Hippolytus We think, then,
that the "psalms"
are those which are simply played to an instrument, without the
accompaniment of the
voice, and (which are composed) for the musical melody of the instrument;
"We think" won't
work: you need fodder to think. There is no instance where any of
the psallo type words (including SOP) is used to mean "play a
harp."
That is because "psalm" is derived from a stringed instrument which can be plucked with the fingers only. That is because it was used primarily of plucking a bow to make it "twang" to send forth a "singing" arrow into the literal heart. The Jacob-cursed Levites produced "fear" and not reverence.
This is derived from warriors plucking the bow string and pretty vile people plucking harp strings to seduce a younger male:
The name of psaltery entered Christian literature in the 3rd century B.C.
translation of the Old Testament called the Septuagint where, in the Psalms, nebel
was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also
become known as the Psalter (or psalterium), from
the hymns sung with
this harp. Source
So,
it was the translators of the Septuatint who used the "Psa" based words
knowing fully well that in the Greek world the message was making war
or making perverted sex. Not all of the book of psalms are psalms
Psalmos
also appears
in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew
term is used to describe a wide variety of songs. Neginah is translated
by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in
Ps 69:12
(song). It is striking to observe that in the LXX translation of
Lam
3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs
that are not only uninspired but are in fact the product of the
wicked, even drunkards, who mocked God and His word. The Hebrew
term neginah is used elsewhere in the Hebrew Scriptures of: the songs
of the wicked, Job 30:9 (song); the inspired praise of God, Psalm
61 title (Neginah-a song performed on a stringed instrument); and the uninspired
praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).
5059. nagan, naw-gan´; a primitive root; properly, to thrum,
i.e. beat a tune with the fingers; expec. to play on a stringed
instrument; hence (generally), to make music:—player on instruments,
sing to the stringed instruments, melody, ministrel, play(-er, -ing).
H5060 nâga‛ naw-gah' A primitive root; properly
to touch, that is, lay the hand upon (for any purpose; euphemistically,
to lie with a woman); by implication to reach (figuratively to arrive,
acquire); violently, to strike (punish, defeat, destroy,
Of the singing and harp playing prostitute in the garden of Eden.
Isaiah 23:16 Take an {1} harp, go about the city, thou harlot that hast been forgotten;
make sweet {2} melody, {3}sing many songs, that thou mayest be remembered.
BLB h5058 First, "MUSIC" of a stringed instrument
The authority for spreading hate and discord?
Isaiah 38:20 The LORD was ready to save me:
therefore we will sing MY songs to the stringed instruments all the days of our life
in the house of the LORD. (Not in the holy places)
Isaiah told Hezekiah that his sons would be taken into captivity: not
to worry, says Hezekiah, just as long as it doesn't happen in my
lifetime. While Hezekiah was fiddling around OUTSIDE of the holy places, little Manessah was getting ready to start burning infants again.
Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and their song all the day.
Second:
names a stringed instrument (Psaltery) in the titles of Psalms 4, 6, 54, 55, 67, 76
The authority for spreading hate and discord?
Third: a
song,
sung to the
music of stringed instruments
In the referenced passage, no instrument is named:
Psalms 77:1 I cried unto God with my voice,
even unto God with my voice; and he gave ear unto me.
Psalms 77:2 In the day of my trouble I sought the Lord:
my sore ran in the night, and ceased not:
my soul refused to be comforted.
Psalms 77:3 I remembered God, and was troubled:
I complained, and my spirit was overwhelmed. Selah.
Psalms 77:4 Thou holdest mine eyes waking: I am so troubled that I cannot speak.
Psalms 77:5 I have considered the days of old, the years of ancient times.
Psalms 77:6 I call to remembrance my song in the night:
I commune with mine own heart: [converse, meditate]
and my spirit made diligent search.
Ephesians 5:18 And be not drunk with wine, wherein is excess;
but be filled with the Spirit;
Ephesians 5:19 Speaking to yourselves [yourself]
in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord;
Especially a song of derision, a satire
Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and their song all the day.
Jer 20:7 Yahweh, you have persuaded me, and I was persuaded; you are stronger
than I, and have prevailed: I am become a laughing-stock all the day,
every one mocks me.
Phaed. 5.7
A little, friv'lous, abject mind,
Pleased with the rabble, puff'd with wind,
When once, as fast as pride presumes,
Itself with vanity it plumes,
Is by fond lightness brought with ease
To any ridicule you please.
One Prince, a piper to the play,
Was rather noted in his way,
Job 30:1 But now they that are younger than I have me in derision,
whose fathers I would have disdained to have set with the dogs of my flock.
Job 30:7 Among the bushes they brayed; (rejoiced, manured)
under the nettles they were gathered together.
Job 30:8 They were children of fools,
yea, children of base men:
they were viler than the earth.
Job 30:9 And now am I their song, yea, I am their byword.
Job 30:10 They abhor me, they flee far from me,
and spare not to spit in my face. (make a tabret of me)
It still happens when people use music which means "to make the lambs dumb before the slaughter."
Mark 10:34 And they shall mock him,
and shall scourge him,
and shall spit upon him,
and shall kill him:
and the third day he shall rise again.
Latin Illudo as a female: Applied as a term of reproach, effeminate men, eloquence, rhētor but with idea of contempt, caneret,”A.
Of men: “si absurde canat, of the crooked race, a reed pipe, a guitar, crowing of a hen tibiae , tubae, Gallus , i, m., = Gallos Strab., A.
Galli , ōrum, m., the priests of Cybele, on account of their emasculated condition) Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18. “resupinati cessantia tympana Galli,”
Tac. Ann. 14.52 Of Nero: They further alleged
against him that he claimed for himself alone the honours of eloquence, and
composed poetry more assiduously, as soon as a passion for it had seized on
Nero. "Openly inimical to the prince's amusements, he disparaged his ability
in driving horses, and ridiculed his voice whenever he sang
Verg. A. 9.634
Of such loud insolence and words of shame
Ascanius brooked no more, but laid a shaft
athwart his bowstring, and with arms stretched wide
took aim, first offering suppliant vow to Jove:
The Father heard, and from a cloudless sky
thundered to leftward, while the deadly bow
resounded and the arrow's fearful song
hissed from the string; it struck unswervingly
the head of Remulus and clove its way
deep in the hollows of his brow. “Begone!
Proud mocker at the brave!
Paizo, 4.
play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5.
play amorously, “pros allēlous” X.Smp.9.2
Prospaizō, prospaizousa tois ōmois komē playing over, II.
c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c.
2.
banter, “tous rhētoras” Id.Mx.235c, cf. Euthd.285a; p. ton kuna, ton arkton, , humnon pr. ton Erōt
Mark 14:65 And some began to spit on him, and to cover his face,
and to buffet him, and to say unto him, Prophesy: (sing, lament, dance)
and the servants did strike him with the palms of their hands.
Mark 15:19 And they smote him on the head with a reed, and did spit upon him,
and bowing their knees worshipped him.
Luke 7:31 And the Lord said, Whereunto then shall I liken the men of
this generation?
and to what are they like?
Luke 7:32 They are like unto children sitting in the marketplace,
and
calling one to another, and saying,
We have piped unto you, and ye have
not danced;
we have mourned to you, and ye have not wept.
Auleō to be played on the flute, “ho Bakkheios rhuthmos ēuleito” X. Smp.9.3
“Phrugion aulēsen melos” Alcm.82, cf. Hdt. 1.141, 2.60, Pl.Prt.327a:
Hdt. 1.141 Once, he said, there was a flute-player who saw fish in the sea and
played upon his flute, thinking that they would come out on to the
land. [2] Disappointed of his hope, he
cast a net and gathered it in and took out a great multitude of fish;
and seeing them leaping, “You had best,” he said, “stop your dancing
now; you would not come out and dance before, when I played to you.
