Lipscomb University Summer Celebration 2019. The beast
in Revelation is "A New style of music or Satyric (Pan,
Cappella) Drama
The.Beast.Serpent.Serpo.Herpo.Genesis.3
The.Beast.Serpent.Serpo.Herpo.Genesis.3
Leonard Allen The Spirit Poured out.
God's Spirit is His BREATH it produces WORDS but not after the
time of Jesus
Leonard Allen Poured out NECESSARY to
enable the Mission of Jesus Christ.
Olympian 9 For Epharmostus of Opus
Wrestling-Match 466
B. C.
9.[1] The resounding strain [melos] of
Archilochus, the swelling thrice-repeated song of
triumph, sufficed to lead Epharmostus to the hill of
Cronus,
in victory-procession with his dear companions.
Arkhilokhos
the lyric poet of Paros. “
to
men
Arkhilokhou
melos
phōnaen
Olumpia,
kallinikos
ho
triploos
kekhladōs”
i. e. his hymn to Herakles, sung after an athlete's victory
O. 9.1
[5] But now, from the bow of the Muses [Moisan] who,
shooting
from afar, send a shower of such
arrows of
song
as these on Zeus of the red
lightning-bolt and on the sacred height of Elis,
which once
the Lydian hero Pelops [10] won as the very fine dowry of
Hippodameia.
[11] And shoot a winged sweet arrow to Pytho;
for your words will not fall to the ground, short of the
mark,
when you trill the lyre in honor of the wrestling
of
the man from renowned Opus. Praise Opus and her son;
trill is:
Elelizô (
“ēlelizon”
Hsch., poet. “elelizon”
Maiist.42, Nonn.D. 2.525:
mostly in aor. (v. infr.):—Pass., impf.h.Hom.28.9:
Ep.aor. “elelikto”
Il.13.558: pf. “eleligmai”
Cerc.6.18:—whirl round, peri
skhediēn
elelixe
to kuma]
Od.5.314; hē d' elelikhthē
hē nēus]
12.416.
--2. Med. and Pass., move in coils or spires,
of a SERPENT, “tēn d' elelixamenos
pterugos
laben”
Il.2.316; ep' autou
(sc. telamōnos）“ elelikto
drakōn”
11.39, cf. A.R.4.143; “speiras
opheōn
elelizomenē”
Ar.Fr. 500. Rev 13
G1404 drakōn drak'-own Probably from an alternate form of
δέρκομαι
derkomai (to look); a fabulous kind of serpent (perhaps as
supposed to
fascinate):—dragon.
drakōn
A.dragon,
serpent, Il.11.39,
al.; interchangeable with ophis,
12.202, 208, cf. Hes. Th.322,
825, Pi.N.1.40,
A.Th.292
IV. = kērukeion,
prob. a wand with a serpent coiled round it,
S.Fr.700
(cf. 701).
II. in Il. of an army, cause
it
to turn and face
the
enemy, rally
it, spheas
ôk' elelixen Aias 17.278 :--in Pass., hoi d'
elelichthêsan 5.497 , 6.106; cf. helissô 11.1 .
III. cause to vibrate, megan d' elelixen Olumpon, of
Zeus, ib.1.530, cf. 8.199; ;
phormigga
e. make its strings quiver, Pi.O.9.13;; asteropan elelixais Id.N.9.19
:--Med.,
hippon . . agôniôi elelizomenos podi mimeo Simon.29
:--Pass., quake,
tremble, quiver,
elelichthê guia Il.22.448 ; elelikto, of a brandished spear, 13.558; amphi de peplos
elelizeto
possin h.Cer.183 ; megas d' elelizet' Olumpos h.Hom. l.c.;
phorminx elelizomena Pi.P.1.4 . (In Hom.
elel-
may have been substituted for eWel- (WeWel- in elelikto); cf.
helissô.)
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 .
2. ph. achordos,
metaph. for a
bow,
Arist.Rh.1413a1
Sug-krousis , eôs, hê, collision, anemôn Thphr. Vent.53 ; hoplôn Onos.26.1 ; [atomôn],
nephôn, Epicur.Ep.1p.8U., 2p.45U., cf. Diog.Oen.33; of ships,
D.C.49.1; hiatus or concurrence, phônêentôn Chrysipp.Stoic.2.96 , Demetr.Eloc.68,
D.H.Comp.22 (pl.), Hermog.Id.1.3, al.
2. metaph., collision,
conflict, Plu.Num. 17; pros tina Arg.iii Ar.Nu.
II. in Music, rapid alternation of two
notes,
trill,
Ptol.Harm.2.12.
III. Rhet., collision of
contradictory
statements,
Aps.p.270H.
Elelizô1 [epic lengthd. form of helissô]I. to whirl round, Od.
2. to rally soldiers, Il.:
Pass., hoi d' elelichthêsan id=Il.
3. generally, to make to tremble or
quake,
id=Il.:--Pass.
to tremble, quiver, id=Il.
II. Mid. and Pass. to move in coils or
spires, of a
serpent,
id=Il.
ala^l-azō
, fut. -axomai
v.l. in E.Ba.593,
(formed from the cry alalai):
—raise the war-cry, tō Enualiō
ēlalaxan
(as v.l. for ēlelixan)
X.An.5.2.14,
cf.6.5.27; Med.,
Arr.l.c.: c.acc. cogn., nikēn
alalazein
shout the shout of victory, S.Ant.133.
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.; “ōloluxan
hai gunaikes,
ēlalaxan
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.
The first contains Cronion, light-bearing ravisher of the
nymph, and the starry heaven battered by Typhon’s hands.
[1] Tell the tale, Goddess, of Cronides’ courier with fiery
flame, the gasping travail which the thunderbolt brought with
sparks for wedding-torches, the lightning in waiting upon
Semele’s nuptials; tell the naissance of Bacchos twice-born,
whom Zeus lifted still moist from the fire, a baby half-complete
born without midwife; how with shrinking hands he cut the
incision in his thigh and carried him in his man’s womb, father
and gracious mother at once – and well he remembered another
birth, when his own head conceived, when his temple was big with
child, and he carried that incredible unbegotten lump, until he
shot out Athena scintillating in her armour.
