure.''
If psallo and psalmos, a few centuries earlier, had lost reference to the instrument and had come to indicate only the music of the voice, then the above must be rendered: '' With correspondent singings of the three-cornered pectis.''
Psallo with the same root as SOP never in recorded history meant anything but PLUCKING something with your fingers.
O.E.Payne and all of his Instrumental Disciples fail to note that Psallo is defined by him as TWANGING. It never means Twanging-On-the-pectis. The passage includes [1] Twanging and [2] the pectis or triangle [3] with a measure, mode or melody.
It is to insult God to say that He did not know that TWANGING would never tell anyone WHAT to twang.
Furthermore, ALL of the historic passages quoted by the Instrumentalists are EXCLUSIVELY of Pagan religionists or prostitutes.
O.E.Payne uses Semele as the PATTERN or Model for twisting "twanging" into "picking" a guitar, beating on a drum or blowing into a wind instrument. Note that Semele is one name of the Mother Goddess:
Sĕmĕlē , ēs (Sĕmĕla , ae, pure Lat. collat. form in the cass. obll.), f., = Semelē, I.a daughter of Cadmus, and mother of Bacchus by Jupiter; nom. Semele, Ov. M. 3, 293; id. F. 6, 485; i
Orpheus to Semele
CADMEAN Goddess, universal queen,
Thee, Semele I call, of beauteous mien;
Deep-bosom'd, lovely flowing locks are thine,
Mother of Bacchus, joyful and divine,The mighty offspring, whom love's thunder bright, 5
Forc'd immature, and fright'ned into light:
Born from the deathless counsels, secret, high,
Of Jove Saturnian, regent of the skyWhom Proserpine permits to view the light,
And visit mortals from the realms of night: 10
Constant attending on the sacred rites,
And feast triennial, which thy soul delights;When thy son's wond'rous birth mankind relate,
And secrets deep, and holy celebrate
Now I invoke thee, great Cadmean queen, 15
To bless these rites with countenance serene.
A. Sĕmĕlēïus , a, um, adj., of or belonging to Semele: “proles,” i. e. Bacchus, Ov. M. 3, 520; 5, 329; 9, 640: “Thyoneus,” i. e. Bacchus, Hor. C. 1, 17, 22.—
The Babylonian Mother in Harlots in Revelation 17, like all mother godesses, uses "lusted after fruits" (same as Amos 8) as religious craftsmen, singers or instrument players. John calls these SORCERERS who had once deceived the whole world and Jude says they are foreordained to repeat. The are to be cast alive into the lake of fire.Bdelycleon
Spread your knees on the tapestries and give your body the most easy curves, like those taught in the gymnasium. Then praise some bronze vase, [1215] survey the ceiling, admire the awning stretched over the court. Water is poured over our hands; the tables are spread; we sup and, after ablution, we now offer libations to the gods.
Philocleon
But, by Zeus! this supper is but a dream, it appears!Bdelycleon
The flute-player has finished the prelude. [1220] The guests are Theorus, Aeschines, Phanus, Cleon, Acestor; and beside this last, I don't know who else. You are with them and will show how to take up the songs that are started.
Augustine notes that the goddess is named after stimulae, "goads, whips," by means of which a person is driven to excessive actions.[28] The goddess's grove was the site of the Dionysian scandal[29] that led to official attempts to suppress the cult. The Romans viewed the Bacchanals with suspicion, based on reports of ecstatic behaviors contrary to Roman social norms and the secrecy of initiatory rite. [into the Gay brotherhood] In 186 BCE, the Roman senate took severe actions to limit the cult, without banning it. Religious beliefs and myths associated with Dionysus were successfully adapted and remained pervasive in Roman culture, as evidenced for instance by the Dionysian scenes of Roman wall painting[30] and on sarcophagi from the 1st to the 4th centuries CE.
Paul warns against these sects in Romans 14 and calls them into silence so that edification or education can take place. In Romans 15 Paul silences the Self-Pleasure which includes rhetoric, musical or scenic displays. The reason was so that they might "use one mind and one mouth to speak that which is written for our learning."
- Augustine, De Civitate Dei 4.11.
- Described by Livy, Ab Urbe Condita 39.12.
THE GODDESS THYONE Parents Cadmus and Harmonia Goddess of The Bacchic frenzy [the mad women of Corinth according to Paul]
Home Mount Olympus Other Names Semele
O.E.Payne.Psallo.and.Instrumental.Music.Fallacy
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