Heredotus defines the worship which happened at Mount Sinai.
Hdt. 2.60 When the people are on their way to Bubastis,
they go by river, a great number in every boat, men and women together.
Some of the women make a noise with rattles, others play flutes all the
way, while the rest of the women, and the men, sing and clap their
hands. [2]
As they travel by river to Bubastis,
whenever they come near any other town they bring their boat near the
bank; then some of the women do as I have said, while some shout
mockery of the women of the town; others dance, and others stand up and
lift their skirts. They do this whenever they come alongside any
riverside town. [3]
But when they have reached Bubastis,
they make a festival with great sacrifices, and more wine is drunk at
this feast than in the whole year besides. It is customary for men and
women (but not children) to assemble there to the number of seven
hundred thousand, as the people of the place say.
Xen. Anab. 6.1.11 After him the Mantineans and some of
the other Arcadians arose, arrayed in the finest arms and accoutrements
they could command, and marched in time to the accompaniment of a flute
playing the martial rhythm and sang the paean and danced, just as the
Arcadians do in their festal processions in honour of the gods. And the
Paphlagonians, as they looked on, thought it most strange that all the
dances were under arms.
Plat. Laws 7.791a to affections of this kind, the
external motion thus applied overpowers the internal motion of fear and
frenzy, and by thus overpowering it, it brings about a manifest calm in
the soul and a cessation of the grievous palpitation of the heart which
had existed in each case. Thus it produces very satisfactory results.
The children it puts to sleep; the Bacchants, who are awake, it brings
into a sound state of mind instead of a frenzied condition, by means of
dancing and playing, with the help of whatsoever gods
Melos , eos, to, dismember, Pl.Lg.795e; Pi.O.1.49, melē poiein dismember, LXX 2 Ma.1.16:
Pind. O. 1 [40] then it was that the god of the splendid trident seized you,
his mind overcome with desire, and carried you away on his team of
golden horses to the highest home of widely-honored Zeus, to which at a
later time Ganymede came also, [45] to perform the same service for
Zeus. But when you disappeared, and people did not bring you back to
your mother, for all their searching, right away some envious neighbor
whispered that they cut you limb from limb with a knife into the
water's rolling boil over the fire, [50] and among the tables at the
last course they divided and ate your flesh.
For me it is impossible to call one of the blessed gods a glutton
Hdt. 1.119 But when Harpagus' son came, Astyages cut his throat and tore him limb
from limb, roasted some of the flesh and boiled some, and kept it ready
after he had prepared it. [4] So when the hour for dinner
came and the rest of the guests and Harpagus were present, Astyages and
the others were served dishes of lamb's meat, but Harpagus that of his
own son, all but the head and hands and feet, which lay apart covered
up in a wicker basket
2 Macc 1.15 - When the
priests of the temple of Nanea had set out the treasures and
Antiochus had come with a few men inside the wall of the sacred
precinct, they closed the temple as soon as he entered it.
16 - Opening
the secret door in the ceiling, they threw stones and struck down the
leader and his men, and dismembered them and cut
off their heads and threw them to the people outside.
AND INCLUDING THE MUSIC WHICH MAKES THE LAMBS DUMB BEFORE THE SLAUGHTER.
MELOS B.
esp. musical member, phrase: hence, song, strain,
2.
music to which a song is set, tune, Arist.Po.1450a14; opp. rhuthmos, metron, Pl.Grg. 502c;
3.
melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” Thgn.761; “aulōn pamphōnon m.” Pi.P.12.19; “pēktidōn melē” S.Fr.241: generally, tone,
You have not Wept:
Thrēn-eō , sing a dirge, wail, “phthoggous alurous” Soph. Aj. 852 epōdas ib.582; humnous,
Livy defines the Bacchus or New Wineskin worshipers in Rome
she disclosed what ought
not to be
revealed) that "when in service, she had gone into that place of
worship, as an attendant on her mistress;
but that, since she had
obtained her liberty,
she had never once gone near it: that she knew it to be the
receptacle of all kinds of debaucheries; that it was well known that, for two years past, no
one older than twenty
had been initiated.
When any person was introduced he was
delivered as a victim to the priests, who led him away to a place
resounding with
shouts, the sound
of music,
and the beating of
cymbals and drums, lest his cries, while suffering
violation,
should be heard abroad."
She then entreated and
besought him to put an
end to that matter in some way or other; and not to plunge himself
into a situation, where he must first
suffer, and
afterwards commit, every
thing that was abominable. Nor did she quit him until the young man
gave her his promise to
keep himself
clear of those
rites.
THE REED FLUTE TURNED INTO A WEAPON.
Hărundo M.
A rod (for beating, punishing): “ac me iterum in cellam perduxit, et harundinem ab ostio rapuit iterumque mulcavit
But a musical instrument: a flute.
G.
A flute (made of the kalamos aulētikos, Theophr. 4, 12): “Satyri reminiscitur alter, quem Tritoniaca Latoüs arundine victum affecit poena,” Ov. M. 6, 384.—
Satyrus a kind of ape II.
A Satyr, one of the satyri, a kind of wood-deities resembling apes, with two goat's feet, and very lascivious;Hor. Ars 235
Hor. Ars 235 The poet, who first tried his skill in tragic verse for the paltry
[prize of a] goat, soon after exposed to view wild satyrs naked,1
and attempted raillery with severity, still preserving the gravity [of
tragedy]: because the spectator on festivals, when heated with wine 2
and disorderly, was to be amused with captivating shows and agreeable
novelty. But it will be expedient so to recommend the bantering, so the
rallying satyrs, so to turn earnest into jest; that none who shall be
exhibited as a god
1
There was a kind of tragic comedies among the Greeks, which they called
Satyrs, because the chorus was formed of Satyrs, who sung the praises
of Bacchus between the acts, and said a thousand low pleasantries.
Ov. Met. 6.384
When one of Lyce (I wote not who) had spoken in this sort,
Another of a Satyr streight began to make report,
Whome Phebus (Abaddon, apollyon) overcomming on a pipe (made late ago By Pallas)
put to punishment.
Why flayest thou me so,
Alas, he cride, it irketh me. Alas a sorie pipe
Deserveth not so cruelly my skin from me to stripe.
For all his crying ore his eares quight pulled was his skin.
Nought else he was than one whole wounde. The griesly bloud did spin
From every part, the sinewes lay discovered to the eye,
The quivering veynes without a skin lay beating nakedly.
The panting bowels in his bulke ye might have numbred well,
And in his brest the shere small strings a man might easly tell.
The Countrie Faunes, the Gods of Woods, the Satyrs of his kin,
CAL´AMUS
2. A light flute, formed of a single reed (harundo,
Ov. Met. 6.384; kalamos,
Pind. O. 10.100,
3. The shaft of an arrow, and in poetry an arrow made of a reed which was not
hollow, but filled with pith
However, the harp given by God:
Job 30:30 My skin is black upon me,
and my bones are burned with heat.
Job 30:31 My
harp also is turned to
mourning, and my
organ into the voice of them that
weep.
Metamorphose 11.
Behold (sayes shee) behold yoon same is he that doth disdeine
Us women. And with that same woord shee sent her lawnce amayne
At Orphyes singing mouth. The Lawnce armd round about with leaves,
Did hit him, and without a wound a marke behynd it leaves.