[11] Bring me the fennel, rattle the cymbals, ye Muses!
put in my hand the wand of
Dionysos whom I sing:
but bring me a partner for
your dance in the neighbouring island of Paros,1
Proteus of many turns,
that he may appear in all his diversity of shapes,
since I twang my harp
to a diversity of songs.
For if, as a serpent,
he should glide along his winding trail,
I will sing my god’s
achievement, how with ivy-wreathed wand
he destroyed the horrid
hosts of Giants serpent-haired.
If as a lion he shake his bristling mane, I will cry “Euoi!”
to Bacchos on the arm of buxom kij, stealthily draining
the breast of the lionbreeding goddess. If as a leopard he shoot
up into the air with a stormy leap from his pads, changing shape
like a master-craftsman,
I will hymn the son of
Zeus, how he slew the Indian nation,
with his team of pards
riding down the elephants.
If he make his figure like the shape of a boar,
I will sing Thyone’s son,
love-sick for Aura the desirable,
boarslayer, daughter of Cybele,
mother of the third Bacchos late-born.2
If he be mimic water, I will sing Dionysos diving into
the bosom of the brine, when Lycurgos3
armed himself.
If he become a quivering tree and tune a counterfeit
whispering,
I will tell of Icarios,4
how in the jubilant winepress his feet crushed the grape in
rivalry.
[34] Bring me the fennel, Mimallons!5
On my shoulders in place of the wonted kirtle, bind, I pray,
tight over my breast a dapple-back fawnskin, full of the perfume
of Maronian nectar6;
and let Homer and deep-sea Eidothea keep the rank skin of the
seals for Menelaos.
Give me the jocund tambours
and the goatskins!
but leave for another the
double-sounding pipe with its melodious sweetness,
or I may offend my own
Apollo;
for he rejects the sound
of breathing reeds,
ever since he put to shame
Marsyas7
and his god-defiant pipes,
and bared every limb of
the skin-stript shepherd,
and hung his skin on a
tree to belly in the breezes.
This is CENI: the purpose of the Church.
2Timothy 2:1 Thou therefore, my son, be strong in the grace
that is in Christ Jesus.
2Timothy 2:2 And the things that thou hast heard of me
among many witnesses,
the same commit thou
to faithful men,
who shall be able to teach
others also.
2Timothy 2:3 Thou therefore endure hardness, as a
good soldier of Jesus Christ.
2Timothy 2:4 No man that warreth ENTANGLETH
himself with the affairs of this life;
that he may please
him who hath chosen him to be a soldier.
Emplek-ō , Ep. eniplekō , pf.
“e. tēn hēdonēn eis tēn eudaimonian” Arist.EN1153b15;
poiē eniplexō se (sc. aoidē); Call.Del.29
Aoid-ē a^] 1. art of
song, “autar aoidēn thespesiēn aphelonto” Il.2.599; “hōs ara toi . . theos ōpase thespin a.” Od.8.498.
Id.Lg.669d;
“e.
tēn
hēdonēn
eis
tēn
eudaimonian”
A
poieō “waon
apo
tou
hierou
arguriou”
X.An. 5.3.9;
also tōn
ta
kerea
. . hoi
pēkhees
poieuntai
the horns of which are made into the sides of
the lyre
4. after Hom., of Poets, compose,
write, p.
dithurambon,
epea,
Hdt.1.23, 4.14; “p.
theogoniēn
Hellēsi”
Id.2.53; p.
Phaidran,
Saturous,
Ar.Th.153,
157; p.
kōmōdian,
tragōdian,
etc., Pl.Smp.223d;
“palinōdian”
Isoc.10.64,
Pl.Phdr.243b,
etc.; “poiēmata”
Id.Phd.60d:
abs., write poetry, write as a poet, “orthōs
p.”
Hdt.3.38; “en
toisi
epesi
p.”
Id.4.16, cf.
Pl.Ion534b:
folld. by a quotation, “epoēsas
pote
. .” Ar.Th.193;
“eis
tina”
Pl.Phd.61b;
“peri
theōn”
Id.R.383a,
etc.
c. describe in verse, “theon
en
epesin”
Pl.R.379a;
epoiēsa
muthous
tous
Aisōpou
put them into verse, Id.Phd. 61b;
“
Xen. Anab. 5.3.9 Here
Xenophon built an altar and a temple with the sacred
money, and from that time forth he would every year take
the tithe of the products of the land in their season and
offer sacrifice to the goddess, all the citizens and the
men and women of the neighbourhood taking part in the
festival. And the goddess would provide for the banqueters
barley meal and loaves of bread, wine and sweetmeats, and
a portion of the sacrificial victims from the sacred herd
as well as of the victims taken in the chase.
Id.Lg.669d;
a tune or verses of an opposite style. Nor
would the Muses ever combine in a single piece the cries of
beasts and men, the clash of instruments, and noises of all
kinds, by way of representing a single object; whereas human
poets, by their senselessness in mixing such things and
jumbling them up together, would furnish a theme for
laughter to all the men who, in OrpheusÕ phrase, “have
attained the full flower of joyousness.” For they behold all
these things jumbled together, and how, also, the poets
rudely sunder rhythm and gesture from tune, putting tuneless
words into meter, or leaving time and rhythm
askhol-ia
, hē,
A.occupation, business, engagement,
opp. hēsukhia,
Th.1.70; emoi
II. want of time or leisure, a.
agein
philosophias
peri
to have no leisure, for pursuing it, Pl.Phd.66d;
a.
agein
to be engaged or occupied, Id.Ap.39e;
“a.
ekhein
pros
ti”
Plu.Comp. Sol.Publ.2; opp. skholē,
Plat. Phaedo
66d for the sake of the body. We
are slaves to its service. And so, because of all these
things, we have no leisure for philosophy. But the worst of
all is that if we do get a bit of leisure and turn to
philosophy, the body is constantly breaking in upon our
studies and disturbing us with noise and confusion, so that
it prevents our beholding the truth, and in fact we perceive
that, if we are ever to know anything absolutely, we must be
free from the body and must behold
thoru^b-os ,
ho,
A. noise,
esp. the confused noise of a crowded assembly,
uproar, clamour
also tōn
ta
kerea
. . hoi
pēkhees
poieuntai
the horns of which are made into the sides of the
lyre, Hdt.4.192;
“to
s.
