P 82 AUGUSTINE "St. Augustine
likewise encourages the singing of Psalms to the lyre
or psaltery." pg. 82
Book
ten. XXXIII.49 But the pleasures of my flesh
-- to which the mind ought never to be surrendered
nor by them enervated -- often beguile me while
physical sense does not attend on reason, to follow her
patiently, but having once gained entry to help the
reason, it strives to run on before her and be her leader.
Thus in these things I sin unknowingly, but I come
to know it afterward.
50. At other
times, shunning over-anxiously this very deception, I err
in too great strictness; and sometimes to that degree, as
to wish the whole melody of sweet music which is used to
Davids Psalter, banished from my ears, and the
Churchs too; and that mode seems to me safer, which
I remember to have been often told me of Athanasius
Bishop of Alexandria, who made the reader of the psalm
utter it with so slight inflection of voice that it was
nearer speaking than singing. Yet again, when
I remember the tears i shed at the Psalmody of Thy
Church, in the beginning of my recovered faith; and how at
this time, I am moved, not with the singing, but with the
things sung, when they are sung with a clear voice and
modulation most suitable, I acknowledge the great use of
this institution. Thus I fluctuate between peril
of pleasure and approved wholesomeness; inclined
the rather (though not as pronouncing an irrevocable
opinion) to approve of the usage of singing in the
church; that so by the delight of the ears, the weaker
minds may rise to the feeling of devotion.
Yet when it befalls me to be more moved with the voice
than the words sung, I confess to have sinned penally,
and then had rather not hear music. See now my
state; weep with me, and weep for me, ye, who so regulate
your feelings within, as that good action ensues.
For you who do not act, these things touch not you.
But, Thou, O Lord my God, hearken; behold, and see, and have
mercy, and heal me, Thou, in whose presence I have
become a problem to myself; and that is my infirmity.
In Psalm 149 Augustine utterly
condemns out ward praise by performers
and puts spiritual praise "in the hearts" and even upon
thy bed:
6. "The
saints shall exult in glory" (ver. 5). I would say
somewhat important about the glory of the saints. For
there is no one who loveth not glory.
But
the glory of fools, popular glory as it is called, hath snares
to deceive, so that a man, influenced by the praises of
vain men, shall be willing to live in such fashion
as to be spoken of by men, whosoever
they be, in whatsoever way.
Hence
it is that men, rendered mad, and puffed
up with pride, empty
within, without swollen, are willing ever to
ruin their fortunes
by
bestowing them on stage-players,
actors, men who fight with wild
beasts, charioteers. What sums they give, what sums
they spend! They lavish the powers not only of their
patrimony, but of their minds too.
They
scorn the poor, because the people shouteth not that the
poor should be given to, but the people to shout that
the fighter with wild beasts be given to. When then no
shout is raised to them, they refuse to spend; when
madmen shout to them, they are mad too:
nay,
all are mad, both performer, and spectator, and the
giver.
This mad glory is
blamed by the Lord, is offensive in the eyes
of the Almighty. ...Thou choosest to clothe the fighter
with wild beasts, who may be beaten, and make thee blush:
Christ is never conquered; He hath conquered the devil, He
hath conquered for thee, and to thee, and in thee; such a
conqueror as this thou choosest not to clothe. Wherefore?
Because there is less shouting, less madness about it.
They
then who delight in such glory, have an empty
conscience. Just as they
drain their chests, to send garments as presents, so do
they empty their conscience, so as to
have nothing precious therein.
7. But
the saints who "exult in glory," no need is there for us
to say how they exult: just hear the
verse of the Psalm which followeth: "The saints shall
exult in glory,
they
shall rejoice in their beds:" not in
theatres, or amphitheatres, or circuses, or
follies, or market places, but "in their chambers."
What
is, "in their chambers"? In their
hearts. Hear the Apostle Paul exulting in his
closet: "For this is our glory, the testimony
of our conscience."
For our
rejoicing is this, the testimony of our conscience, that in
simplicity and godly sincerity, not
with fleshly wisdom, but by the
grace of God, we have had our conversation in the
world, and more abundantly to youward. 2 Cor. 1:12
Suneidesis (g4893)
soon-i'-day-sis; from a prol. form of 4894; co-
perception, i.e. moral
consciousness; -
conscience.
Suneido (g4894)
soon-i'-do; from 4862 and 1492; to see completely;
used (like its prim.) only in two past tenses,
respectively mean. to understand or
become aware, and to be
conscious or (clandestinely) informed of: -
consider, know, be privy, be
ware of.
For we
write none other things unto you, than what ye read or acknowledge; and I
trust ye shall acknowledge even to the end; 2 Cor. 1:13
"On the
other hand, there is reason to fear lest any be pleasing
to himself, and so seem to be proud, and boast of his
conscience. For every one ought to exult with fear, for
that wherein he exulteth is God's gift, not his own
desert.