Another threw a stone at him, which vanquisht with his sweete
And most melodius harmonye, fell humbly at his feete
As sorye for the furious act it purposed. But rash
And heady ryot out of frame all reason now did dash,
And frantik outrage reigned. Yit had the sweetenesse of his song
Appeasd all weapons, saving that the noyse now growing strong
With blowing shalmes, and beating drummes, and bedlem howling out,
And clapping hands on every syde by Bacchus drunken rout,
Did drowne the sownd of Orphyes harp. Then first of all stones were
Made ruddy with the prophets blood, and could not give him eare.
This image absolutely defines what you can do with the "psallo" word: you
must smite or pluck a string with your fingers and never with a
plectrum or "pick." It would be dishonest to try to stretch the word to
wind and percussion instruments. You cannot even stretch the modern meaning of melody to include harmony
NEBUCHADNEZZAR the king made an image of gold, whose height was
threescore cubits (60), and the breadth thereof
six (6)
cubits: he set it up in the plain of Dura
(circle), in the province of
Babylon. Dan 3:1
That
at what time
ye hear the sound of the (1) cornet, (2) flute, (3) harp, (4)
sackbut, (5) psaltery, (6) dulcimer, and all kinds of musick, ye fall
down and worship the golden image that Nebuchadnezzar the king hath
set up: Dan 3:5
When the translators of the Septuagint (LXX) needed a word they used the psaltery
as the base: that is because the use of the psalms under the king and
commanders of the army was mostly making war and threatening people
such as in building the not-commanded Temple as slaves. Religion
is "threskia." Impure religion came from Orphus of Thrace and outlawed
as one of the sects in Romans 14.
Strabo 10:3.16. Also resembling these rites are the Cotytian and the Bendideian rites
practiced among the Thracians, among whom the Orphic rites had their
beginning. Now the Cotys who is worshipped among the Edonians, and also
the instruments used in her rites, are mentioned by Aeschylus; for he
says,“O adorable Cotys among the Edonians, and ye who hold
mountain-ranging instruments
”and he mentions immediately afterwards the attendants of Dionysus:“ one, holding in his hands the bombyces,
toilsome work of the turner's chisel, fills full the fingered melody,
the call that brings on frenzy, while another causes to resound the
bronze-bound cotylae (clanging cymbal) ”and
again,“stringed instruments raise their shrill cry, and frightful
mimickers from some place unseen bellow like bulls, and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound;
”for
these rites resemble the Phrygian rites, and it is at least not
unlikely that, just as the Phrygians themselves were colonists from
Thrace, so also their sacred rites were borrowed from there. Also when
they identify Dionysus and the Edonian Lycurgus, they hint at the
homogeneity of their sacred rites.
Dionysian
music
especially awoke in that world fear
and terror. If music was
apparently already known as an
Apollonian
art, this music,
strictly speaking, was a rhythmic pattern like the sound of waves, whose artistic
power had developed for presenting
Apollonian states of mind. The music of Apollo was Doric architecture
expressed in sound, but only in intimate tones, characteristic of
the cithara [a traditional
stringed instrument}. The un-Apollonian character of
Dionysian music keeps such an element of gentle caution at a
distance, and with that turns music generally into emotionally
disturbing tonal
power, a unified
stream of melody, and the totally incomparable world of
harmony. Nietzsche.Tragedy
Where did Gregory the Great get the idea of doing the same thing?
Osiris, Isis and Horus was the Egyptian trinity worshipped under Apis, the golden bull calf, at Mount Sinai.
Now the name of Linus
or Osiris,
as the "husband of his mother," in Egypt, was Kamut (BUNSEN). When Gregory
the Great introduced into the Church of Rome what are now called the Gregorian Chants,
he got them from
the Chaldean mysteries, which had long been established in Rome; for the Roman Catholic priest,
Eustace, admits that these chants
were largely composed of "Lydian and Phrygian tunes" (Classical Tour), Lydia and Phrygia being among the
chief seats in later times of those mysteries, of which the Egyptian mysteries were only a branch.
(i.e. Barbarians)
These tunes were sacred--the
music of the great
god, and in introducing
them Gregory
introduced the music of Kamut.
And thus, to all appearance, has it come to pass, that the name of
Osiris or Kamut,
"the husband of the mother," [See the musical idolatry at Mount Sinai]
is in every-day use
among ourselves as the name of the musical scale; for what is the melody of Osiris, consisting of the
"seven vowels" {Ephesians Letters} formed into a hymn, but--the Gamut?
MELODY:
Melos
, eos, to, melê, ta, lyric poetry, choral songs opposite
Epic or Dramatic verse,2.music to which a song is
set, tune, Arist.Po.1450a14;
opp. rhuthmos, metron, Pl.Grg.
502c; opp. rhuthmos, rhêma, Id.Lg.656c;
Krêtikon, Karikon, Iônikon m
logou te kai harmonias kai rhuthmou ib.398d.
What
Melic
poetry like Sappho's
[Lesbian] actually was is best comprehended in the light of Plato's
definition
of melos, that it is 'compounded out of three
things, speech, music,
and rhythm.' Sappho is said
by Athenaeus,
quoting Menaechmus and Aristoxenus, to have been the first
of the Greek poets to use the Pêktis (pêktis), a foreign instrument
of uncertain
form, a kind of
harp (cf. fr.
122),
which was played by the fingers without a plectrum.
"Its (pipe = to love passionately) was apparently a secular
instrument and is never
listed in the temple orchestra; only in Ps. 150:4
it is mentioned in a religious (but not ritual) function. Its ethos
was not blameless at all, as we see from Genesis Rabbah 50:
'The angels said
to Lot: 'There are
players of the pipe
(organ) in the country, hence it ought to be destroyed'." Its rabbinical identification with
the aboda, the flute
of the notorious
Syrian bayaderes, emphasizes the erotic
element which already the Hebrew name suggests." (Interpreter's Dictionary of the
Bible, p. 460, Abingdon).
SECOND, HOW PSALMOS WAS USED IN THE GREEK TEXT.
FIRST:
-Psalmos , A.
twitching or twanging with the fingers, “psalmoi toxōn” E.Ion173 (lyr.); “toxērei psalmō toxeusas” Id.HF1064 (lyr.)
II.
mostly of musical strings, “pēktidōn psalmois krekon humnon” Telest.5, cf. Diog.Trag.1.9, Aret.CA1.1.
2.
the sound of the cithara or harp, Pi.Fr.125, cf. Phryn.Trag.11; “psalmos d' alalazei” A.Fr.57.7 (anap.); there were contests in to psallein,
3.
later, song sung to the harp, psalm, LXX 2 Ki.23.1,
al., Ep.Eph.5.19; “biblos psalmōn” Ev.Luc.20.42.
Sing TO A harp is never Psallo: Psal-tos , ē, on, A.
sung to the harp,
Ala^l-azō : (formed from the cry alalai): —raise the war-cry, tō Enualiō ēlalaxan
2.
[select]
generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; “ōloluxan hai gunaikes, ēlalaxan de hoi andres”
II.
rarely also of other sounds than the voice, sound loudly, “psalmos d' alalazei” A.Fr.57; “kumbalon alalazon” 1 Ep.Cor.13.1.—Poet. word, used by X. and in late Prose.
Psaō [
a_, but always contracted],
II. crumble away, vanish, disappear, S.Tr.678 (s. v. l.). (
psaō, psaiō, psauō, psairō, psēkhō, psōkhō,
Psaiō ,
A.
=
psaō (q. v.),
rub away, grind down
Psal-ma ,
atos,
to,
A.
tune played on a stringed instrument,
Psal-mizō ,
A.
sing psalms, and
psal-mistēs ,
ou,
ho,
psalmist
Paul said to SPEAK psalms
Psalmokha^rēs ,
es,
A.
delighting in harp-playing, of Apollo,
Psalmōd-ia ,
A.
singing to the harp,
Psalmōd-os ,
ho,
A.
psalmist, LXX Si.47.9 cod.Sin.,
50.18.