tēs
lexeōs
dei
mēte
emmetron
einai
mēte
arruthmon”
Id.Rh.1408b21
(but ta
s.
tēs
lexeōs
the forms (modes) used in poetry, such as
entreaty, threat, command, I
“to
s.
tēs
lexeōs
dei
mēte
emmetron
einai
mēte
arruthmon”
Id.Rh.1408b21
(but ta
s.
tēs
lexeōs
the forms (modes) used in poetry, such as
entreaty, threat, command,
melos
, eos,
to,
2. music to which a song is set, tune, Arist.Po.1450a14;
opp. rhuthmos,
metron,
Pl.Grg. 502c;
opp. rhuthmos,
rhēma,
Id.Lg.656c;
3. melody of an instrument, “phormigx
d'
au
phtheggoith'
hieron
m.
ēde
kai
aulos”
Plat. Phaedo 66d
Plat. Laws 655a Athenian
Well said, my friend. But in, fact, while postures and tunes
do exist in music,1
which deals with rhythm and harmony, so that one can rightly
speak of a tune or posture being “rhythmical” or
“harmonious,” one cannot rightly apply the choir masters
metaphor “well-colored” to tune and posture; but one can use
this language about the posture and tune of the brave man
and the coward,
[1] What time or when, O my soul, wilt thou sing of holy
Delos, nurse of Apollo? Surely all the Cyclades most
holy of the isles that lie in the sea, are goodly theme of
song. But Delos would win the foremost guerdon from the
Muses, since she it was that bathed Apollo, the lord
of minstrels, and swaddled him, and was the first to
accept him for a god. Even as the Muses abhor him who sings
not of Pimpleia1
so Phoebus abhors him who forgets Delos. To Delos no
will I give her share of song, so that Cynthian2
Apollo may praise me for taking thought of his dear nurse.
They are strong by reason of sheltering towers,
but Delos is strong by aid of Apollo. What defence is
there more steadfast? Walls and stones may
fall before the blast of Strymonian9
Boreas; but a god is unshaken for ever. Delos beloved, such is
the champion that encompasses thee about! [28] Now if
songs full many circle about thee, with what song shall I
entwine thee? What is that which is pleasing unto thee
to hear? Is it the tale how at the very first the mighty god10
smote the mountains with the three-forked sword which the
Telchines11
fashioned for him, and wrought the islands in the sea, and
from their lowest foundations lifted them all as with a lever
and rolled them into the sea?
Poieo
anything YOU make or compose. Thespesios divenly sounding,
divinely sweet, “aoidē” Il.2.600
hēdonē
enjoyment, pleasure, first in Simon. pros
hē.
legein
to speak so as to please another
en
hēdonē
esti
tini
it is a pleasure or delight to another, 3. Pl., desires after
pleasure, pleasant lusts, X.Mem.1.2.23,
Ep.Tit.3.3,
al.
Titus 3:[3] For we were also once foolish, disobedient,
deceived, serving various lusts and pleasures, living in
malice and envy, hateful, and hating one another.
Xen.
Mem. 1.2.23 How then can it be impossible for one
who was prudent to lose his prudence, for one who was capable
of just action to become incapable? To me indeed it seems that
whatever is honourable, whatever is good in conduct is the
result of training, and that this is especially true of
prudence. For in the same body along with the soul are planted
the pleasures which call to her: “Abandon prudence, and make
haste to gratify us and the body.”
2Timothy 2:5 And if a man also strive for masteries,
yet is he not crowned,
except he strive lawfully.
g118. athleo, ath-leh´-o; from a‡qloß athlos (a
contest in the public lists); to contend in the competitive
games: — strive.
athl-eō , . kata tēn agōnian” Pl.Ti.19c
a
agōn-ia , hē, A. contest,
struggle for victory, 3. of the mind,
agony, anguish, “en phobō kai pollē a.” D.18.33,, Arist.Pr.869b6; “en tois tēs psukhēs phobois, elpisin, agōniais”
Most
of the struggle against clergy is to quench the lusts of the
flesh. See Romans 12
Latin: Romans 12.1 obsecro itaque vos fratres per misericordiam Dei ut exhibeatis corpora vestra hostiamviventemsanctam Deo placentem rationabile obsequium vestrum
Rătĭōnābĭlis , e, adj.
ratio (post-Aug.; = rationalis, which is in better use), I.
reasonable, rational: he pure milk
of reason, id. 1
Pet. 2, 2: “sententia vera et rationabilis,”
1Pet. 2:1
Wherefore laying aside all malice, and all guile, and
hypocrisies, and envies, and all evil speakings,
1Pet. 2:2 As newborn babes, desire the sincere milk of the
word, that ye may grow thereby:
1Pet. 2:3 If so be ye have tasted that the Lord is gracious.
g97. adolos, ad´-ol-os; from 1 (as a negative
particle}; and 1388; undeceitful, i.e. (figuratively)
unadulterated: — sincere
g3050. logikos, log-ik-os´; from 3056; rational (“logical”):
— reasonable, of the word.
g3056.logos, log´-os; from 3004; something said (including
the thought);
Sententĭa , ae, f. for
sentientia, from sentio,
I. a way of thinking, opinion,
judgment, sentiment; a purpose, determination,
decision, will, etc.
I. Transf., of words, discourse, etc., sense,
meaning, signification, idea, notion,
etc.
1. In gen.,
a thought expressed in words; a
sentence, period: dum de singulis sententiis
breviter disputo
Genesis 3:1 Now
the serpent was more subtil than any beast of the field
which the LORD God had made. And he said unto the woman,
Yea, hath God said, Ye shall not eat of every tree of the
garden?