For
there be many that please
themselves, and think
themselves righteous; and there
is another passage which goeth against them, which
saith, "Who shall boast that he hath a clean
heart, and that he is pure from sin?" There
is then, so to speak, a limit to glorying in our
conscience, namely, to know that thy faith is sincere,
thy hope sure, thy love without dissimulation.
"The
exultations of God are in their mouths" (ver. 6). In
such wise shall they "rejoice in their closets,"
as not to attribute to themselves
that they are good, but praise Him from whom they
have what they are, by whom they are called to attain to
what they are not, and from whom they hope for perfection,
to whom they give thanks, because He hath begun.
Robert Ballard pg 83 Marvin R. Vincent
, in his "Word studies in the New Testament" states "some
thank that the verb has here its original signification of singing
with an instrument. This IS its dominant
sense in the Septuagint and both Basil and Gregory of
Nyssa define a psalm as implying instrumental
accompaniment."
NEVER: A psalm is a
song and a song may be read, recited, sung or sung with
instrumental accompaniment. The Bible always uses three
words to meand Sing + Play + Instrument. In fact the
word does not MEAN with an instrument because most often an
instrument is not named.
GREGORY OF NYSSA (died c394)
8 . Now
since man is a rational animal,
the instrument of his body must
be made suitable for the use of reason;
as you may see musicians producing their music according to
the form of their instruments,
and not piping with harps nor harping upon flutes,
so it
must needs be that the organization of these instruments
of ours
should be adapted for reason, that when
struck by the vocal organs
it might be able to sound properly for the use of words.
As late
as the fourth century, Gregory, bishop of Nyssa, gave this
definition of psalm:
"There
is a distinction between psalm, ode, praise, hymn, and
prayer. A psalm is the melody of a musical
instrument; and ode is a
melodious expression made by the mouth with words.
This
does not mean PLAY the melody. Tunes were derived from
plucking the bow string or a lyre.
Hippolytus
"The
psalterion is a musical instrument making its
sound from the upper parts of iits
construction and the music from
this instrument is called a psalm." (p. 29)
7. As there are "psalms," and "songs," and "psalms of song," and "songs of psalmody," it remains that we
discuss the difference between these.
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;
And thus much as to the
letter of what is signified by these terms. But as to
the mystical interpretation,
it would be a "psalm" when, by smiting the instrument, viz. the
body,
with good deeds we succeed in good action though not
wholly proficient in speculation;
and a "song," when, by revolving
the mysteries of the truth, apart from the
practical, and assenting fully to them,
we have the noblest thoughts of God and His oracles, while knowledge enlightens us, and wisdom shines brightly in our
souls; and a "song of psalmody," when, while good
action takes the lead, according to the word,
The translators of the Septuagint used the
Greek word "psallo" in its various forms. In
the Greek world it is USED meaning to "Smite the strings of
a harp with the FINGERS but never with a
PLECTRUM. Because they spoke of "shooting forth hymns"
is is ALWAYS translated as to SING. If a harp is being
plucked then psallo just means PLUCK: you must name what is
to be plucked. It is used meaning MELODY. But, we have
just heard that when it means MELODY it includes ONLY the
instrument WITHOUT the human voice. You would be
lying if you applied "psallo" to anything other than a
simple harp.
There are are three terms: Singing, playing, name of
instrument. The fact that one PLAYS and instrument
does not mean that PLAY means to play an instrument.
Vincent's:
Word Studies Of The New Testament, Vol. III,
pg. 269-270 "...The noun psalm (Eph. 5:19;
Col. 3:16; I Cor. 14:26), which is etymologically akin to
this verb (psallo in I Cor. 14:15 DEM), is used in the New
Testament of a religious song in general, having the
character of an Old Testament psalm...
"Some think that the
verb has here its original signification of singing with
an instrument. This is its dominant sense in the Septuagint, and both
Basil and Gregory of Nyssa define a psalm as implying
instrumental accompaniment...
"But neither Basil nor Ambrose nor
Chrysostom, in their panegyrics upon music, mention instrumental
music, and Basil expressly condemns it. Bingham
dismisses the matter summarily, and cites Justin
Martyr as saying expressly that instrumental
music was not used in the Christian Church. The verb is
used here in the general sense of singing
praise.
No, psalm is EVER
used in the Septuagint of SINGING with an instrument.
In most cases the word is translated as "sing" and when a
harp is intended it is named. Again, none of this was
related to modern "performance music."
See Psalms in the LXX
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).
Lam 3:13 He hath caused the
arrows of his quiver to enter into my reins.
Lam 3:14 I was a derision to
all my people; and their song all the day.
Lam 3:15 He hath filled me with
bitterness, he hath made me drunken with wormwood.
Lam 3:16 He hath also broken my
teeth with gravel stones, he hath covered me with ashes.
Lam 3:17 And thou hast removed
my soul far off from peace: I forgat prosperity.
NO PSALLO-LIKE WORD SPEAKS OF
PLAYING AN INSTRUMENT
Psalmos , ho,
twitching or twanging with the fingers, psalmoi
toxτn E.Ion173 (lyr.); toxκrei psalmτi [toxeusas] Id.HF1064
(lyr.).