Psal-tērion ,
to,
A.
stringed instrument, psaltery, harp, “
trigōna ps.”
Arist.Pr.919b12, cf. Hippias(?) in
PHib.1.13.31,
Apollod. ap.
Ath.14.636f,
Thphr.HP5.7.6,
LXX Ge.4.21, al.
Psal-tēs ,
ou,
ho,
A.
harper, Men.495, Hippias (?) in
PHib.1.13.7,
25,
Macho ap.
Ath.8.348f,
LXX 1 Es.5.42,
Plu.2.67f,
223f, cf. “
kitharistēs ē ps.”
SIG578.15 (Teos, ii B. C.); epith. of
Apollo,
AP9.525.24. [Oxyt. in Att., parox. in Hellenistic Gr.,
Choerob. in Theod.1.187H.]
Psal-tikos ,
ē,
on,
A.
of or
for harp playing, ps. organon a
stringed instrument,
Ath.14.634f (of the
magadis）
; andra psaltikēn agathon a good
harpist, Ael. ap.
Ar.Byz.Epit.84.8.
Psal-tos ,
ē,
on,
A.
sung to the harp, sung of, LXX Ps.118(119).54.
Psal-tria ,
hē,
A.
female harper, Pl.Prt. 347d, Ion Trag.
22,
Arist.Ath.50.2,
Men.319.4,
Plu.Caes.10, al.
Psaltōd-eō ,
A.
sing to the harp, LXX 2 Ch.5.13.
Psalmus , i, m., = psalmos, i. q.
psalma,
I. a psalm (eccl.
Lat.; cf.: carmen,
hymnus),
Vulg. Isa. 38,
20.--Esp., the
Psalms of
David
A. Psalmoi toxôn does not mean "sing and play a harp"
WITH a bow. Psalmoi just means pluck or twang a bow.
-Toxon
Bow implicates galliambus , i, m. [3.
Gallus, II. A.] , I.a song of the
priests of Cybele,
III. metaph., toxa hēliou
its rays, E.HF 1090; ampelinois toxois damentes,
of the effects of wine, Pi.Fr.218;
“toxon merimnēs”
kottabos . . hon skopon es latagōn toxa kathistametha
for shooting of liquor from the cup
B.
toxêrei
psalmôi
[toxeusas]
Id.HF1064 (lyr.).
Toxeuo
A.shoot with the
bow,t inosat
a mark
[Furnished with the Bow] + [Twitching with the fingers] +
[Shoot with the bow or metaphor Send forth a hymn]
2. metaph., “Erōs etoxeus' auton” E.Tr.255; “hē turannis pantothen toxeuetai”
is aimed at,, [255]
The dart of love has pierced his heart, love for
the frenzied maid. .3. c. acc. rei, shoot from a
bow, metaph., discharge, send forth, “t. humnous”
Pi.I.2.3;
-Erôs
mostly sexual passion, goddess of love, Aphrodites,
II. as pr.n., Eros, the god of love, Hes.Th.120, Alcm. 36, Sapph.74,
Theoc.29.22.
-Hes.Th.120 Hail,
children
of
Zeus!
Grant
lovely song [105] and celebrate the holy
race of the deathless gods who are for ever, those that were born of
Earth and starry Heaven and gloomy Night and them that briny Sea did
rear. Tell how at the first gods and earth came to be, and rivers, and
the boundless sea with its raging swell,....but next wide-bosomed
Earth, the ever-sure foundation of all1the
deathless
ones
who
hold
the peaks of snowy Olympus,
and
dim
Tartarus
in
the
depth of the wide-pathed Earth, [120] and Eros
（Love）, fairest among the deathless gods, who unnerves the limbs and
overcomes the mind and wise counsels of all gods and all men within
them. From Chaos came forth Erebus and black Night; but of Night were
born Aether2and
Day,
[125]
whom
she
conceived and bore from union in love with Erebus.
Hecuba What! Phoebus' virgin-priestess, to whom the god with golden
locks granted the gift of maidenhood?
Talthybius[255]
The dart of love has pierced his heart, love for the frenzied maid.
2.
Metaphor
Shoot
out
or
send
forth
a hymn
Pindar,
Isthmian
2.[1]
The men of old, Thrasybulus,
who mounted the chariot of the Muses with their golden headbands,
joining the glorious lyre, lightly shot forth their
honey-voiced songs for
young men, if one was handsome and had [5] the sweetest ripeness that
brings to mind Aphrodite on her lovely throne. [6] For in those days
the Muse was not yet a lover of gain,
nor did she work
for hire. And sweet gentle-voiced odes did not go for sale, with
silvered faces, from honey-voiced Terpsichore. But as things are now,
she bids us heed [10] the saying of the Argive man, which comes closest
to actual truth: [11] “Money, money makes the man,” he said, when he
lost his wealth and his friends at the same time
-Euripides,
Ion But I will cease from labor [145] with the laurel branch and I wil
hurl from golden vases Gaia's fountain, which Castalia's eddies pour
out, casting out the moist drops, [150] since I am chaste. May I never
cease to serve Phoebus in this manner; or, if I do, may it be with good
fortune. Ah, ah! Already the birds of Parnassus have left their nests,
[155] and come here. I forbid you to approach the walls and the golden
house. I will reach you with my bow, herald of Zeus, though you conquer I will reach you with my bow, herald of Zeus, though you conquer [160]
with your beak the strength of all other birds. Here comes another, a
swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' lyre, that sings with you, [165]
would not protect you from my bow. Alter your wings' course; go to the
Delian lake; if you do not obey, you will steep your lovely melody in
blood. [170] Ah, ah! what is this
new bird
that approaches; you will not place under the cornice a straw-built
nest for your children, will you? My singing bow will keep you
off.
Will you not obey? [175] Go away and
bring up your offspring by the eddies of Alpheus, or go to the Isthmian grove, so that the
offerings, and the temple of Phoebus, are not harmed. . . . and yet I am ashamed to
kill you, [180] for to mortals you
bear the messages of the gods; but I will be subject to Phoebus in my appointed tasks, and I will never cease my
service to those who nourish me.
Phoebus' lyre, that sings with you, [165]
would not protect you from my bow.
ouden s' ha phorminx ha Phoibou 165
summolpos toxôn rhusait' an.
parage pterugas:
phorm-inx A. lyre, freq. in Hom., esp. as the instrument of Apollo. 2. ph. achordos, metaph. for a bow, Arist.Rh.1413a1.
psalmoi s' eirxousin toxôn. ou peisêi; chôrôn dinais
Here psalmoi means just SINGING. Melody is aoide
meaning "the act of singing."
Here the singing is something the BOW does which is not tuneful.
Homer, Iliad 1
So he spoke, and the goddess, white-armed Hera, smiled, [595] and
smiling took in her hand the cup from her son. Then he poured wine for
all the other gods from left to right, drawing forth sweet nectar from
the bowl. And unquenchable laughter arose among the blessed gods, as
they saw Hephaestus puffing through the palace. [600] Thus
the whole day long till the setting of the sun they feasted, nor did
their heart lack anything of the equal feast, nor of the beauteous
lyre, that Apollo
held, nor yet of the Muses, who sang, replying one to the other with
sweet voices. But when the bright light of the sun was set, [605] they
went each to his own house to take their rest, where for each one a
palace had been built with cunning skill by the famed Hephaestus, the limping god; and Zeus,
the Olympian, lord of the lightning, went to his couch, where of old he
took his rest, whenever sweet sleep came upon him. [610] There went he
up and slept, and beside him lay Hera of the golden throne.