Genesis
3.1 sed et serpens erat callidior cunctis animantibus terrae quae fecerat Dominus Deus qui dixit ad mulierem cur praecepit vobis Deus ut non comederetis de omni ligno paradisi
5175 nâchâsh naw-khawsh' From H5172 ; a snake (from its
hiss):—serpent.
H5172 nâchash naw-khash' A primitive root; properly to hiss,
that is, whisper a (magic) spell; generally to prognosticate:—
X certainly, divine, enchanter, (use) X enchantment,
learn by experience, X indeed, diligently observe.
Serpo
, of things, to move slowly
or imperceptibly, to creep along, proceed
gradually,
Of disease, etc.: “si
ulcus
latius
atque
altius
serpit,”
gradually spreads, “serpentes
quasdam
(bestias),
quasdam
esse
gradientes,”
“chamaeleon,
Fire: “exsistit
sacer
ignis
et
urit
corpore
serpens,”
slowly spreading, canam,
qui
leniter
(cf.: “sermones
Repentes
per
humum,”
A creeping LOUSE
Canam,
exsistit
sacer
ignis
et
urit
corpore
serpens,”
slowly spreading fire, bring to destruction, reduce
to ruin, destroy
DIONYSIACA BOOK 1
[11] Bring me the fennel, rattle the cymbals, ye Muses!
put in my hand the
wand of Dionysos whom I sing:
but bring me a partner
for your dance in the neighbouring island of Paros,1
Proteus of many turns,
that he may appear in all his diversity of shapes,
since I twang my
harp to a diversity of songs.
For if, as a
serpent [drakōn],
he should glide along his winding trail,
I will sing my god’s
achievement, how with ivy-wreathed wand
he destroyed the horrid
hosts of Giants serpent-haired.
Agmĕna crowded
into a compact mass, Of a snake winding onwards Eap. of
a company of persons, a multitude, troop, crowd,
number, band
1. An army, troop, band, multitude:
clāmor
—Of things, noise, sound,
din căvus
, “tibia,”
id. 2, 620:
“bucina
= A. A war-trumpet b. =
inanis, vain, empty: “gloria,
Tībĭa
, a pipe, flute (orig. made of bone;
curva
choros
indixit
tibia
Bacchi,”
“modulate
canentes
tibiae,
Bestĭa
, 2. As a term of reproach (cf. belua and our beast):
“mala
tu
es
bestia,”
Plaut. Bacch. 1, 1, 21;
id. Poen. 5, 5, 13.—And,
humorously, of the odor of the armpits (cf. ala and caper), Cat. 69, 8.—
căno
, cĕcĭni, cantum (ancient I.imp. cante = canite,
“once
canituri,”
Vulg. Apoc. 8, 13
to utter melodious notes, to sing, sound,
play.
tibicen
“cithara,”
crowing of a cock: “galli
victi
silere
solent,
canere
victores,”
to crow,
to practice magic, to charm, Galli
is a word for a Catamite: priest of the Mother Godesses.
"Kenite" is a rendition of Hebrew According to Gesenius,
the name is derived from the name Cain (קַיִן Qayin).[5]
According to A. H. Sayce, the name
`Kenite', Qéní, is identical an Aramaic word
meaning `a smith', which in its turn is a cognate of Hebrew Quayin,
with the meaning `a lance'.
H7014 qayin
kah'-yin The same as H7013 (with a play upon the
affinity to H7069 ); Kajin, the name of the first child,
also of a place in Palestine, and of an Oriental
tribe:--Cain, Kenite (-s).
H7013 qayin kah'-yin From H6969 in the
original sense of fixity; a lance (as striking fast): spear.
H6969 qun koon A
primitive root; to strike a musical note, that is, chant or wail (at a funeral):
lament, mourning
woman.
BEGUILED IS: dē-cĭpĭo , capio, primarily
signifies to catch away, catch up, seize an
animal while running, fleeing,: “amatorem
amicae
decipiunt
vitia,”Hor
. S. 1, 3, 38.—
The
newest song which the singers have, (Odyssey)...
"they will be afraid that he may be praising, not some new
songs, but a new kind of song; and this ought not
to be praised, or conceived to be the meaning of the
poet; for any musical innovation is full of danger in the
whole State, and ought to be prohibited.
"So Damon tells me, and I can quite believe him; he says
that when modes of music change, the fundamental laws
of the State always change with them..."
"Then," I said, "our guardians must lay the foundations of
their fortress in music?"
"Yes," I replied, 'in the form of amusement: and at
first sight it always appears harmless'." (The Great Dialogs, Plato, Classic
edition, p. 312)
lēnis
, I. soft, smooth, mild, gentle, easy, calm.
sensus
judicat
dulce,
dulcis II.
Trop., agreeable, delightful, pleasant,
charming, soft, flattering.
“orator,”
Cic. Off. 1, 1, 3;
cf. “of
orators
or
writers,”
“carmen,”
id. 12, 10, 33:
“poëmata,”
Hor. A. P. 99
carmen
, a tune, song, air, lay, strain,
note, sound, both vocal and instrumental
“per
me
(sc.
inem)
concordant
carmina
nervis
Christ marked
the king of Tyre as "lucifer" which He identified as a
"singing and harp-playing prostitute in the garden of
Eden." So the anti-God morning star is prophetically
identified as the enemy of the LOGOS or true Day
Star. LOGOS is identified as the REGULATIVE
PRINCIPLE.
o is Abaddon or yon: his musical worship team or muses are
marked in the literature as dirty adulteresses, John calls
them SORCERERS and says they will be cast alive into the
Lake of Fire.
Quint.
Inst. 12 10.33 Consequently the Greek language is
so much more agreeable in sound than the Latin, that our
poets, whenever they wish their verse to be especially
harmonious, adorn it with Greek words.
pŏēma
, a composition in
verse, a poem. Poësis est perpetuum argumentum
e id. A. P. 416:
“scribere,
pangere,”
Hor. Ep. 1, 18, 40;
Hor.
Ars 416
Orpheus, the priest and interpreter of the gods. Amphion
too, the builder of the Theban wall, was said to give the
stones motion with the sound of his lyre, and to
lead them whithersoever he would, by engaging persuasion.