Psalmoi
toxτn does not mean "sing and play a harp" WITH
a bow. Psalmoi just means pluck or twang a bow.
toxκrei psalmτi [toxeusas]
[Furnished with the Bow] + [Twitching
with the fingers] + [Shoot with the bow or metaphor Send forth a hymn]
3. c. acc.
rei, shoot from a bow, metaph., discharge,
send
forth, t. humnous
Pi.I.2.3 hath shot these arrows
in vain, E.Hec.603
Pi.I.2.3 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. 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: Money,
money makes the man, he said, when he lost his
wealth and his friends at the same time.
IF YOU
WANT TO SING AND PLAY WITH AN INSTRUMENT THE WORD IS:
Anti-psallτ , A. [1] play a [2] stringed instrument [3] 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.
IF YOU
WANT TO PLAY A STRINGED INSTRUMENT WITH A PLECTRUM
Pektis a stringed
instrumnent, played with the fingers (not plēktron), shepard's pipe,
pan's pipes, cage or net for catching birds.
With psallo you CANNOT use a guitar pick or play ANY
other musical instrument.
Plektron
A. anything to strike with:
1. instrument
for striking the lyre, plectrum,
spear point.
You cannot play an
instrument and sing psalms defined by psallo.
Krekon Krekτ ,
2. strike a stringed instrument with the plectron, magadin Diog.Ath.1.10 ; barbita
D.H.7.72 : generally, play on any instrument, aulonAr.Av.
682 (lyr.): less freq.c.dat., krekeindonakiAPl.4.231 (Anyte): c. acc. cogn., pκktidτn psalmois k. humnon
Robert Ballard pg 90 "But god, speaking
through His prophet, Isaiah says (8:20: "To the law and to the
testimony: if they speak not according to this word, it is
because there is no light in them."
SEE THE MISSED MESSAGE OF CHRIST IN ISAIAH 8
Isa 8:19And when they shall say unto you,
Seek
unto them that have familiar spirits,
and
unto wizards that peep, and that mutter:
should
not a people seek unto their God?
for the
living to the dead?
The familiar
spirit is a dry, empty wineskin. It serves as the
echo chamber of the nebel which means 'VILE.' It has the same
meaning as the harp and the sounding gongs in 1 Cor. 13.
The Wizzard is one
who thinks that they can hear the Word of God "beyond the
sacred page." John called them sorcerers because they
used rhetoric, singers and instrumentalists to STEAL the Word
and money from others
Yiddeoniy (h3049)
yid-deh-o-nee'; from 3045; prop. a knowing one; spec. a conjurer; (by impl.) a ghost: - wizard.
"In Isa 8:19 the 'obhoth and yidh'onim are spoken of
those who 'chirp and mutter." These terms
refer to the necromancers themselves who practiced ventriloquism in connection
with their magical rites. In Isa
29:4 it is said 'Thy voice shall be as an 'obh, out of the ground.'...
They are stamped in
these passages, as in the Witch of Endor narrative, as deceivers
practising a fraudulent art. By implication
their power to evoke
spirits with whom they were in familiar intercourse is denied."
(Int Std Bible Ency., ency, p. 690)
H178
τb obe From the same as H1 (Ab, Ab, Lord, Lord
sayers: apparently through the idea of prattling a fathers
name); properly a mumble, that is, a water skin (from its
hollow sound); hence a necromancer (ventriloquist, as from a
jar):bottle, familiar spirit.
Pȳthon
,, I. the serpent
slain, according to the myth, near Delphi
by o, who was fabled to have been called Pythius
in commemoration of this victory, Ov. M. 1, 438;
Stewart
sculpture
2.4 the epithet derives from his boyhood
battle against the Pythoness
at Delphi, when "the lord o, the far-shooter / shot a
strong arrow at her / and she lay there, torn with
terrible pain" (Homeric Hymn to Pythian o 356-59).
Pȳtho ,
ūs, f., = Πυθώ,
I. the former name of Delphi and its
environs, Tib. 2, 3, 27
(Python, Mόll.); Luc. 5, 134.Hence,
I. Pȳthĭcus , a, um,
adj., = Πυθικός, another form for
Pythius, Pythian: o, Liv. 5, 21:
oraculum, id. 5, 15:
sortes, id. 5, 23:
divinatio, Val. Max. 1, 8, 10: agon, Tert. adv. Gnost. 6.
II. Pȳthĭus , a, um, adj.,
= Πύθιος, Pythian, Delphic,
onian: Delphis prognatus Pythius o, Naev B. P. 2,
20; so, o, Cic. Off. 2, 22, 77;
also incola, Hor. C. 1, 16, 6;
and deus, Prop. 2, 31
(3, 29), 16: oraculum, Cic. Div. 1, 1, 3:
regna, i. e. Delphi,
Prop. 3, 13
(4, 12), 52: antra, Luc. 6, 425:
vates, i. e. the Pythoness,
Pythia, Juv. 13, 199;
cf. in the foll.