Compound words define playing a harp
Anti-psallô , A.play a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Ar.Av.218 .Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.
Chase off drowsy sleep, dear companion. [210]
Let the sacred hymn gush from thy divine throat in melodious strains;
roll forth in soft cadence your refreshing melodies to bewail the fate
of Itys,
which has been the cause of so many tears to us both. [215] Your pure
notes rise through the thick leaves of the yew-tree right up to the
throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre
responds to your plaintive accents; [220] he gathers the choir of the
gods and from their immortal lips pours forth a sacred chant of blessed
voices.
Psallo is never translated as musical melody in the Greek Texts: Melody is:
Kalli-phthongos
[170] Ah, ah! what is this new bird
that approaches; you will not place under the cornice a straw-built
nest for your children, will you? My singing bow will keep you off.
Will you not obey? [175] Go away and bring up your offspring by the eddies of Alpheus, or go to the Isthmian grove, so that the offerings, and the temple of Phoebus,
are not harmed. . . . and yet I am ashamed to kill you, [180] for to
mortals you bear the messages of the gods; but I will be subject to Phoebus in my appointed tasks, and I will never cease my service to those who nourish me.
Psalmoi is translated as SINGING. See above.
Toxon , to, A bow SINGS III. metaph., toxa hêliou its rays,E.HF 1090; ampelinoistoxoisdamentes, of the effects of wine,
Will keep you out.
Ergô to bar one's way either by shutting in or shutting out: 3.to hinder, prevent from doing,
tox-euô 3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, t. humnous
Pi.I.2.3 ; glôssa toxeusasa mê ta kairia A.Supp.446 ; tauta
nous etoxeusen matên hath shot these arrows in vain,
E.Hec.603:--Pass., hêmin gar êdê pan tetoxeutai belos
A.Eu.676 .
Pindar, Isthmian 2 In memory of the victories of Xenocrates of Acragas Chariot Race ?470 B. C.
[1] The men of old, Thrasybulus, who mounted the chariot of the Muses
with their golden headbands, joining the glorious lyre, lightly shot
forth their honey-voiced songs for young men, if one was handsome and
had [5] the sweetest ripeness that brings to mind Aphrodite on her
lovely throne. [6] For in those days the Muse was not yet a lover of
gain, nor did she work for hire. And sweet gentle-voiced odes did not
go for sale, with silvered faces, from honey-voiced Terpsichore. But as
things are now, she bids us heed [10] the saying of the Argive man,
which comes closest to actual truth: [11] “Money, money makes the man,”
he said, when he lost his wealth and his friends at the same time
Aeschylus, Suppliant Women
King
I have considered them; and I am driven to this cruel predicament. I
must take upon myself a mighty war against one side or the other. [440]
There is no escape, it is as firmly fixed as a ship's hull drawn tight
by windlasses. There is no result without grievous hurt. Now when goods are plundered from a homestead, [445] other goods may come by grace of Zeus, guardian of household wealth; as a tongue that has shot arrows beside the mark,
one speech may be the healer of another. But to avoid the shedding of
kindred blood, [450] surely there is need of sacrifice and that many a
victim fall to many a god as a deliverance from impending harm. For
truly, it is to my undoing that I have come into this quarrel; and yet
I prefer to be unskilled rather than practised in the lore of
foretelling ill. But may my judgment belie itself and all go well!
Shoot forth a HYMN.
Humnos
, ho, A. hymn, ode, in praise of gods or heroes. Daueid psalms of
David, LXX 2 Ch.7.6; psalmoi kai hu. kai ôidai Ep.Eph.5.19 :
tox-êrês , es, ( [arariskô] )
A. furnished with the bow, cheir E.Alc.35 (anap.), cf. Rh.226 (lyr.).
2. = toxikos, t. sagê Id.HF188; t. psalmos the twang of the bowstring, ib.1063 (lyr.).
Arariskô (redupl. form of [root ] ar,
III. fit, equip, furnish with a thing, nê' arsas eretêisin
1.280 ; kai pômasin arson hapantas fit all [the jars] with
covers, 2.353, cf. A.R.2.1062; kai êrare thumon
edôdêi furnished, i.e. satisfied, his heart with food,
Od.5.95:--in Pass., esp. pf. part., fitted, furnished with, pulas
arêremenas sanidessi A.R.1.787 .
2. please, gratify, eme g' ha stonoess' ara^ren phrenas S.El.147 (lyr.); ha Nemea ara_re Nemea smiled on [him], Pi.N.5.44.
IV. make fitting or pleasing, arsantes kata thumon (sc. to geras), Il.1.136.
IV. to be fitting, agreeable, pleasing, (cf. areskô) once
in Hom., eni phresin êraren hêmin it fitted our temper
well, Od.4.777; akoitin arêruian prapidessi Hes. Th.608 .
Areskô [a^], impf.
1 Cor 10:[31] Whether therefore you eat, or drink, or whatever
you do, do all to the glory of God. [32] Give no occasions for
stumbling, either to Jews, or to Greeks, or to the assembly of God;
[33] even as I also please all men in all things, not seeking my
own profit, but the profit of the many, that they may be saved.
G677
aproskopos ap-ros'-kop-os From G1 (as a negative particle) and a
presumed derivative of G4350 ; actively inoffensive, that is, not leading into sin; passively faultless, that is, not led into sin: none (void of, without) offence.
G4851 sumpherō soom-fer'-o From G4862 and G5342 (including its alternate); to bear together
(contribute), that is, (literally) to collect, or (figuratively) to
conduce; especially (neuter participle as noun) advantage: be better
for, bring together, be expedient (for), be good, (be) profit (-able
for).
Id.HF188 Euripides, Heracles
I appeal then to the thunder of Zeus, and the chariot in which he rode,
when he pierced the Giants, earth's brood, to the heart with his winged
shafts, [180] and with gods uplifted the glorious triumph song;
or go to Pholoe and ask the insolent tribe of four-legged Centaurs, you
craven king, ask them who they would judge the bravest of men; will
they not say my son, who according to you is but a pretender?
[185] Were you to ask Euboean Dirphys, your native place, it
would not sing your praise, for you have never done a single gallant
deed to which your country can witness. Next you disparage that clever invention, an archer's weapon.
PSALMOS SECOND: Psal-mos
continued:
II. mostly of musical
strings, pêktidôn
psalmois krekon humnon Telest.5 , cf. Diog.Trag.1.9,
Aret.CA1.1.
You will notice that all of these have destructive or even meanings of sorcery as John proves in Rev 18.
And you WILL notice that psalmos does not define PLAYING a musical instrument
The Phrase: [1] pêktidôn [2] psalmois [3] krekon [4] humnon
A. Pêktidôn Pêktis
I. an ancient
harp used by the
Lydians, Hdt., etc.
II. a sort of shepherd's pipe,
joined of several reeds, like Pan's pipes
(surinx ), Anth.
3. cage or net for catching birds,
plêk-tron 1.instrument for striking the lyre, plectrum, 2.spear-point,
B. Psalmois twitching or twanging
with the fingers
C. Krekon Krekô ,
magad-is , hê, gen.
A.magadidos Ath.14.634c ; nom. pl. magadidesS.Fr.238 (anap.) codd. Ath., Phillis ap.Ath. 14.636b; also, dat. magadi_ prob. in X.An.7.3.32, Anaxandr. 35; acc. magadin Alcm.91 , Anacr. 18, cf. Poll.4.61 (-i^n Diog.Ath.1.10, i_n dub. in Anacr. l.c.); nom. pl. magadeis Hsch. :--magadis, an instrument with twenty strings arranged in octaves, Lydian acc. to Ath.14.634f, but ascribed to the Thracians by Canthar.9, and derived from Thrac. pr. n. Magdis by Duris 28 J.; played with the finger, Aristox.Fr.Hist.66; = pêktis, ibid., Menaechm.4 J.