This was deemed wisdom of yore, to distinguish the public
from private weal; things sacred from things profane;..
Oracles were delivered in poetry, and the economy of life
pointed out, and the favor of sovereign princes was
solicited by Pierian strains, games were instituted, and a
[cheerful] period put to the tedious labors of the day;
[this I remind you of,] lest haply you should be ashamed of
the lyric muse, and o the god of song....he who sings the
Pythian strains,2 was first a learner, and in awe
of a master. But [in poetry] it is now enough for a man to
say of himself:— "I make admirable verses: a murrain
seize the hindmost: it is scandalous for me to be
outstripped, and fairly to acknowledge that I am ignorant of
that which I never learned."
2 “Pythia
cantica”
Hor. Ars 414,
songs like the hymns which were sung in honor of o [Abaddon, yon], by the
chorus in some comedies. A player, called Pythaules,
played during the intervals when the chorus left off
singing.
Prometheus dulci
laborum decipitur sono, is beguiled of
his sufferings (i. e. forgets his sufferings, being
beguiled with sweet melody), Hor. Od. 2, 13, 38.— [ALL music terms point to being
beguiled or SORCERY]
Hor.
Od. 2.13
How near dark Pluto's court I stood,
And Aeacus' judicial throne,
The blest seclusion of the good,
And Sappho [Lesbian], with sweet lyric moan
Bewailing her ungentle sex,
And thee, Alcaeus, louder far
Chanting thy tale of woful wrecks,
Of woful exile, woful war!
In sacred awe the silent dead
Attend on each: but when the song
Of combat tells and tyrants fled,
Keen ears, press'd shoulders, closer throng.
What marvel, when at those sweet airs
The hundred-headed beast spell-bound
Each black ear droops, and Furies' hairs
Uncoil their serpents at the sound?
Prometheus too and Pelops' sire
In listening lose the sense of woe;
Orion hearkens to the lyre,
And lets the lynx and lion go.
THE SERPENT AS MUSICAL ENCHANTER(ESS) IS WISE BUT GOD
HIDES FROM THE WISE OR SOPHISTS: SPEAKERS, SINGERS,
INSTRUMENT PLAYERS, DANCERS, ACTORS
Callĭdus
, a, um, adj. calleo, I.that is taught wisdom
by experience and practice, shrewd,
expert, experienced, adroit, skilful:
“in
disputando,”
Quint. 12, 2, 14
In reference to art, excelling in art,
skilful, Hor. S. 2, 3, 23
— rĕ-sŏno
dis-pŭto ,
“isti
in
eo
disputant,
Contaminari
non
decere
fabulas,”
Contamino
[Chalal or polluting the Rest means play the
flute, steal other people's property, pollute or
prostitute]
fābŭla
, “poëticae
1. Most freq., a dramatic
poem, drama, play (syn.:
“ludus,
cantus,
actio,
etc.):
in
full,
fabula
scaenica,”
Amm. 28, 1, 4; “or,
theatralis,
atque carminibus non a veritate modo,
Prov.: Lupus in fabula (like the Engl., talk of
the devil, and he will appear), of a person
who comes just as we are talking about him
THE SERPENT
OR BEAST IS
Herpō
, herpein
es
muthon,
pros
ōdas,
Id.Hel.316,
Cyc.423
;
herpon
tois
odousi
thērion
an animal that walks on its teeth,
Theiron
or Beast is a New Style of Music of Drama suddenly
attacking.
b. of things, events, etc., “
herpei
anta
tō sidarō
to kalōs
kitharisdēn”
A Beautiful Guitar Player
ki^thar-izō
, Att. fut. -
iō
Antiph. 141: (
kitharis):—
A.play the
cithara, “
phormiggi
. . himeroen
kitharize”
Il.18.570,
Hes.Sc.202;
“
lurē
d'
eraton
kitharizōn”
h.Merc.423;
“
herpei
anta
tō
sidarō
to
kalōs
kitharisden”
Alcm.35, cf.
X.Smp.3.1,
Oec.2.13;
“
adein
kai
k.”
Phld.Mus.7 K.;
kitharizein
ouk
epistamai
I am not a 'high-brow',
Ar.V.989,
cf.
959; “
arkhaion
ein'
ephaske
to
k.”
Id.Nu.1357:
prov.,
onos
kitharizein
peirōmenos,
like
onos
pros
luran
(v.
lura),
Luc.Pseudol.7;
to
kitharizomenon
music composed for the cithara,
Plu.2.1144d.
onos ,
ho and
hē,
7. onōn hubristoteros, of
wanton behaviour,
X.An.5.8.3
; “
krithōsēs onou”
S.Fr.876.
10. o. en melissais, of one
who has got into a scrape,
Crates
Com.36 ; but
o. en pithēkois, of
extreme ugliness,
Men.402.8
;
o. en murō 'a clown at a
feast',
Suid.
phorm-igx ,
iggos,
hē,
A.lyre,
freq. in
Hom.,
esp. as the instrument of Apollo, “
phormiggos perikalleos hēn ekh' Apollōn”
Il.1.603,
cf.
24.63,
Od.17.270,
Hes.Sc.203;
of Achilles, “
phrena terpomenon phormiggi ligeiē kalē daidaleē”
Il.9.186;
with seven strings (after Terpander's time),
heptaktupos, heptaglōssos, Pi.P.2.71,
N.5.24;
“
antipsallōn elephantodeton ph.”
Ar.Av.219
(anap.).
2. ph. akhordos,
metaph. for a
bow, Arist.
Rh.1413a1.
ēnthon,
etc., “eis
to
hieron
Even
a Levite was to be executed if he entered, sang or played in
a holy place.
Muthos
2. public
speech, “m.
andressi
melēsei”
Od.1.358;
“muthoisin
skoliois”
muthoisi
kekasthai
to be skilled in speech, OppositeLOGOS
LOGOS
includes the Regulative Principle: is the opposite
of singing, poetry or music.