B. Substt.
1. Pȳthĭa , ae, f., = ἡ Πυθία, the priestess
who uttered the responses of the Delphic o, the
Pythoness, Pythia,
Cic. Div. 1, 19, 38;
Nep. Milt. 1, 3.
incantātĭo , ōnis, f.
id.,
I.
an enchanting, enchantment
(post-class.): magicae, Firm. Math. 5, 5: incantationum vires,
Verg.
A.
6.98
But you, if pious minds by pray'rs are won,
Oblige the father, and protect the son.
Yours is the pow'r; nor Proserpine in vain
Has made you priestess of her nightly reign.
If Orpheus, arm'd with his enchanting lyre,
The ruthless king with pity could inspire,
And from the shades below redeem his wife;
If Pollux, off'ring his alternate life,
Amos
and Jeremiah speak of the Marzeah connected with the wine,
women and musical instruments. The Marzeah was a festival
WITH and FOR the DEAD: Israel had a COVENANT WITH DEATH.
"The
marzeah had an extremely long history extending at least
from the 14th century B.C. through the Roman period. In
the 14th century B.C., it was prominently associated with
the ancient Canaanite city of Ugarit (modern Ras Shamra),
on the coast of Syria...
The
marzeah was a pagan ritual that
took the form of a social and religious association...
Some scholars regard the funerary marzeah as a feast for--and with--deceased
ancestors (or Rephaim, a proper
name in the Bible for the inhabitants of Sheol)." (King,
Biblical Archaeological Review, Aug, 1988, p. 35, 35)
"These
five elements are:
........(1) reclining
or relaxing,
........(2) eating a
meat meal,
........(3) singing
with harp or other musical accompaniment,
........(4) drinking
wine and
........(5) anointing
oneself with oil." (King, p. 37).
To
the law and to the testimony:
if they speak not
according to this word,
it is because there
is no light in them. Isa 8:20
[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis
-strīdō , ,
ere,
to
make a shrill noise, sound harshly, creak, hiss,
grate, whiz, whistle, rattle, buzz: stridentia tinguunt Aera lacu, V.: cruor stridit, hisses, O.: belua Lernae Horrendum stridens, V.: horrendā nocte (striges), O.: mare refluentibus undis, V.: aquilone rudentes, O.: videres Stridere secretā aure susurros, buzz, H.
H7442 rβnan raw-nan' A primitive
root; properly to creak (or emit a stridulous
sound), 2. tremulous sound of a mast or pole
"Shaken by the wind" also the sound of a
torrent. Vibrate the voice TRILL which is
the WOMEN'S sound of Halal above.
-cantus , ūs, m.
id., 2. With instruments, a playing,
music: in nervorum vocumque cantibus, Cic. Tusc. 1, 2,
4; id. Rosc. Am. 46,
134: citharae, Hor. C. 3, 1, 20:
horribili stridebat tibia cantu, Cat. 64, 264:
querulae tibiae, Hor. C. 3, 7, 30:
B. An incantation, charm, magic
song, etc.: cantusque artesque magorum. Ov. M. 7, 195;
7, 201: at cantu commotae Erebi de sedibus imis Umbrae ibant, Verg. G. 4, 471:
magici,
-pŏētĭcus , a, um,
adj., = poiētikos,
I. poetic,
poetical: verbum, Cic. de Or. 3, 38, 153:
non poλtico sed quodam oratorio numero et modo, id.
ib. 1, 33, 151: di, represented by the
poets,
Isa.
8:19 And when they shall say unto you,
Seek unto them that have familiar
spirits,
and unto wizards that
peep, and that mutter:
should not a people
seek unto their God? for the living to the dead?
[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis
To
the law and to the testimony:
if they speak not
according to this word,
it is because
there is no light in them. Isa 8:20
-Puthōn cf. Puthō
I. the serpent Python, slain by o.
II. pneuma Puthōnos a spirit of
divination, NTest.: ventriloquists （eggastrimuthoi） were
called Puthōnes, Plut.
-Pu_thō , gen. ous, dat. oi, h(, Pytho,
the region in which lay the city of Delphi, A. Puthoi eni petrēessē Il.9.405;
P. en ēgatheē Od.8.80,
Hes. Th.499,
etc.; of Delphi itself, Pi.P.4.66,
10.4,
Hdt.1.54,
etc. (Acc. to the legend, derived from the rotting
of the serpent, h.Ap.372.
incantātĭo , ōnis, f.
id.,
in-canto , āvi, ātum, 1,
v. a. and n. *
II. In partic.
A. To say over, mutter, or chant
a magic formula against some one: QVI
MALVM CARMEN INCANTASSET, Fragm. XII. Tab. ap. Plin. 28, 2, 4, §
17.