II.a Lydian flute or flageolet,
producing a high and a low note together, Ion Trag. 23 (cf. Aristarch.
ap. Ath.14.634d), Anaxandr. l.c., cf. Did. ap. Ath. 14.634e, Hsch.
[ma^, but ma_- S.Fr.238 (anap.), nisi leg. ma^gadides.]
krektos , ê, on,
krekelos: thrênos, Hsch.
Plato Philebus [50b] Socrates
So now our argument shows that in mournings and tragedies and
comedies, not merely on the stage, but in all the tragedy and comedy of
life, and in countless other ways, pain is mixed with pleasure.
Euripides, Helen
Teucer departs. The Chorus of captive Greek women enter. They sing responsively with Helen
Helen
Oh,
as I begin the great lament of my great distress, [165] what mourning
shall I strive to utter? or what Muse shall I approach with tears or
songs of death or woe? Alas!
Aristophanes, Frogs
Dionysus
What is this phlattothrat? Is it from Marathon, or
where did you assemble these songs [mele] of a rope-twister?
Aeschylus
Well, to a fine place from a fine place did I
bring them, lest I be seen garnering from the same meadow as Phrynichos.
But this guy gets them from everywhere, from little whores,
Meletus' drinking songs, Carian flute solos,
Dirges, dances. This will all be made clear immediately.
Someone bring in a lyre. And yet, what need
of a lyre for this guy? Where's the girl who clacks the castanets? Hither, Muse of Euripides,
for whom these songs are appropriate to sing.
Dionysus
This Muse never did the Lesbian thing, oh no..
Threnos
Skolion
Aristophanes, Acharnians
Wasps
Chorus
Singing.
Lovable golden bird, whom I cherish above all others, you,
whom I associate with all my songs, nightingale, [680] you
have come, you have come, to show yourself to me and to charm me with
your notes. Come, you, who play spring melodies upon the harmonious
flute, lead off our anapests.
Phtheg-ma sound of words, of birds, grinding
of a mortar, Ar.Pax235;
of musical notes,Id.Av.683
(lyr.), Pl.Lg.812d;
Anapaistos
hammered, forged, rebounding,
Pindar,
Olympian 4.[1] Charioteer of the thundercloud with
untiring feet, highest Zeus!
Your Seasons, whirling to the embroidered notes of the lyre's song,
sent me as a witness of the most lofty games. When friends are
successful, the noble immediately smile on [5] the
sweet announcement. Son of Cronus,
3. of any sharp noise, boênpterois k. Ar.Av.772
(lyr.), cf. AP7.192 (Mnasalc.); kissa krexasa harmonian ib.191 (Arch.), cf. Hp. ap.
Gal.19.114. (Cf. Onorse hraell (*hrahilaz) 'weaver's sley', Oe.
hraegel 'dress', 'garment', perh. Lett. krekls
'shirt'.
Humnon
A.hymn, ode, in praise of gods or
heroes (kaitiêneidos ôidê. pros kitharan êideto hestôtôn
Chorus
This is our song over the sacrificial victim--frenzied,
maddened, destroying the mind, [330] the
Furies' hymn, a spell to bind the soul, not tuned to the lyre,
withering the life of mortals.
Para-phora II. mostly of the
mind, derangement, distraclion, A.
Eu.330(lyr.) ; têsaisthêsios Aret.CD1.5 ;
p.enmethêiSD1.6 ; frenzy,
p. kaiekstasis Iamb.Myst.3.7 ; p. têsdianoias Plu.2.249b ; podôn p. irregular
gait, Adam.2.21.
Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.
Chase off drowsy sleep, dear companion. [210]
Let the sacred hymn gush from thy divine throat in melodious strains;
roll forth in soft cadence your refreshing melodies to bewail the fate
of Itys,
which has been the cause of so many tears to us both. [215] Your pure
notes rise through the thick leaves of the yew-tree right up to the
throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair.
And his ivory lyre responds to your plaintive accents; [220] he gathers
the choir of the gods and from their immortal lips pours forth a sacred
chant of blessed voices.
phorm-inx , ingos, hê, lyre, freq. in Hom., esp. as the
instrument of Apollo, phormingos perikalleos hên ech'
Apollôn Il.1.603 , cf. 24.63, Od.17.270, Hes.Sc.203; of
Achilles, phrena terpomenon phormingi ligeiêi kalêi
daidaleêi Il.9.186 ; with seven strings (after Terpander's
time), heptaktupos, heptaglôssos, Pi.P.2.71, N.5.24;
antipsallôn elephantodeton ph. Ar.Av.219 (anap.).
Anti-psallô , play a stringed instrument in accompaniment of
song, a. elegois phorminga Ar.Av.218
- Verg. A. 6, 647 P. Vergilius Maro, Aeneid (ed. John
Dryden)
-
- These holy rites perform'd, they
took their way
- Where long extended plains of
pleasure lay:
- The verdant fields with those of
heav'n may vie,
- With ether vested, and a purple
sky;
-
- The blissful seats of happy souls
below.
- Stars of their own, and their own
suns, they know;
- Their airy limbs in sports they
exercise,
- And on the green contend the
wrestler's prize.
- Some in heroic verse divinely
sing;
-
- Others in artful
measures led the ring.
- The Thracian bard,
surrounded by the rest,
- There stands conspicuous in his
flowing vest;
- His flying fingers, and harmonious
quill,
- Strikes sev'n distinguish'd notes, and
sev'n at once they
fill.
-
- Here found they Teucer's old
heroic race,
- Born better times and happier
years to grace.
- Assaracus and Ilus here
enjoy
- Perpetual fame, with him who
founded Troy.
-
- The chief beheld their
chariots from
afar,
- Their shining arms, and coursers
train'd to war:
- Their lances fix'd
in earth, their steeds around,
- Free from their harness, graze the
flow'ry ground.
-
- The love of horses which they had,
alive,
- And care of chariots, after death
survive.
- Some cheerful souls were feasting
on the plain;
- Some did the song,
and some the choir
maintain,
- Beneath a laurel shade, where
mighty Po
nervus
, i, m. [root snar-; Old
Germ. snara, a snare; Gr. neuron; cf. parvus and pauros] , a
sinew, tendon, nerve.
B. Transf.
1. I. q. membrum virile, Hor. Epod.
12, 19; Juv. 10, 205; 9, 35; pl. nervi, Petr. 131,
§§ 4 and 6.--
2. A string of a musical instrument: omnes voces, ut nervi in fidibus, ita sonant,
ut, etc., Cic. de Or. 3, 57, 216 : cotidiano cantu vocum et
nervorum et tibiarum tota vicinitas personat, id. Rosc. Am.
46, 134 ; Verg. A. 9, 776; Hor. C. 3, 11, 4.--
3. A bowstring:
reciproca tendens nervo equino concita tela, Att. ap. Varr.
L. L. 7, § 80 Müll. (Trag. Rel. p. 176 Rib.):
nervoque obversus equino Contendit telum, Verg. A. 9, 622:
nervo aptare sagittas, id. ib. 10, 131 : erumpit nervo
pulsante sagitta, id. G. 4, 313; so Val. Fl. 6, 376; 1, 437;
Luc. 7, 141.--
b. A bow: aliquem fallere nervo, Val.