Muthos
, ho,
A.word, speech
2.public speech, “m.
andressi
melēsei”
Od.1.358; “muthoisin
skoliois
[crooked race]
either of a story which never comes to an end, or of one
told to those who do not listen,
Woe.to.Scribes.Pharisees.Hypocrites.html
Matthew
23 Hypocrites are speakers, singers and instrument
players.
Hupo-kri^tēs
I. interpreter or expounder, II. in
Att., one who plays a part on the stage, actor,
2. of an orator, poikilos
hu.
kai
perittos
(of Dem.) Phld.Rh.1.197
S.; one who delivers,
recites, declaimer, “epōn”
Tim.Lex. s.v. rhapsōdoi;
rhapsodist,
3.metaphor., pretender, dissembler, hypocrite, LXX Jb.34.30,
36.13, Ev.Matt.23.13,
Poikilos
III. metaph., changeful, diversified, manifold,
2. of Art, p.
humnos
a song of changeful strain or full of diverse art,
Pi.O.6.87;
“poikilon
kitharizōn”
Id.N.4.14;
“dedaidalmenoi
pseudesi
poikilois
muthoi”
Id.O.1.29;
of style, “lexis
poiētikōtera
kai
p.”
Isoc.15.47
(Comp.); “skhēmatismoi”
c. of persons and things, subtle, artful, wily,
Sophos
, ē,
on,
A. skilled in any handicraft or art, clever,
Margites Fr.2; but in
this sense mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en
kithara
s.
E.IT1238
en
oiōnois,
kithara,
E. IT662,
1238
The command is to SPEAK the
ODES
-lexis , eōs, h(, (legō B) A. speech,
OPPOSITE.
ōdē, Pl.Lg.816d;
l. ē praxis speech or
action, Id.R.396c;
ho tropos tēs l. ib.400d; ta lexei dēloumena orders given by
word of mouth,
-ōdē
, hē,
contr. for aoidē,
“en
tais
ōdais
kai
melesin”
R.399c, cf. 398c; OPPOSITE. lexis,
Psallo has never and can never
speak of musical melody. If someone said:
SPEAK to the students
about the rules of grammar
SING and WHISTLE in the bathroom.
Is that too hard to understand?
According to Paul if you tamper with the Word God sends strong
delusions so that you believe your own lies. The results are
Lying Wonders: lying wonders are rhetoric, singing, playing,
juggling or acting AS a religious act--that legalism word.
Notice that
ODE must include
melos is you intend
to SING.
MELOS
or melody
B. esp.
musical member, phrase: hence,
song, strain,
Cratin.236;
melē,
ta,
lyric poetry, choral songs, opp. Epic or Dramatic
verse,
2. music to which a song is set, tune,
Arist.Po.1450a14;
OPPOSITE.
rhuthmos,
metron,
Pl.Grg. 502c;
3. melody of an instrument, “
phormigx
d' au phtheggoith'
hieron
m. ēde kai aulos”
OPPOSITE.
rhuthmos,
rhēma,
Hor. Carm. 1.17
The pleasures of Lucretilis
Tempt Faunus from his Grecian seat;
He keeps my little goats in bliss
Apart from wind, and rain, and heat.
|
căpella , ae, f.
dim. caper; cf.: puer, puella,
I. a
she-goat. also a dog.
2. As a
term of reproach, a dirty fellow, Amm. 17, 12; 24, 8 (cf. canicula).—
signum 2.
A sign, signal; a watchword, password,
given by a wind- instrument, by the
tessera, or otherwise
|
In
safety rambling o'er the sward
For arbutes and for thyme they peer,
The ladies of the unfragrant lord,
Nor vipers, green with venom, fear,
|
cŏlū^bra ,
I. a female
serpent; and in gen., a serpent, snake,
Lucil., Turp., and Varr. ap. Non.
p. 201, 22 sq.; Hor. C. 1, 17, 8;
id. S. 1, 8, 42;
Ov. M. 6, 559;
Juv. 5, 103;
Cels. 5, 27, 3;
Col. 10, 230; Plin. 32, 5, 19,
§ 53.—As an attributive of the
hair of the Furies, Medusa, etc. (v.
coluber), Ov. M. 4, 474;
4, 491; 4, 783; Luc. 9, 634.—
“ Hence, prov.: quas tu edes colubras?” i. e. art
thou frantic? Plaut. Stich. 2,
1, 50 Ritschl N. cr.;
and: “ colubra restem non parit,” i.e. like
produces like, the thorn does not produce
grapes, Petr. 45, 9.
|
Nor savage
wolves, of Mars' own breed,
My Tyndaris, while Ustica's dell
Is vocal with the silvan reed,
And music thrills the limestone fell.
per-sŏno
A. To sound through and through, to
resound B. To make a sound
on a musical instrument, to sound, play:
“citharā Iopas Personat,” Verg. A. 1, 741:
“cymbalis,” Vulg. 1 Par. 16, 5:
“buccinis,” id. Jos. 6, 13.—
|
lŭpus , i, m.
kindred with lukos;
Lukos A.
wolf, Il.16.156,
352;
lukou ptera, of things that
are not, ' pigeon's milk ', Suid.; hōs l. khanōn, of vain
expectation, “ l. kekhēnōs” Ar.Lys.629;
prin ken l. oin humenaioi, of
an impossibility, Id.Pax1076,
1112,
cf. Il.22.263;
hōs lukoi arn' agapōsin, of
treacherous or unnatural love, humenaion aeidōn wedding song.
VI. nickname of paiderastai, cf.
Pl.Phdr.
241d.
paiderast-ēs
, ou, ho, A. lover
of boys, mostly in bad sense, Ar.Ach.265(lyr.),
X.An.7.4.7,
Pl. Smp.192b,
|
Heaven is my
guardian; heaven approves
A blameless life, by song made sweet;
Come hither, and the fields and groves
Their horn shall empty at your feet.
in-nŏcens
,
Cōpĭa , ac, f.
|
Mūsa, = Mousa, I. a
muse, one of the goddesses of poetry, music, and
the other liberal arts.
Cor (
The heart, as the seat of feeling,
emotion, the seat of wisdom, understanding, heart,
mind, judgment,
cornu , the
emblem of fruitfulness and abundance b.
A bugle-horn, a horn, trumpet
(cornua, quod ea, quae nunc sunt ex aere, tunc fiebant
bubulo e cornu Connected with tubae, Cic. Sull. 5, 17;
Tac. A. 1, 68;
“venerunt capiti cornua sera meo,” Ov. Am. 3, 11,:
Hence Bacchus, as a giver of courage, is
represented with horns, Tib.
2, 1, 3; Hor. C. 2, 19, 30;
v. Bacchus, I.; cf. of a river-god,
|
Here,
shelter'd by a friendiy tree,
In Teian measures you shall sing
Bright Circe
[church] and Penelope,
Love-smitten both by one sharp sting.
Hor.
Carm. 1.1 To me the artist's meed, the
ivy wreathIs very heaven: me the sweet cool of woods,
Where Satyrs frolic with the Nymphs, secludes From
rabble rout, so but Euterpe's breath
Fail not the flute, nor Polyhymnia
fly
Averse from stringing new the Lesbian lyre. O,
write my name among that minstrel choir, And my proud
head shall strike upon the sky!
Lesb-iazō , A.
do like the Lesbian women, Lat. fellare,
Ar.Ra. 1308,
|
cănīcŭla canis.(and
music)
B. Trop., of a passionate, quarrelsome
woman A. Canis Minor, the lesser dogstar,
in the mouth of the constellation Canis, q. v., Plin. 2, 47, 47, §
123; 18, 28, 68, § 268:
“flagrans,” Hor. C. 3, 13, 9:
“flammans,” Manil. 5, 207: “rubra,” Hor. S. 2, 5, 39:
“sitiens,” Ov. A. A. 2, 231:
“insana,
Flammo , B.
Trop., to inflame, kindle, incite:
“sic donis vulgum laudumque cupidine flammat,
Circē , Kirkē, the daughter
of the Sun and of Perse or Perseis,
sister of Æetes, a sea-nymph,
distinguished for her magic arts,
whose abode, after her flight from Colchis,
was said to be in the region of the promontory of
Circeii, in Latium. magical, poisoning
Lesbos (-us ), D. Lesbĭ-as , ădis, f., = Lesbias, a Lesbian
woman: “Lesbiadum turba,” Ov. H. 15, 16:
E. Lesbis , ĭdis, adj.
f., = Lesbis, Lesbian: “Lesbida cum domino seu tulit ille lyram,”
|
Here shall you
quaff beneath the shade
Sweet Lesbian draughts that injure none,
Nor fear lest Mars the realm invade
|
Lesbius adj , Lesbios, of Lesbos,
Lesbian: civis, Alcaeus, H.: plectrum, Alcaic, H.: pes, the Sapphic meter,
H.: vinum, H.
Mars a.
Of or belonging to Mars: “ lupus,” sacred to
Mars, Verg. A. 9, 566;
cf.: Martius lupus, integer et intactus, gentis nos
Martiae et conditoris nostri admonuit, descended
from Mars
|
Of Semele's
Thyonian son,
Lest Cyrus on a foe too weak
Lay the rude hand of wild excess,
His passion on your chaplet wreak,
Or spoil your undeserving dress |
con-tĭnĕo
2. With the access. idea of hindering,
preventing motion, to keep, keep still, detain,
restrain, repress, enclose. |
Poet.: “Nasonis carmina rapti,” i. e. torn from
his home, borne far away, Ov.
P. 4, 16, 1; cf. id. H. 13, 9;
Stat. S. 3, 5, 6. —
Hor. Carm. 1.17
The pleasures of Lucretilis
Tempt Faunus from his Grecian seat;
He keeps my little goats in bliss
Apart from wind, and rain, and heat.
|
căpella , ae,
f. dim. caper; cf.: puer, puella,
I. a
she-goat. also a dog.
2. As a
term of reproach, a dirty fellow, Amm. 17, 12; 24, 8 (cf. canicula).—
signum
2. A sign, signal; a
watchword, password, given by a wind- instrument,
by the tessera, or otherwise
|
In safety
rambling o'er the sward
For arbutes and for thyme they peer,
The ladies of the unfragrant lord,
Nor vipers, green with venom,
fear,
|
cŏlū^bra ,
I. a
female serpent; and in gen., a
serpent, snake, Lucil., Turp., and
Varr. ap. Non. p. 201, 22
sq.; Hor. C. 1,
17, 8; id. S. 1, 8,
42; Ov. M. 6, 559;
Juv. 5, 103;
Cels. 5, 27,
3; Col.
10, 230; Plin. 32, 5,
19, § 53.—As an attributive
of the hair of the Furies, Medusa, etc.
(v. coluber), Ov. M. 4, 474;
4, 491; 4, 783; Luc. 9, 634.—
“ Hence, prov.: quas tu edes colubras?” i. e. art
thou frantic? Plaut. Stich.
2, 1, 50 Ritschl N.
cr.; and: “ colubra restem non parit,” i.e. like
produces like, the thorn does not
produce grapes, Petr.
45, 9.
|
Nor savage wolves,
of Mars' own breed,
My Tyndaris, while Ustica's dell
Is vocal with the silvan reed,
And music thrills the limestone
fell.
per-sŏno
A. To sound through and through, to
resound B. To make a sound
on a musical instrument, to sound, play:
“citharā Iopas Personat,” Verg. A. 1, 741:
“cymbalis,” Vulg. 1 Par. 16,
5: “buccinis,” id. Jos. 6, 13.—
|
lŭpus , i,
m. kindred with lukos;
Lukos A.
wolf, Il.16.156,
352;
lukou ptera, of things
that are not, 'pigeon's milk', Suid.; hōs l. khanōn, of vain
expectation, Eub.15.11,
cf. Ar.Fr.337,
Euphro 1.31; “ l. kekhēnōs” Ar.Lys.629;
prin ken l. oin humenaioi,
of an impossibility, Id.Pax1076,
1112,
cf. Il.22.263;
hōs lukoi arn' agapōsin, of
treacherous or unnatural love, humenaion aeidōn wedding song.
VI. nickname of paiderastai, AP12.250 ( Strat.), cf. Pl.Phdr.
241d.
paiderast-ēs
, ou, ho, A. lover
of boys, mostly in bad sense, Ar.Ach.265(lyr.),
X.An.7.4.7,
Pl. Smp.192b,
|
Heaven is my
guardian; heaven approves
A blameless life, by song made sweet;
Come hither, and the fields and groves
Their horn shall empty at your feet.
in-nŏcens
,
Cōpĭa , ac, f.
|
Mūsa , ae, f.,
= Mousa, I. a
muse, one of the goddesses of poetry, music,
and the other liberal arts.
Cor (ŏ,
The heart, as the seat of
feeling, emotion, the seat of wisdom, understanding,
heart, mind, judgment,
cornū , the
emblem of fruitfulness and abundance b.
A bugle-horn, a horn, trumpet (cornua, quod
ea, quae nunc sunt ex aere, tunc fiebant bubulo e
cornu Connected with tubae, Cic. Sull. 5, 17;
Tac. A. 1, 68;
“venerunt capiti cornua sera meo,” Ov. Am. 3, 11,:
Hence Bacchus, as a giver of courage, is
represented with horns, Tib.
2, 1, 3; Hor. C. 2, 19, 30;
v. Bacchus, I.; cf. of a river-god, I. B. 2. c.
supra.
|
Here, shelter'd
by a friendiy tree,
In Teian measures you shall sing
Bright Circe [church] and Penelope,
Love-smitten both by one sharp sting.
Hor.
Carm. 1.1 To me the artist's meed,
the ivy wreathIs very heaven: me the sweet cool of
woods, Where Satyrs frolic with the Nymphs,
secludes From rabble rout, so but Euterpe's breath
Fail not the flute, nor
Polyhymnia fly
Averse from stringing new the Lesbian
lyre. O, write my name among that minstrel choir,
And my proud head shall strike upon the sky!
Lesb-iazō , A.
do like the Lesbian women, Lat. fellare,
Ar.Ra.
1308,
|
cănīcŭla , ae,
f. dim. canis.(and music)
B. Trop., of a passionate,
quarrelsome woman A. Canis Minor, the
lesser dogstar, in the mouth of the
constellation Canis, q. v., Plin. 2, 47, 47,
§ 123; 18, 28, 68, § 268:
“flagrans,” Hor. C. 3, 13, 9:
“flammans,” Manil. 5, 207: “rubra,” Hor. S. 2, 5, 39:
“sitiens,” Ov. A. A. 2, 231:
“insana,
Flammo , B.
Trop., to inflame, kindle,
incite: “sic donis vulgum laudumque cupidine flammat,
Circē ,
Kirkē, the
daughter of the Sun and of Perse or
Perseis, sister of Æetes,
a sea-nymph, distinguished for
her magic arts, whose
abode, after her flight from Colchis,
was said to be in the region of the promontory
of Circeii, in Latium. magical,
poisoning
Lesbos (-us ), D.
Lesbĭ-as , ădis, f., =
Lesbias, a Lesbian
woman: “Lesbiadum turba,” Ov. H. 15, 16:
E. Lesbis , ĭdis, adj.
f., = Lesbis, Lesbian:
“Lesbida cum domino seu tulit ille lyram,”
|
Here shall you
quaff beneath the shade
Sweet Lesbian draughts that injure none,
Nor fear lest Mars the realm invade
|
Lesbius adj ,
Lesbios, of
Lesbos, Lesbian: civis, Alcaeus, H.:
plectrum, Alcaic,
H.: pes, the Sapphic
meter, H.: vinum, H.
Mars a.
Of or belonging to Mars: “ lupus,” sacred
to Mars, Verg. A. 9, 566;
cf.: Martius lupus, integer et intactus, gentis
nos Martiae et conditoris nostri admonuit, descended
from Mars
|
Of Semele's
Thyonian son,
Lest Cyrus on a foe too weak
Lay the rude hand of wild excess,
His passion on your chaplet wreak,
Or spoil your undeserving dress |
con-tĭnĕo
2. With the access. idea of hindering,
preventing motion, to keep, keep still, detain,
restrain, repress, enclose. |
Aristoph.
Frogs 1296
Dionysus
What is this phlattothrat? Is it from Marathon, or
where did you assemble these songs of a rope-twister?
phlattothrat and phlattothrattophlattothrat
, Com. words in Ar. Ra.1296,
1286;
meant to parody an empty high-flown style—'sound and fury
signifying nothing'.
melos , eos, to, 2.
[select] music to which a song is set,
tune, Arist.Po.1450a14;
opp. rhuthmos, metron, Pl.Grg. 502c;
opp. rhuthmos, rhēma, Id.Lg.656c;
Krētikon, Karikon, Iōnikon m.,
3.
[select] melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos”
esp. of lyric poetry, “to Arkhilokhou m.” Pi.O.9.1;
en melei poieein to write in lyric
strain, Hdt.5.95, cf.
2.135; “en melei ē tini allō metrō” Pl.R.607d
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 (skolion),
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..
Hor. Carm. 1.18
Varus, are your trees in planting? put in none before the
vine,
In the rich domain of Tibur,
by the walls of Catilus;
There's a power above that hampers all that sober brains
design,
And the troubles man is heir to thus are quell'd, and only
thus.
Who can talk of want or warfare when the wine is in his
head,
Not of thee, good father Bacchus, and of Venus
fair and bright?
But should any dream of licence, there's a lesson may be
read,
How 'twas wine that drove the Centaurs with the Lapithae to
fight.
And the Thracians too may warn us; truth and falsehood, good
and ill,
How they mix them, when the wine-god's hand is heavy on them
laid!
Never, never, gracious Bacchus, may I move thee 'gainst thy
will,
Or uncover what is hidden in the verdure of thy shade!
Silence thou thy savage cymbals, and the Berecyntine
horn;
In their train Self-love still follows, dully, desperately
blind,
And Vain-glory, towering upwards in its emptyheaded scorn,
And the Faith that keeps no secrets, with a window in its
mind.
6.23.19. 3 1.20.20 166
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