B. Transf.
2. To bewitch, enchant:
quaesisti, quod mihi emolumentum fuerit incantandi (sc. illam)? App. Mag. p. 305: incantata mulier, id. ib.: pileum vetitis artibus, Amm. 14, 7, 7.
vincŭlo , āvi,
ātum, 1, v. a. id.,
I. to
fetter, bind, chain: multa animalia redimiculis gaudent, et phalerari sibi magis quam vinculari videntur, Ambros. in Psa. 118,
Serm. 3, 6; Cael. Aur.
Tard. 4, 8, 108.
vincŭlum
, or (also in
class. prose), contr., vinclum , i,
n. id.,
I. that
with which any thing is bound, a
band, bond, rope, cord,
fetter, tie (cf.: catena,
manica, compes).
măgĭcus
, a, um, adj., = magikos,
I. of
or belonging to magic, magic,
magical (poet. and in
post-Aug. prose): artes, Verg.
A. 4, 493: magicis auxiliis uti, Tib. 1, 8, 24:
arma movere, Ov.
M. 5, 197: superstitiones,
Tac.
A. 12, 59: vanitates,
Plin.
30, 1, 1, § 1: herbae, id.
24, 17, 99, § 156:
aquae, Prop. 4, 1, 102
(5, 1, 106): di magici, that were
invoked by incantations (as Pluto,
Hecate, Proserpine), Tib. 1, 2, 62;
Luc.
6, 577: linguae,
i. e. hieroglyphics, id.
3, 222; but lingua, skilled
in incantations, Ov.
M. 7, 330; Luc.
3, 224: cantus, Juv. 6, 610: magicae resonant ubi Memnone chordae,
mysterious, id.
15, 5.
măgĭcē
, ēs, f., = magikē
(sc. tekhnē),
I. the
magic art, magic, sorcery
(post-Aug.): pariter utrasque artes
effloruisse, medicinam dico
magicenque, Plin.
30, 1, 2, § 10;
30,
1, 2, § 7: magices factio,
id.
30, 1, 2, § 11.
And the
book is delivered to him that is not learned, saying, Read this, I pray
thee:
and
he saith, I am not learned. Isa 29:12
Wherefore the Lord
said,
Forasmuch as this people draw
near me with their mouth,
and with their lips do honour me,
but have removed their heart far from
me,
and their fear toward me is taught
by the precept of men: Isa 29:13
Therefore, behold, I will proceed to do a
marvellous work among this people,
even a
marvellous work and a wonder:
for the WISDOM of
their wise men shall
perish,
and the understanding of their prudent men shall be hid. Isa 29:14
WHAT IS A WISE MAN?
I. Sapientia
Mart. 9, 6, 7: sapisset, Plaut. Rud. 4, 1, 8),
3, v. n. and a. [kindr. with opos, saphēs, Sophia
and sophos] A. skilled
in any handicraft or art, clever
Sophia
A.
cleverness or skill in handicraft and
art, as in carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412;
of the Telchines, Pi.O.7.53;
hē entekhnos s., of Hephaestus and
Athena, Pl.Prt.32
1d; of
Daedalus and Palamedes, X.Mem.4.2.33,
cf. 1.4.2;
in music and singing, tekhnē kai s. h.Merc.483,
cf. 511;
in poetry, Sol.13.52, Pi.O.1.117,
Ar.Ra.882,
X.An.1.2.8,
Sophos A. skilled
in any handicraft or art, clever, mostly
of poets and musicians,
Pi.O.1.9, P.1.42,
3.113;
en kithara s. E.IT1238
(lyr.), cf. Ar.Ra.896
(lyr.),
Sophis-tκs , ou, ho,
master of one's craft, adept, expert, of diviners, Hdt.2.49; of
poets,
meletan sophistais prosbalon
Pi.I.5(4).28
, cf. Cratin.2; of musicians, sophistκs . .
parapaiτn chelun A.Fr.314 ,
cf. Eup.447, Pl.Com. 140; sophistκi Thrκiki
Cergy Musicians. panu thaumaston legeis s. Pl.R.596d;
3.
later of the rhētores, Professors of
Rhetoric, and prose writers
Robert Ballard: Men
truly have a zeal for God, but it may not be according to
knowledge (Rom 10:2).
Those who have imposed
instruments--machines for doing hard work--do so because
they think that they can make themselves more appealing to
God. However, that implies that God has not been wise
enough to define Himself inclusively and exclusively.
Romans
10:1 BRETHREN, my hearts desire and
prayer to God for Israel is, that they might be saved.
Romans
10:2 For I bear them record that they
have a zeal of God,
...........
but
not according to knowledge.
Romans
10:3 For they, being
ignorant of Gods righteousness,
...........
and
going about to establish their own righteousness,
............have
not submitted themselves unto the
righteousness of God.
3.
agnoountes gar tēn tou theou dikaiosunēn, kai tēn idian zētountes stēsai, tē dikaiosunē tou theou oukh hupetagēsa
The claim is that people
who have NEVER used instruments in the School of Christ
are ignornat. No one works harder to defend themselves
than instrumentalists which have no hint from Jesus that
He needs help.
zēt-eō 4 search
or inquire into, investigate, examine, of
philosophical investigation,
5. equire,
demand, 2.
c. inf., seek to do . III. have
to seek, feel the want of,
Submitting is the
Greek Hupotasso (g5293) hoop-ot-as'-so;
fRomans 5259 and 5021; to subordinate; reflex. to OBEY: - be UNDER obedience (obedient), put under, subdue
unto,
(be, make) subject (to, unto), be (put) in subjection
(to, under), submit self unto.