Fl. 3, 182 .--
- "As for
the contests at Delphi, there was one
in early times between citharoedes, who
sang a paean in honor of the
god; it was instituted by the
Delphians. But after the Crisaean war, in the time of
Eurylochus, the Amphictyons instituted
equestrian and gymnastic contests in which the
prize was a crown, and called them Pythian Games. And to
the citharoedes they added both
fluteplayers and citharists who played without
singing, who were to render a certain
melody which is called the
Pythian Nome. There are five parts of it: angkrousis,
ampeira, katakeleusmos, iambi and dactyli, and syringes
(brass pipes). Now the melody was composed by
Timosthenes, the admiral of the second Ptolemy, who also
compiled The Harbours, a work in ten books; and
- "By
"melody he means to
celebrate the contest between Apollo
and the dragon, setting forth the prelude as
anakrousis, the first onset of the contest as
ampeira, the contest itself as
katakeleusmos, the triumph following the
victory as iambus and dactylus, the rhythms
being in two measures, one of which, the dactyl, is
appropriate to hymns of praise, whereas the
other, the iamb, is suited to reproaches (compare the word
"iambize"), and the expiration of the
dragon as syringes, since with
syringes (reed or brass pipes related to the serpent)
4 players imitated the
dragon as breathing its last in
hissings. 5 (Strabo
Geography 9.3.10)
Greek
Music: The prevailing doctrine of ethos, as explained by ancient
Greek philosophers such as Plato and Aristotle,
was based on the belief that music has a direct effect upon the
soul
and actions of mankind.
As a
result, the Greek political and social systems were
intertwined with music, which had a primary role in
the dramas of Aeschylus, Sophocles,
Euripides, and Aristophanes.And the
Grecian educational system was focused upon musica and gymnastica,
the former referring to all cultural and intellectual studies, as
distinguished from those related to physical training. (See ethos,
dramatic literature.)
Athenian There is a tradition or
story, which has somehow crept about the world,
that Dionysus was robbed of his wits by his
stepmother Hera,
and that
out of revenge he inspires Bacchic
furies and dancing
madnesses in others;
for which reason he gave men
wine.
Such
traditions concerning the gods I leave to those who think
that they may be safely uttered; I only know that
no
animal at birth is mature or perfect in intelligence;
and in the intermediate period,
in which he has not yet acquired his own
proper sense, he rages and roars without rhyme or
reason;
and when he
has once got on his legs he jumps about without rhyme
or reason; and this, as you will remember, has been
already said by us to be the origin of music and gymnastic.
Athenian There is a tradition or
story, which has somehow crept about the world,
that Dionysus was robbed of his wits by his
stepmother Hera,
and that
out of revenge he inspires Bacchic
furies and dancing
madnesses in others;
for which reason he gave men
wine.
Such
traditions concerning the gods I leave to those who think
that they may be safely uttered; I only know that
no
animal at birth is mature or perfect in intelligence;
and in the intermediate period,
in which he has not yet acquired his own
proper sense, he rages and roars without rhyme or
reason;
and when he
has once got on his legs he jumps about without rhyme
or reason; and this, as you will remember, has been
already said by us to be the origin of music and gymnastic.
D. Humnos
A. hymn, ode, in praise of gods or heroes
Hymns unless specified do NOT include an instrument:
aphormiktos”
(WITHOUT the harp) Id.Eu.331
en alurois kleontes humnois”
E.Alc.447 (WITHOUT
the lyre)
But,
the definition of PSALLO demands using only the fingers and NOT a
plectrum. So this definition is rulled out and the quiver is void.
THIRD:
2. the sound of the cithara or harp,
Pi.Fr.125, cf. Phryn.Trag.11; psalmos d'alalazei A.Fr.57.7 (anap.);
there were contests in to psallein,
Alal-azô (formed from the cry alalai):
--raise the war-cry shout the shout of victory, nikên alalazein
2. generally, cry, shout
aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and
Bacchae, E.Ba.593 (in Med.), 1133, etc.; ôloluxan hai gunaikes,
êlalaxan
de hoi andres Hld.3.5 .
II. rarely also of other
sounds
than the voice, sound loudly, psalmos d' alalazei A.Fr.57 ; kumbalon
alalazon 1 Ep.Cor.13.1 .--Poet. word, used by X. and in late
Prose.
1Cor. 13:1 Though I speak with the
tongues of men and of angels, and have not charity, I am become as
sounding brass, or a tinkling cymbal.
Echo 1
Corinthians chapter
13:,
in
Greek mythology, a mountain
nymph, or oread. Ovid's Metamorphoses relates that Echo offended the
goddess Hera by keeping
her
in
conversation,
thus preventing her from spying on one of Zeus' amours. To punish
Echo, Hera deprived her of speech, except for the ability to repeat the
last words of another. Echo's hopeless love
for Narcissus,
who fell in love with his own image, made her fade away until all
that was left of her was her voice.
According
to the Greek writer
Longus, Echo
rejected
the advances of the god Pan; he thereupon drove the
shepherds mad, and they tore
her to pieces. Gaea (Earth) buried her limbs but allowed her to
retain the power of song. (Britannica Members)
Ovid
Metamorphoses
7.159. 1
Corinthians chapter 13:,
O
wonder-working Moon, I draw you down
against the magic-making sound of
gongs
and brazen vessels of Temesa's ore;
I cast my spells and veil the jeweled
raysof Phoebus'
(Abaddon, Apollyon) wain,
and
quench Aurora's
fires.
At my command you tamed the flaming
bulls
G214 alalazō al-al-ad'-zo From ἀλαλή
alalē (a shout, “halloo”); to vociferate, that is, (by implication) to
wail; figuratively to clang:—tinkle, wail.
Alal-azô (formed
from the cry alalai):
--raise the war-cry shout the shout of victory, nikên alalazein
2.
generally, cry, shout
aloud,
Pi.l.c., E.El.855; esp. in orgiastic
rites, A.Fr.57;
of Bacchus
and
Bacchae, E.Ba.593 (in
Med.), 1133,
etc.;
ôloluxan
Eur.
Ba.
593
Chorus
Oh! Oh! Soon the palace of Pentheus will be shaken in ruin.
—Dionysus is in the halls. [590] Revere him.
—We revere him!
—Did you see these stone lintels on the pillars falling apart?
Bromius cries out in victory indoors.
Dionysus
Light the fiery lamp of lightning! [595] Burn, burn Pentheus' home!
Chorus
Oh! Oh! Do you not see the the fire, do you not perceive, about the
sacred tomb of Semele, the flame that Zeus' thunderbolt left? [600]
Cast
on
the
ground
your
trembling bodies, Maenads, cast them down,
for
our lord, Zeus' son, is coming against this palace, turning everything
upside down.
II.
rarely also of other
sounds
than the voice, sound loudly, psalmos d' alalazei A.Fr.57 ; kumbalon
alalazon 1 Ep.Cor.13.1 .
Dōdōnē
, h(, Dodona, in Epirus, the seat of the most ancient oracle of
Zeus, Dōdōnaion khalkeion
chatterbox,
Dodona
Among the several offerings presented to the temple by various nations,
one dedicated by the Corcyreans is particularly noticed. It was a
brazen figure placed over a caldron of the same metal; this statue held
in its hand a whip, the lash of which consisted of three chains, each
having an astragalus fastened to the end of it; these, when agitated by
the wind, struck the caldron and produced so continued a sound that 400
vibrations could be counted before it ceased. Hence arose the various
proverbs of the Dodonean caldron and the Corcyrean lash. Menander, in
one of his plays, compared an old nurse's chatter to the endless sound
of this kettle (Menand. Reliq. ed. Meineke, p. 27). See Oracula.
"The
original inhabitants of Dodona
were a tribe called the Selloi.
Seven
sacred
priestesses led by Promeneia
'foremost in strength or speaking
before the Moon' of the tribe founded Dione's oracle there, suggesting that the
Pleiades may also have been
associated with her. They also founded oracles at Epirus and Thebes.
The oracles were established in oak or beech groves, because Dione
was also a tree Goddess. The trees were treated with great care,
pruned with golden sickles and protected by warrior priestesses. The sounds
of
the wind
passing through
their
leaves or through bronze
wind
chimes
hung
from their
branches were prophesied from, as were the flight patterns of sparrows, doves,
and pigeons. The priestesses who
interpreted these sounds and
movements were old
women
called peleia 'wood pigeons' or 'ring
doves.' The seven
high
priestesses were called doves, 'Pleiades.'
EVEN if Paul could speak with the tongues of
angels as some Corinthians believed as uncovered women prophesiers and
known as the MAD WOMEN OF CORINTH, the worst example of such
a TONGUE
SPEAK without LOVE would be like a PSALMUS word.
PSALMOS FOURTH: 3.
later,
a. song
sung
to
the
harp,
[Psalmus
does
not
INCLUDE
the
harp
unless
NAMED]
b. psalm, LXX 2
Ki.23.1, XXIII. Now
these are the last words of David.
David the son
of Jesse says, The man who was raised on high says, The anointed of
the God of Jacob, The sweet psalmist of
Israel: [2] The Spirit of Yahweh spoke by me, His
word was on my tongue
c Eph
5:19, Singing AND making melody IN THE HEART (a place)
d. biblos
psalmon
psal-mizô
, A.sing
psalms, and psal-mistês
, ou, ho, psalmist,
Gloss.
Ev.Luc.20.42 . And David himself saith
in the book of
Psalms, The Lord said
unto my Lord, Sit thou on my right hand,
To show
that this is what
Thayer intended with the SEMICOLON I again
quote:
G5567
Psallo
takes
note
of
the
SEMICOLON.
1)
to pluck off, pull out
2)
to cause to vibrate by touching, to twang
a)
to touch or strike the chord,
to twang the
strings of a musical instrument so that they gently vibrate
b)
to play on a stringed instrument, to play, the
harp, etc.
c)
to sing TO the music of the harp;
d)
in the NT to sing a hymn, to celebrate the
praises of God in song
You noted above that a hymn does not include a musical instrument: a
hymn is like a prayer.
THE LATIN
WORD Psalmus , i,
m.,
=
psalmos,
i.
q.
psalma,
I. a
psalm (eccl. Lat.;
cf.:
carmen,
hymnus), Vulg.
Isa. 38,
20.--Esp.,
the Psalms
of
David
The
burdens or carmen:
Carmen declaim, praise; cf.: camilla, censeo], a tune, song;
poem, verse; an oracular
response,
a prophecy; a form
of
incantation
1.
In gen., a tune, song, air, lay, strain,
note, sound, both vocal and
instrumental
(mostly poet.; in prose,
instead
of
it,
cantus;
Also
the
sound
of
waves,
4. A response
of
an oracle, a prophecy, prediction
5. A magic
formula, an incantation used by Circe (church)
CHURCH: Circus , i, m., = kirkos [kindr. with
krikos; Dor. kirkos, and korônê; cf.:
kulindeô,
kullos, cirrus, curvus]. In or around the Circus
many jugglers and soothsayers, etc., stationed themselves;
6. On
account of the very ancient practice of
composing forms of religion and law
in Saturnian verse, also a
formula in religion or law, a form:
The only
definition of LEGALISM is the NOMOS used to teach
the laws of Apollo using the muses--dirty adulterers.
MORE COMPOUND WORDS
ALWAYS USED WHEN SINGING TO A INSTRUMENT.
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Psallo or Psalmus
never means to play an instrument:
each instrument uses a compounnd word:
Anti-psallô
, A.play
a stringed instrument in accompaniment of song, a. elegois phorminga
Ar.Av.218 .
Ar.Av.218
.Aristophanes,
Birds
Epops rushes into the thicket.
Epops
From
within;
singing.
Chase off
drowsy sleep, dear companion. [210]
Let the sacred hymn gush from thy divine throat in melodious
strains;
roll forth in soft cadence your refreshing melodies to bewail the fate
of Itys, which has been the cause of so many
tears to us both. [215] Your
pure notes rise through the thick leaves of the yew-tree right up to
the throne of Zeus, where Phoebus listens to you, Phoebus with his
golden hair. And his ivory lyre
responds to your plaintive accents; [220] he
gathers
the
choir of the gods and from their immortal lips pours forth
a sacred chant of blessed voices.
Not
commanded by Paul: PsalmOidia singing
TO a harp.
Not
commanded by Paul: PsaltOideo sing
to the harp 2 Chron 5:[13] it happened, when
the trumpeters and singers were as one, to make one sound to be heard
Not
commanded by Paul: Psaltos
sung to the harp, sung OF Translated sing in Psalm 119:54
Psalm
119WEB.[52] I remember your ordinances of old,
Yahweh, And have comforted myself. [53]
Indignation has taken hold on
me, Because of the wicked who forsake your law. [54]
Your statutes have been my songs,
In the house where I live
BarbitOidos singing to
the barbiton
HupAuleo to
play on the flute in accompaniment, melody (melos never psallo)
HupoKitharizo
play an accompaniment on the harp
Not
commanded by Paul: KitharOidesis
singing to the cithra
Lusioidos one
who played women's characters in male attire, Auloi
flutes that accompany such songs.
Kat-auleō , A. charm by
flute-playing, tinos Pl.Lg.790e, cf. R.411a; tinaAlciphr.2.1:
metaph.,
se . . -ēsō phobō I will flute to you on a ghastly
flute,E.HF871
(troch.):—Pass., of persons, methuōn kai katauloumenos drinking
wine
to the
strains of the flute, Pl.R.561c; k. pros khelōnidos psophon to be played to on the flute
with lyre accompaniment,
2. make a place sound with flute-playing,
Thphr.Fr.87:— Pass., resound
with flute-playing, “nēsos katēuleito” Plu.Ant.56.
II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute
accompaniment, to
be
piped
down,
ridiculed, “gelōmenoi kai -oumenoi”
Eph. 5:18 And be not drunk [methuōn] with wine, wherein is excess;
but be filled with the Spirit;
(The Word of Christ Col 3:16; John 6:63)
Eph. 5:19 Speaking to yourselves
\ in psalms and hymns and spiritual songs,
\
singing and making melody IN your heart
to the Lord;
Eph. 5:20 Giving thanks [praying] always for all things unto God and
the Father in the name of our Lord Jesus Christ;
SPEAK is always defined as opposite of poetry or music: it is related
to Christ as the Word of God in Person. We don't turn God's Words
into songs or sermons.
Hymns are prayers: you cannot be worshiping God if you
are
getting eraptured over the boy and girl singers always a mark of gender
confusion by the leaders.
Epi-psallō , A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “ melesi kai rhuthmois”
Psallo means to pluck and
make a sound: it does not include either melody or rhythm.
Katapsallō S play stringed instruments to, [“sumposion kataulein kai k.” Pass., have music played to one, enjoy
music, ib.785e; of places, resound
with
music, Id.Ant.56.
2. Pass., to be buried to the sound of music, Procop.Pers.2.23.
Hab. 2:19 Woe unto him that saith to the wood, Awake; to the
dumb stone, Arise, it shall teach! Behold, it is laid over
with gold and silver, and there is no breath at all in the midst of
it.
Hab. 2:20 But the
LORD is in his holy temple: let all the earth keep silence before
him.
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