Romans
10:4 For Christ is
...........
the
end of the law for
righteousness
...........
to every one that
believeth.
What
about people who spend so much time seeking to justify
themselves from all of the instrumental sounds under a
sacrificial system God did not command?
Romans
10:5 For Moses describeth the righteousness which is of
the law,
That the man which doeth
those things shall live by them.
Next,
Paul points to the musical idolatry at Mount Sinai:
there was no redemption for this idolatry.
Romans
10:6 But the righteousness
which is of faith speaketh on
this wise,
...........
Say
not in thine heart, Who shall ascend into heaven?
...........
(that
is, to bring Christ down Romans above:)
Romans
10:7 Or, Who shall descend
into the deep?
...........
(that
is, to bring up Christ again fRomans the dead.)
Romans
10:8 But what saith it?
...........
The
word is nigh thee, even in thy
mouth, and in
thy heart:
........... that is, the word
of faith, which we
preach;
But the word is very nigh unto thee,
in thy mouth, and in thy heart,
........... that
thou mayest
do it. Deut
30:14
P. 90 Robert Ballard: God Himself
pointed out, in Isaiah 55:8 that "My thoughts are not
your thoughts, neither are your ways My ways."
Christians are NOT to withdraw themselves out of the
world, nor disassociate themselves from its rightful
activities, ad did those who followed the monastic-asthetic
principle, which led them eventially and inevitably
to exclude instruments as being "worldy."
All of the musical forms came out of the monastic orders
working with the professional composers. They were not
INCLUDED in connection with congregational singing in the
Bible or church history in the public assemblies.
The clear command is that YOU don't use your thoughts or YOUR
words.
Isaiah 58:12 And
they that shall be of thee shall build the old waste places:
thou shalt raise
up the foundations of many generations;
and thou shalt be
called, The repairer of the breach, The restorer of paths to
dwell in.
Isaiah 58:13 If thou turn away thy foot from the sabbath,
from doing thy
pleasure on my holy day;
and call the sabbath a
delight, the holy of the LORD, honourable;
and shalt honour him,
not doing thine own ways,
nor finding thine
own pleasure, nor speaking thine own words:
Isaiah 58:14 Then shalt thou delight thyself in the LORD;
and I will cause thee
to ride upon the high places of the earth,
and feed thee with the
heritage of Jacob thy father:
for the mouth of the
LORD hath spoken it.
SEE
ISAIAH 55 WHICH DEFINES THE FUTURE REST DAY
HO, every one
that thirsteth,
come ye to the waters,
and he that hath no money;
come ye, buy, and eat; yea,
come, buy wine and milk WITHOUT
MONEY
and WITHOUT PRICE. Isa
55:1
2 Cor. 2:17 For
we are not as many,
............
which corrupt
the word of God:
............
but as of
sincerity, but as of God,
............
in the sight of God
speak we in Christ.
kapēl-euō, A.
to be a retail-dealer, drive a petty trade Hdt. 3.89 ta mathēmata sell
learning by retail, hawk it about, Pl. Prt.313d
, 2 Cor. 2:17, of prostitutes,
Plat. Prot. 313d
For among the provisions, you know, in which these men
deal, not only are they themselves ignorant what is
good or bad for the body, since in selling they
commend them all, but the people who buy from them are
so too, unless one happens to be a trainer or
a doctor. And in the same way, those who take
their doctrines the round of our cities, hawking
them about to any odd purchaser who desires them,
commend everything that they sell, and there may well
be some of these too, my good sir, who are ignorant
which of their wares is
[313e]
good or bad for the
soul; and in just the same case are the people who buy
from them, unless one happens to have a doctor's
knowledge here also, but of the soul. So then, if you
are well informed as to what is good or bad among
these wares, it will be safe for you to buy doctrines
from Protagoras or from anyone else you please: but if
not, take care, my dear fellow, that you do not risk
your greatest treasure on a toss of the dice.
Eilikrineia
(g1505( i-lik-ree'-ni-ah; from 1506; clearness,
i.e. (by impl.) purity (fig.): - sincerity.
2 Co.1:12 For our
rejoicing is this, the testimony of our conscience, that
in simplicity and godly sincerity, not
with fleshly wisdom, but by the grace of God, we have
had our conversation in the world, and more abundantly
to youward.
Sophia A. cleverness
or skill in handicraft and art, in music
and singing, tekhnē kai s. h.Merc.483,
cf. 511;
in poetry,
Incline your
ear, and come unto me:
hear, and your soul
shall live;
and I will make an everlasting
covenant with you,
even the sure mercies of David.
Isa 55:3
Matt. 11:28 Come
unto me,
all ye that labour
and are heavy laden,
and I will give
you rest.
Click for the Laded Burden
Phortos i A. load,
freight, cargo, Od.8.163,
14.296,
Hes.Op. 631,
Hdt.1.1,
S.Tr.537,
and later Prose, as PEnteux.2.11
(iii B. C.), Plu.Marc.14,
Luc.VH1.34; epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai, Call.Fr.4.10P.; ph. erōtos, of Europa on the
bull, Batr.78, cf. Nonn.D.4.118.
Epoiēsanto A.
make, produce, first of something
material, as manufactures, works of art, expld. as pepragmateumai, prodedomai, phortos gegenēmai,
A. Pragmateuomai work
at at thing, labour to bring it about, take
in
hand, treat laboriously, be engaged in. Work at
writing religious poetry for use around the shrine
or Hieros the temple of
Athena for the hierodoulo
Hierodoulos Nethinim
1
Esdras 1:2 especially of the temple courtesans at
Corinth and elsewhere
also male prostitutes. Str.8.6.20,
6.2.6;
Neokoros
B. Prodidomi pay in advance, play false,
be guilty of treachery, surrender
4. after Hom., of Poets, compose,
write, p. dithurambon, epea, Hdt.1.23,
4.14;
p.
Represent in verse,or poetry, invent, represent,
myths, comedy, tragedy
Click
for
the meaning of REST.
Is. 55:8 For my
thoughts are not your thoughts,
neither are your ways my ways,
saith the LORD.
Is. 55:9 For as the heavens are higher than the earth,
so are my ways higher than your
ways,
and my thoughts than your
thoughts.
If the musical discorders THINK then it cannot be from God:
that is why the clear command is for the elders to teach
that which has been taught.
WHY IS THAT, asks Peter
as explained by Christ?
2Pet. 2:1 But there were false prophets also among the people,
even as there shall be
false teachers among you,
who privily shall
bring in damnable heresies,
even denying the Lord
that bought them,
and bring upon
themselves swift destruction.
2Pet. 2:2 And many shall follow their pernicious
ways;
by reason of whom the
WAY OF TRUTH shall be evil spoken of.
Aselgeia demagogon
tōn dēmagōgōn Arist.Pol.1304b22
II. licentiousness, peri tas sōmatikas epithumias Plb.36.15.4
Lust
toward boys Xen. Const. Lac. 2.13
Xen. Const. Lac. 2.13 The
customs instituted by Lycurgus were opposed to all of
these. If someone, being himself an honest man,
admired a boy's soul and tried to make of him an ideal
friend without reproach and to associate with him, he
approved, and believed in the excellence of this kind
of training. But if it was clear that the attraction
lay in the boy's outward beauty, he banned the
connexion as an abomination; and thus he caused lovers
to abstain from boys no less than parents abstain from
sexual intercourse with their children and brothers
and sisters with each other [14] I am not
surprised, however, that people refuse to believe
this. For in many states the laws are not opposed to
the indulgence of these appetites.
Lusting
after Theaomai gaze at, behold,
mostly with a sense of wonder, at a work
3. view
as
spectators, esp. in the theatre, Isoc.4.44;
hoi theōmenoi the spectators,
Ar.Ra.2,
cf.Nu.518,
al. (but also, onlookers, bystanders, Antipho 3.3.7)
5. HISTORICAL, SECULAR EVIDENCE
Danny Corbitt: The 4-year
ascetic experience of John Chrysostom (died 407)
permanently damaged his health,20 and he was
twice deposed and sent into exile because of his asceticism
which he wanted to impose on others.21 Jerome
(died 420) taught that a virgin shouldnt even know what a
musical instrument is22 and that no man should
ever hear a woman sing.23 Augustine (died 430)
thought that singing itself was a concession to weak
brothers.24
Chysostom Letter to Theodore After His
Fall
Where
are they now who used to strut through the
market
place with much pomp, and a
crowd of attendants? who were clothed in silk and redolent
with perfumes, and kept a table for their parasites, and were
in constant attendance at the theatre?
What has
now become of all that parade of theirs? It is all
gone;-the costly splendour of their banquets, the throng
of musicians, the attentions of flatterers, the loud
laughter, the relaxation of spirit, the enervation
of mind, the voluptuous, abandoned,
extravagant manner of life-it has all come to an end.
The musical discorders shoud
be happy that these "libertarians" now do that in what they
call "the worship service."
IT IS A
FACT THAT IT WAS THE ASCETICS WHO IMPOSED INSTRUMENTS.
Nicetas
in his works ' On Vigils' and ' On the good of Psalmody'
illustrates further the similarity of ideals of
private and corporate devotional hours in
East and West c. A.d. 400 ;
and he was one of
the pioneers of the newer
feeling which allowed hymns
other than
those in Scripture, the Psalter above
all,
to form part
of corporate Christian worship, though the prejudice
against this died hard.'
"The
authority of St. Ambrose, who himself wrote hymns
for public worship, had no doubt great
influence. The musical difficulty to their more
general use was a real one. It was in monastic
circles, then, that hymns proper took real
root, and from their daily offices passed
in the later Middle Ages into the Breviary
of the ordinary clergy. The early Celtic monks
in particular were active in the use and production
of hymns; and from the 12th cent, onwards we can
trace the periods of fresh revival in monastic
religion by this spontaneous form of devotional
expressionJames Hastings, Encyclopedia of religion and
Ethics, V12, 770-774
"Rome
was always conservative in usages, as appears
most clearly in its manner of reciting the Psalms,
which were the staple of worship other than prayer.
The Eastern form was antiphonal singing between
two choirs, a method which took definite shape at Antioch
about 350, and spread westwards rapidly through
Cappadocia, Constantinople, Milan. In Rome, as also in
Africa, the old 'plain song'with its simpler style of
musiccontinued longer to prevail, probably seeming to
the Roman mind, as to Augustine, to be 'better adapted
to the sober gravity of Divine worship.' Net the practical advantages
of the new system, especially as 'winning weaker
brethren to devotion by the delight which it
ministered to the ear,' were manifest; and ere
Augustine's death in 430 the change in Rome had begun to
act, though it took etfect only gradually
Following
their ascetic map, it is no wonder that the Swiss
reformer Zwingli banished even vocal singing
from the churches.25 We speak of how these
ascetics chanted, but we dont chant.
That's false: there was
no congregational singing during the time of Zwingli:
being Bible literate he knew that none of the TEACHING the
Word of Christ had any external musical content. After
Zwingli was dead Calvin allowed some of the Psalms to be
rewritten to make singing remotely possible. That violated
the direct command not to "private interpret" of further
expound. He responded to the masses used to attending
secular performances in the great cathedrals. In fact both
singing and harmony were developed by the monastic orders
who had time to fiddle around.
300. Even in Egypt, where asceticism
appeared earliest, as late as the end of the 4th cent,
there were only two corporate daily seasons of worship,
evening and morning. At Antioch we hear that c. 350
Bishop Leontins 'brought the congregations collected by
the ascetics Flavian and Diodorus in the
cemetery chapels, into the city churches,'
and so introduced antiphonal singing, by two
opposite choirs, into wider use. James Hastings,
Encyclopedia of Religion and Ethics p 770
2 The hymn-singing of the 'Lollards' was personal
rather than in public worship, but illustrates the
tendency of fresh personal religion to break into song.
Further, largely in consequence of this
Biblicism, the reformation he directed was more radical.
What Zwingli specially detested in the later growths
which had buried this early Christianity was
anything that could be called ' the worship of the
creature.' Worship belonged to God alone, ' the
God and Father ot our Lord and Saviour Jeans Christ.' He
did not undervalue art or music in themselvesfar from
itbut, when they were so employed as to hinder
an intelligent Creator, then to him they
were anathema. 876.
In fact, no one did
congregational singing with or without an instrument: if none
of the Bible is metrical, and Calvin permitted some psalms
(only) to be radically rewritten and set to meter to be sung
in unison (only). Zwingli knew that yu cannot obey the
DIRECT COMMAND to use one mind and one mouth to speak
that which is written for our learning. All eastern "songs"
were spoken or cantillated: chanted something like this:
^^^- ^^^- ^^^- ^^^
"Reformed'
or Calvinitt worship,The germ of this type is seen
already in Zwingli who made the Protestant emphasis
on the Word of the gospel rather than its
Sacraments determine the order and forms of public
worship: such worship, too, was to him only a special mode
of the worship of the whole Christian life, and here
'obedience is better than sacrifice' or any formal act of
worship. Simplicity, then, in cnltns was hia practical
role, in the interests of worship ' in spirit and in
truth.'
Don't you wonder why all of
the latter day musical idolaters pour down so much wrath on
Zwingli who said it just like the Church in the Wilderness,
all of the New Testament and the Campbells who knew that:
Church is A
School of Christ
Worship is
reading and musing the Word of God.
However, the Catholic
cathedrals which had been used for secular musical
performances had a lot of church members wanting to sing
instead of speak:
"In keeping with these principles,
Calvin insisted on the value of congregational singing,
as helping the soul to rise into the atmosphere of
worship; but. he limited the contents of
sacred song to the inspired Scriptural models,
the Psalter in particular, adapted only verbally
to musical melody
Notice, that you cannot begin something if people always sang
to attract the weaker people by the lust of the ear:
"Another
feature characteristic of the Protestant form of
worship, one expressive of its concern for the active participation of the
whole congregation, with a faith fully
conscious of its proper objects of adoration, is vernacular
singing, whether of psalms or of other forms of
devotion.
Here a mode of
worship which in mediaeval Catholicism had been confined to the few,
particularly those
separated by vows to a specialized ' religious' life,
was made part of
common worship for all
James Hastings, Encyclopedia of Religion and ethics.
Genesis
4:19 And Lamech took unto him two wives:
BIBLE 101 POINT ONE: