Logos  Mythos and the Bible

http://www.pineycom.com/C.Leonard.Allen.Lipscomb.University.Theology.html

John.Mark.Hicks.Keith.Stanglin.Letter.and.Spirit.html

Keith.Stanglin.Letter.and.the.Holy.Spirit.of.Biblical.Interpretation.html

Myles.Werntz.Abilene.Christian.University.Baptist.Studies.Center.html


Theolog-os A.one who discourses of the gods, of poets such as Hesiod and Orpheus [one of the sects silenced in Rome] Arist.Metaph.1000a9, cosmologists
“theologoi kai poiētai” [poet, singers you make yourself] of diviners and prophets, “th. kai manties” Philol.14; hoi Delphōn th

This speaks of the Mad of Corinth well documented.

Arist.Metaph.1000a9, The school of Hesiod, and all the cosmologists,
        considered only what was convincing to themselves,
        and gave no consideration to us.
For they make the first principles Gods or generated from Gods,
        and say that whatever did not taste of the nectar and ambrosia became mortal—
        clearly using these terms in a sense significant to themselves;
        but as regards the actual applications of these causes their statements are beyond our comprehension

manti^s  female witchcraft of Spiritual Formation. ho mantis mantin ekpraxas eme, of Apollo and Cassandra,
“ho Thrēxi m.” E.Hec.1267 (of Dionysus), That Thracian or Threskia as IMPURE religion. 2. metaph., presager, foreboder,
II. a kind of grasshopper, the praying mantis, Mantis religiosa, Theoc.10.18,

Delphoi , ōn, hoi, A.Delphi, “Delphōn es piona dēmon sacrificial meat.   [Paul cast out the Delphian spirit who used music]

Theolog-eō ,

A.discourse on the gods and cosmology, Arist. Metaph.983b29; “peri tinōn”c.; Dia auton ton Phaethonta [Jupiter, son of Apollon] zōogonon theologousi call him Zeus z. Antig.Mir. 10b:—Pass., ta theologoumena discourses about the gods,, Suet. Aug.94; “treis hai Moirai theologountai” Theol.Ar.16.

2. refer to a divine influence, tous tokous Sch.Ptol.Tetr.103.

zōogonos2 zōē  zōē
tēn zoēn poieesthai or katastēsasthai apo or ek . . to get one's living by .
II. zōē,= “graus” 11, the scum on milk,
zôos alive, living, Homer, Hdt., etc.; zôon helein [heresy or sectarianism] tina to TAKE PRISONER,

Zoe is EVE or Evah in feminine or effeminate worship so they have to slander Paul.  Evah means an abomination because she is the MEDIATRIX as the dirty Muses were called the SHEPHERDS.  There is a mother behind every progressive.

1John 4:3 And every spirit that confesseth not
        that Jesus Christ is come in the flesh IS NOT OF GOD:
                and this is that spirit of antichrist,
                whereof ye have heard that it should come;
                and even now already is it in the world.
1John 4:4 YE ARE OF GOD, little children, and have overcome them:
        because greater is HE THAT IS IN YOU,
        than he that is IN THE WORLD.
1John 4:5 They are OF THE WORLD:
        therefore speak they OF the world,
        and the world heareth them.
1John 4:6 WE ARE OF GOD:
        he that knoweth God heareth us;
        he that IS NOT OF GOD heareth not us.
        Hereby know we the spirit OF truth,
        and the spirit OF error.

https://iep.utm.edu/timaeus/
google
Allen Theology

Logos, Mythos, Ethos and other concepts are defined by the way the words are used in the ancient literature to both include and exclude certain concepts. Logos is defined as the Regulative Principle where a god [1] thinks or conceives, [2] breathes (spirit) and [3] articulates a word. The Logos or Word is what one speaks in a rational since: Logos excludes introductions, personal experiences, singing, playing instruments or acting to enhance the Word: God speaks and it is done. However, Jesus said that "the doctors of the law take away the key to knowledge."

Among the philosophers Logos versus Mythos or Logos versus Sophia define the mental disposition (mind, spirit) of two classes or races of people.  Kosmos or world-order defines the mind-set defined by Phythagoras: Jesus said that He was not OF the Kosmos or world and any person who gladly detected His call of invitation would be baptized.  This was the Prophetic (Isaiah 1) request for God in Christ to accept them as a disciple and translate their spirits into a heavenly kingdom of the ekklesia-synagogue where Christ instructs disciples who are students.

Luke 12:30 For all these things do the nations of the world seek after:
        and your Father knoweth that ye have need of these things.
Luke 12:31 But rather seek ye the kingdom of God;
        and all these things shall be added unto you.
Luke 12:32 Fear not, LITTLE FLOCK  [g98 Mikros a tiny number]
        for it is your Father’s good pleasure to give you the kingdom.

However, philosophers love to expand the simple word meaning so that Logos Versus Mythos in the literature never goes back to the original writings where the working people would understand that their phylosophy or theology was actually outlawed.  Up is the opposite of down as speak is the opposite of sing.  However, when we are depressed we are told to get "up."

Logos, Mythos, Ethos and other concepts or "gods" are defined by theologians by reading ancient theologians.  This permits the body of literature we call the Bible to be totally discounted just because it contains some myths.  The early writers adopted the concept of MYTHOS because they defined it and LOGOS and a host of other Greek terms to develop the two world views which governed society in general.  Instances where the words are used in specific sentences do not define their expanded philosophy.  The word LEXIS or speak is the OPPOSITE of ODE or sing: that does not prevent philosophers from expanding the meaning of "sing" to mean "the drama made my heart sing." This extended use appears in Scripture where Lyre is used of the human voice.

So my heart laments for Moab like a flute;
it laments like a flute for the men of Kir Hareseth. The wealth they acquired is gone. Je.48:36

My heart laments for Moab like a harp,
my inmost being for Kir Hareseth. Is.16:11

That is why Scribes and Pharisees are called hypocrites because they made up their own songs and sermons (Ezekiel 33) because people loved theatrics and were willing to pay to escape reality.  Reality would know that God wants people to live right and practice social justice.  Jesus grasped that they made up their own laws in song and sermon SO THAT they could be fed but prevent the people from understanding that God did not command a clergy.  In Ephesians 4 the vocational elders as pastor-teachers are sent by Jesus to EXPELL the cunning craftsmen or sophists (speakers, singers, instrument players, actors) because THEY LIE IN WAIT TO DECEIVE.

Plat. Rep. 377b  For it is then that it is best molded and takes the impression¹ that one wishes to stamp upon it.” “Quite so.”
        “Shall we, then, thus lightly suffer² our children
        to listen to any chance stories fashioned by any chance teachers
        and so to take into their minds opinions
        for the most part contrary to those that we shall think it desirable
        for them to hold when they are grown up?”
       “By no manner of means will we allow it.” “We must begin, then, it seems, by a censorship

1 The image became a commonplace. Cf. Theaetetus 191 D, Horace Epistles ii. 32. 8, the Stoic tupōsis en psukhē, and Byron's “Wax to receive and marble to retain.”

2 Cf. the censorship proposed in Laws 656 C. Plato's criticism of the mythology is anticipated in part by Euripides, Xenophanes, Heracleitus, and Pythagoras. Cf. Decharme, Euripides and the Spirit of his Dramas, translated by James Loeb, chap. ii. Many of the Christian Fathers repeated his criticism almost verbatim.

muthos , ho,

A.  word, speech, freq. in Hom. and other Poets, in sg. and pl., “epos kai muthos” Od.11.561; opp. “ergon, muthōn te rhētēr' emenai prēktēra te ergōn” Il.9.443, cf. 19.242; esp. mere word, muthoisin, opp. egkhei, 18.252; “ergō kouketi muthō” A.Pr.1080 (anap.), etc.:—in special relations:
II. tale, story, narrative, Od.3.94, 4.324, S.Ant.11, etc.: in Hom. like the later logos, without distinction of true or false, m. paidos of or about him, Od.11.492: so in Trag., akousei muthon en brakhei logō

2.  iction (opp. logos, historic truth), Pi.O.1.29 (pl.), N.7.23 (pl.), Pl.Phd.61b, Prt.320c, 324d, etc.

3. generally, fiction, “m. idioi” Phld.Po.5.5; legend, myth, Hdt.2.45, Pl.R.330d, Lg. 636c, etc.; “ho peri theōn m.” Epicur.Ep.3p.65U.; “tous m. tous epikhōrious gegraphen” SIG382.7 (Delos, iii B.C.).

Plat. Rep. 2.377c over our storymakers, and what they do well we must pass and what not, reject. And the stories on the accepted list we will induce nurses and mothers to tell to the children and so shape their souls by these stories far rather than their bodies by their hands. But most of the stories they now tell we must reject.” “What sort of stories?” he said. “The example of the greater stories,” I said, “will show us the lesser also. For surely the pattern must be the same and the greater and the less

Next, supposing the charge is "That is not true," one can meet it by saying "But perhaps it ought to be," just as Sophocles said that he portrayed people as they ought to be and Euripides portrayed them as they are. If neither of these will do, then say, "Such is the tale"; for instance, tales about gods. Very likely there is no advantage in telling them, and they are not true either, but may well be what Xenophanes declared⁴—all the same such is the tale.

Aristot. Poet. 1460b Next, supposing the charge is "That is not true,"
        one can meet it by saying "But perhaps it ought to be,"

just as Sophocles said that he portrayed people as they ought to be and Euripides portrayed them as they are. If neither of these will do, then say, "Such is the tale"; for instance, tales about gods. Very likely there is no advantage in telling them, and they are not true either, but may well be what Xenophanes declared⁴—all the same such is the tale.

4 i.e., immoral and therefore untrue. He opened the assault on Homeric theology at the end of the sixth or the beginning of the fifth century B.C.

Strab. 10.3 as a kind of inspired people and as subject to Bacchic frenzy,
        and, in the guise of ministers,
        as inspiring terror at the celebration of the sacred rites
        by means of war-dances, accompanied
        by uproar and noise and cymbals and drums and arms, and also by flute and outcry;
and consequently these rites are in a way regarded as having a common relationship, I mean these and those of the Samothracians and those in Lemnos and in several other places, because the divine ministers are called the same. However, every investigation of this kind pertains to THEOLOGY, and is not foreign to the speculation of the philosopher. [8]

Strab. 1.2 The great mass of women and common people, cannot be induced by mere force of reason to devote themselves to piety, virtue, and honesty; superstition must therefore be employed, and even this is insufficient without the aid of the marvellous and the terrible. For what are the thunderbolts, the ægis, the trident, the torches, the dragons, the barbed thyrses, the arms of the gods, and all the paraphernalia of antique theology,
        but fables employed by the founders of states,
        as bugbears to frighten timorous minds.
Such was mythology; and when our ancestors found it capable
        of subserving the purposes of social and political life,
        and even contributing to the knowledge of truth,
they continued the education of childhood to maturer years, and maintained that poetry was sufficient to form the understanding of every age

kour-ētikos , ē, on,

A.of or concerning the Kourētes, ta K. treatises on the K., Str.10.3.7: hence, in Neo-Platonic THEOLOGY, ministrant, “ho prōtos patēr kai ho tritos ou paragei k. taxin” Dam.Pr.278; “k. theotēs” Procl.in Ti.3.310 D.; “k. taxis” Id.Theol.Plat. 5.35; k. trias ibid. (here derived fr. Kourē = Korē).

II. ho K. (sc. pous) the Cretic, Sch.Ar.Nu.651; the third paeon (uu-u), Choerob. in Heph.p.218C.

https://en.wikipedia.org/wiki/Neoplatonism_and_Christianity

theolog-ia , hē,

A.  science of things divine, Pl.R.379a, Phld. Piet.72, Porph.Marc.15, Iamb.Myst.1.1, etc.; title of an Orphic work, Dam.Pr.124: in pl., Arist.Mete.353a35.

II.  oration in praise of a god, SIG1109.115.

2.  incantation, invocation of a god, PMag.Par.1.1037.

Plat. Rep. 379a but founders of a state. And to founders it pertains
        to know the patterns on which poets must compose their fables
        and from which their poems must not be allowed to deviate;
but the founders are not required themselves to compose fables.” “Right,” he said; “but this very thing—
        the patterns or norms of right speech about the gods,
        what would they be?” “Something like this,” I said.
        “The true quality of God we must always surely attribute to him
        whether we compose in epic, melic, or tragic verse.” “We must.”
        “And is not God of course¹ good in reality

1 The ge implies that God is good ex vi termini.

apotheosis-cn Roman theology about this time produced a book on the gods who had been men (Labeo, de diis animalibus;

Plut. De Defect. 2 he had wealth enough, and felt that it was not of any great moment to have more than enough, and so he employed his leisure for such purposes ; he was getting together a history to serve as a basis for a philosophy that had as its end and aim theology, as he himself named it. He had recently been at the shrine of Ammon, and it was plain that he was not particularly impressed by most of the things there, but in regard to the everburning lamp he related a story told by the priests which deserves special consideration ; it is that the lamp consumes less and less oil each year, and they hold that this is a proof of a disparity in the years, which all the time is making one year shorter in duration than its predecessor ; for it is reasonable that in less duration of time the amount consumed should be less

LOGOS (Gr.) or DABAR (Heb.) is used in the Bible to define God's Creative or regulative principle: He SPEAKS and it is done.  However, the word is used as the OPPOSITE of and to EXCLUDE the idea of rhetoric, self-references, personal experiences, poetry, music, drama or human compositions.

MYTHOS is a story, book, sermon, song or any second-- or third-removes from the existing historical account. A book or lecture from the ancient writers is MYTHOS because it is the writer's views of historic writer's views.

THE TWO WORLD VIEWS BASED ON NORMAL OR ABNORMAL SEXUALITY

LOGOS is the opposite of SOPHIA where the sophos words speak of craftsmen or technicians skilled in rhetoric, singing, playing instruments, acting or dancing.

The Symposium of Plato II. Aristodemus's Prologue: 174 A-178 A.
Aristodemus meeting Socrates smartly attired expresses his surprise at so unusual a circumstance. Socrates explains that being invited to dine with Agathon he feels bound to go “in finery to the fine”; and he presses Aristodemus, although uninvited, to accompany him.
        On the road Socrates, immersed in thought, lags behind, and Aristodemus arrives at Agathon's alone. Not till they are half-way through the meal does Socrates appear; and Agathon rallies him on his devotion to sophia.
       The proposal of Pausanias to restrict the potations, in view of yesterday's banquet, and that of Eryximachus to dismiss the flute-girl and amuse themselves by logoi, are unanimously agreed to. Then Eryximachus propounds an idea of Phaedrus, that Eros is the best possible theme for encomia, and suggests that each of the party in turn, commencing with Phaedrus, should now deliver an encomium on Eros. This suggestion is applauded by Socrates. Of the encomia the most noteworthy were the following:—

Because EROS is the eldest of gods and unbegotten.  Eros is a dual and his "principle" is that no action is in the abstract good or bad but derives its moral quality solely from the manner of its execution it follows that Eros is bad or good according to the kind of love-making to which it prompts.

c The general characteristics (1) of Eros Pandemos are that it is directed to women as well as boys, to the body rather than the soul, to unscrupulous satisfaction of lust; (2) whereas Eros Uranios shuns females and seeks only such males as are noble and nearly mature both in mind and body. It is the followers of Eros Pandemos who have brought paederastia into disrepute.

LEGALISM or the NOMOI concerning Eros (2) At Athens the nomos is complex. (a) Eros is approved, and its excesses condoned, when directed towards superior youths approaching manhood. (b) It appears to be condemned, in so far as parents forbid their boys to hold converse with “erastae.”... the test of time shows whether or not the right motive (desire for aretē) actuates both the lover and his object. This motive alone justifies all erotic pursuits and surrenders, even mutual deception: hence we conclude that kalon aretēs heneka kharizesthai. [GRACE or a favor bestowed on another man]

Aphroditês ,  Sexual love, a womans form of oath, vehement longing or desire, hedonism, pleasure (outlawed in Romans 15), Chrar, Grace, Aster or Venus or ZOE.  Tormentor to mortals, a spiteful, lazy Goddess. She calls assemblies in the Agora. 

Astêr ,  or Eros II. metaph. of illustrious persons, etc., “phanerōtaton aster' Athēnas” E.Hipp.1122 (lyr.); “Mousaōn astera kai Kharitōn” AP7.1.8 (Alc. Mess.)

Charis or Grace is this sense speaks of 4. love-charm, philtre, 2. esp. in erotic sense, of favours granted (v. charizomai 1.3 ),V  daimonōn kharis homage due to them, their worship, majesty, A.Ag. 182 (lyr.); athiktōn kh. ib.371 (lyr.); “horkōn” E.Med.439  aphrodisiôn erôtôn

Sophocles, Antigone

Chorus
[791] You seize the minds of just men and drag them to injustice, to their ruin. You it is who have incited this conflict of men whose flesh and blood are one. [795] But victory belongs to radiant Desire swelling from the eyes of the sweet-bedded bride. Desire sits enthroned in power beside the mighty laws. [800] For in all this divine Aphrodite plays her irresistible game.

Commentary [800] empaizei, ‘wreaks her will’ in that contest which nika implies. We find “empaizō” with a dat. (1) of the object, as Her. 4.134 “empaizontas hēmin”, ‘mocking us’: (2) of the sphere, as Ar. Th. 975 “khoroisin empaizei”, ‘sports in dances.’ The “en” of “empaizei” here might also be explained as (a) in the “imeros”, or the “blephara”, i.e. by their agency: or (b) ‘on her victim.’ But the interpretation first given appears simpler. (Cp. Vergil's absol. use of illudere, G. 1. 181, “Tum variae illudant pestes.”）

-Charizô  2. gratify or indulge a humour or passion, once in S., thumôi charizesthai kena El.331 , cf. Antipho 4.3.2, X.An. 7.1.25; orgêi E.Fr.31 ; glôssêi Id.Or.1514 (troch.); erôti Pi.Fr. 127 ; têi epithumiai Pl.R.561c : tôi sômati X.Mem.1.2.23 ; têi gastri ib.2.1.2, Cyr.4.2.39; têi hêdonêi ib.4.3.2.

3. in erotic sense, grant favours to a man, Ar.Ec.629 (anap.), Pl.Smp.182a, Phdr.231c, 256a, X.Mem.3.11.12, etc.: hence of Comedy, oligois charisasthai Ar.Eq.517 (anap.): c. acc. cogn., ch. thêleian apolausin Luc.Am. 27 . , “kharites aphrodisiōn erōtōn”

THE JEWISH MYTHOS OR SOPHIA ATTACKS LOGOS

Jesus said that truth had been hidden in parables from the foundation of the world. Therefore, it is not a great "gotcha" if theologians debunk all of the Bible because Jesus HID the truth from them.   In the Prophets The Spirit OF Christ warned about the Lying Pen of the Scribes.  They trusted the temple and sacrificial system but God did not command animal sacrifices or burnt offerings or the Civil-Military-Clergy complex identified by Nehemiah as robbers and parasites caused by their own rejection of the REST God gives with no ceremonial legalism

John 10:8 All that ever came before me are thieves and robbers:
        but the sheep did not hear them.
John 10:10 The thief cometh not, but for to steal, and to kill, and to destroy:
        I am come that they might have life, and that they might have it more abundantly.

Men like Paul knew that the overwhelming majority people are OF the world and have little use for the truth when the MYTHOS told with the ETHOS of the rhetorican giving the greatest joy. Paul said in effect that fools LOVE to be fooled.

2Timothy 4:4 And they shall turn away their ears from the truth,
        and shall be turned unto fables.

FABLES TO FOOL: Fābŭla , ae, f. fari,

B.  Of particular kinds of poetry.

1.  Most freq., a dramatic poem, drama,  “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo

Titus 1:9 Holding fast the faithful WORD [LOGOS] as he hath been taught,
        that he may be able by sound doctrine both to exhort and to convince the gainsayers.
Titus 1:13 This witness is true. Wherefore rebuke them sharply, that they may be sound in THE FAITH
Titus 1:14 Not giving heed to Jewish fables, and commandments of men, that turn from the truth.

THE CROSS AND WASHING INTENDS TO COOL THE PASSIONS AND PRIDE OF MYTHOS so that people can REST and be disciples or learners:  Jesus said that the Spiritual Kingdom does not come with observation meaning religious spectacles.

Mark 10:33 Saying, Behold, we go up to Jerusalem;
        and the Son of man shall be delivered unto the chief priests,
        and unto the scribes and they shall condemn him to death,
        and shall deliver [betray] him to the Gentiles:
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 , 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,” [resupinati cessantia tympana Galli, i. e. prostrate from drunkenness]
Gallos , ho, A. priest of Cybele,
gallazō , A. practise cult of Cybele,
Galli. Eunuch priests of Cybele or the great mother: begun under the reign of Erichthonius, king of Attica, B.C. 1506;

empaizō II. choir, band of dancers and singers, mocked, deluded, dance, sport in hēdonais” E.Ba. 866

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

Mark 14:65 And some began to spit [blasphemi] 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.

PRUDENTIUS 40

Domus Caiphae

Inpia blasphemi cecidit domus ecce Caiphae,
in qua pulsata est alapis facies sacra Christi,
hic peccatores manet exitus, obruta quorum 160
vita ruinosis tumulis sine fine iacebit.

THE BIBLE is almost always the ANTITHESIS of Pagan Mythos.  It is necessary to state the myth, legend or historic account of the pagan views of God and worship before refuting it.  Therefore, to say that the Bible is MYTH and therefore WE GOTCHA fails to understand the always stated pagan thesis and the Godly antithesis.

To wit: Genesis says that first the elohim bara or possibly cast down the heavens and earth or brought darkness or ignorance and vanity when the Sumerians organized people into Corvees or work party dominated by the civil authority which claimed to speak and command for the gods.

The prophets by the Spirit of Christ spoke through the prophets and said that He did NOT create the darkness, ignorance and vanity.

Is. 45:11 Thus saith the LORD, the Holy One of Israel, and his Maker, Ask me of things to come concerning my sons, and concerning the work of my hands command ye me.
Is. 45:12 I have made the earth, and created man upon it: I, even my hands, have stretched out the heavens, and all their host have I commanded.
Is. 45:13 I have raised him up in righteousness, and I will direct all his ways: he shall build my city, and he shall let go my captives, not for price nor reward, saith the LORD of hosts.

The REST that Messiah was to bring in His rule or kingdom is built upon or educated by the prophets and apostles.

Luke 24:27 And beginning at Moses and all the prophets,
        he expounded unto them in all the scriptures the things concerning himself.
Acts 11:4 But Peter rehearsed the matter from the beginning,
        and expounded it by order unto them, saying,

Once the nature of the Church or kingdom had been prophesied, expounded by Jesus and then by the apostles and left for our memory that body of spiritual revelation is not to be private interpreted or further expounded.

2Pet. 1:20 Knowing this first, that no prophecy of the scripture is of any private interpretation.    

Therefore, the evangelists of the LOGOS as it relates to the pagan Hermes and to Jesus Whom God made to be both Lord and Christ.  LOGOS is therefore not a subject for philosophers who by definition speak or write MYTHOS since Logos is the opposite of MYTHOS.

Logos (modern) is rational of the word and STRAIGHT: Mythos and Sophia (postmodern) are irrational and Gender-Confused.

7.06.11

Matthew 26 They Sung a Hymn and Went out
Romans 14 Ronnie Norman

The WORD versus MYTHOS or human works is universal:

HERE IS PROOF THAT YOU WILL NOT ENDURE SOUND DOCTRINE:

2Timothy 4:4 And they shall turn away their ears from the truth,
        and shall be turned unto fables.

FABLES TO FOOL: Fābŭla , ae, f. fari,

B.  Of particular kinds of poetry.

1.  Most freq., a dramatic poem, drama,  “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo

FABLES TO FOOL:  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: “fit etiam saepe vocum gravitate et cantibus ut pellantur animi, etc.,
2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine

FABLES TO FOOL:  Scaenĭcus (scen- ), a, um, adj., = skēnikos, I. of or belonging to the stage, scenic, dramatic, theatrical
stage-plays, theatrical representations, “fabula,” a drama, Amm. 28, 1, 4: “organa,” Suet. Ner. 44: “coronae,” id. ib. 53: “habitus,” id. ib. 38: “gestus,” Cic. de Or. 3, 59, 220: “modulatio,” Quint. 11, 3, 57:
1. scaē-nĭcus , i, m., a player, actor, Cic. Off. 1, 31, 114: “orator plurimum aberit a scaenico 2. scaenĭca , ae, f., a female player, an actress,

THE MOST POWERFUL WEAPON TO FOOL:

Orgănum , i, n., = organon,Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,” Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.—  B. Transf.: organum oris, the tongue of a man, Prud. steph

2Timothy 4:5 But watch thou in all things, endure afflictions,
        do the work of an evangelist, make full proof of thy ministry.

5.11.11 add Pathos etc

The commission was to make disciples: disciples are students: the curriculum is the Prophets (by Christ) and the promphecies made more perfect by Jesus Christ. The church is built upon that foundation of the Prophets (by Christ) and by Jesus as the personified Christ speaking ONLY through the apostles.

While the social gospel is always a tempting diversion for preachers who don't know what means "church" they are NOT remotely related to or the task of Christ. Ephesians 4 says that gifted men were to EQUIP people for the ministry which is an individual responsibility.

Extra-church pr Para-church groups intentionally draw away people from the Word of Christ. This is shouted throughout the Bible but leaders of INSTITUTES are not supposed to catch on;  PLATO in Protagoras:

[347c] But if he does not mind,
        let us talk no more of poems and verses,
        but consider the points on which I questioned you at first, Protagoras,
        and on which I should be glad to reach, with your help, a conclusion.

Paul "dialoged" until midnight: dialegō  d. horous talk in definitions,
4. use a dialect or language, b. speak articulately, Opposite Poieo 

For it seems to me that arguing about poetry
        is comparable to the wine-parties of common market-folk.
        These people, owing to their inability to carry on a familiar conversation over their wine
        by means of their own voices and discussions

[347d] such is their lack of education--
        put a premium on flute-girls
        by hiring the extraneous voice of the flute at a high price,
        and carry on their intercourse by means of its utterance.

But where the party consists of thorough gentlemen who have had a proper education,
        you will see neither flute-girls nor dancing-girls nor harp-girls,
        but only the company contenting themselves with their own conversation,
        and none of these fooleries and frolics--
        each speaking and listening decently in his turn,

Romans 15:4 For whatsoever things were written aforetime
        were written for our learning, that we through patience
        and comfort of the scriptures might have hope.
Romans 15:5 Now the God of patience and consolation
        grant you to be likeminded one toward another according to Christ Jesus:
Romans 15:6 That ye may
        with one mind and one mouth
        glorify God, even the Father
        of our Lord Jesus Christ.

3.25.11 It is logical or predestinated based on the very nature of people who reject the Word with their own myths in songs and sermons to DENY that God had anything bad to say about ceremonial legalism such as rhetoric, singing, playing instruments, acting or the use of symbols.  Paul says that God then sends them strong delusions so they believe a lie and are damned. The MARK of being damned is the sue of what Christ in prophecy called "hypocricy": rhetoric, singing, playing and acting or "for pretence" make long prayers which are hymns.

Proof that God has blinded them as He did the Israelites at Mount Sinai is they will "cast you out of their synagogue" if you dare to question them.  No! they are not under the influence of Lucifer: they are under the influence of God who intends to make fools of the foolish as the musical idolaters at Mount Sinai were seen as a laughingstock by the "audience."

Jesus told the woman at the well--and she understood why Messiah was to come--that worship must be in spirit or the PLACE of the human spirit in contrast to the PLACES of Jewish or Samaritan national rituals.  Romans 12 demands that all of the senses of the flesh or purely human nature must be BURNED UP before rational or spiritual worship can take place IN the spirit.  The worship "in truth" is the Words of Christ because it IS truth and because it came from God the Father cannot be ammended or enhanced by any human.

Romans 12 proves that REASONABLE worship is LOGIKOS: the only resource is "that whiich is written for our learning" and the presentation style uses the "organ" of speech: it is opposite to music, phantasias, it is opposite to any discussion on haturan morals, it is syllogisms as opposite to rhetoric, it is opposite to any natual laws. It is opposite to pathos or personal experience, dreams, human reasoning.  It isintelligent utterence oppose to any inanimate sounds such as the pipe, flure, harp or lyre or any musical instruments such as a guitar or trumpet.  It is prose opposite to poetry or meter.  It is unaccompanied asopposed to music or poetry.

Notes added 3.17.11 proving that the literature is almost absolute in making a difference between:

The Logos or Word of Christ centered having no other purpose than to teach that which has been taught as the masculine response to a patriarchal god.

The Mythos or Charis (Grace-centered) race of people marked by ceremonial legalism, profiteering and holding people captive with music or mythos which is IN FACT magic or sorcery because it disables the rational or mental mind so that "it makes the lambs dumb before the throne." In the Bible and many historical documents. The Purpose Driven "crooked race" is marked by paiderast-ēs whether literal or virtual.

Because the body of Christ is most often the "audience" and the clergy perform the "worship" as in the curse of the sacrificial system, the blind may not know what is happening.

Jesus Christ is the personified WORD of God: His view is that of the "modern" or "rational." TheoLOGY is the profession but MYTHOS is their confession.  Logical people understand that time and thinking flows in a linear time and time does not change the Word of Jesus Christ the Living Word.  Whatever one feels as emotion CANNOT change the meaning of the LOGOS once for all delivered to the saints.

See a Review of Grace-Centered Magazine's Church of Christ thread promoting the MYTHOS.

See Lynn Anderson and Rubel Shelly refuting a linear, sequence of thought in favor of the arts: images, music etc.

See Spiritual Formation at Lipscomb University as a model of postmodern flight from the Word.

STRABO INTRODUCTION TO THE SYMPOSIUM: Paul's don't get drunk or fluted down with wine but get filled (methuo) with Spirit or the Word of Christ.

"Aristodemus meeting Socrates smartly attired expresses his surprise at so unusual a circumstance. Socrates explains that being invited to dine with Agathon he feels bound to go “in finery to the fine”; and he presses Aristodemus, although uninvited, to accompany him. On the road Socrates, immersed in thought, lags behind, and Aristodemus arrives at Agathon's alone. Not till they are half-way through the meal does Socrates appear; and Agathon rallies him on his devotion to sophia.

The proposal of Pausanias to restrict the potations,  (don't get drunk on wine)
        in view of yesterday's banquet,

        and that of Eryximachus to dismiss the flute-girl
                (Matt 9: Jesus cast out the minstels like dung)

        and amuse themselves by logoi, are unanimously agreed to. 
                    (speak that which is written)
Then Eryximachus propounds an idea of Phaedrus, that Eros is the best possible theme for encomia, and suggests that each of the party in turn, commencing with Phaedrus, should now deliver an encomium on Eros. This suggestion is applauded by Socrates. 

SPEAKING IN RELATIONSHIP TO THE EKKLESIA, SYNAGOGUE OR CHURCH must be stripped of everything human talent can bring: that woud deny that Christ as the personified WORD who spoke only what He heard from God the Father was good enough.

Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”

Aristot. Nic. Eth. 1105b.20 A state of the soul is either （l） an emotion, （2） a capacity, or （3） a disposition; virtue therefore must be one of these three things. [2] By the emotions, I mean desire, anger, fear, confidence, envy, joy, friendship, hatred, longing, jealousy, pity; and generally those states of consciousness which are accompanied by pleasure or pain.

The capacities are the faculties in virtue of which we can be said to be liable to the emotions, for example, capable of feeling anger or pain ^{(or fear)} or pity.

The dispositions are the formed states of character in virtue of which we are well or ill disposed in respect of the emotions; for instance, we have a bad disposition in regard to anger if we are disposed to get angry too violently or not violently enough, a good disposition if we habitually feel a moderate amount of anger; and similarly in respect of the other emotions. 

[3] Now the virtues and vices are not emotions because we are not pronounced good or bad according to our emotions, but we are according to our virtues and vices; nor are we either praised or blamed for our emotions—a man is not praised for being frightened or angry, nor is he blamed for being angry merely, but for being angry in a certain way—

Sophia, A. cleverness or skill in handicraft and art 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,
in divination, S.OT 502 (lyr.

When we speak we are to speak as the oracles of God: if we have a talent we can use that to serve others.  However, the skill of rhetoric, singing or playing instruments are in the Greek text and used by Christ especially in Ezekiel 33 which defines the word hypocrite applied to the Scribes and Pharisees.

There is nothing gain in human experience which can be used to enhance or aid the Word of God.  That is an intended blow against all human effort when proposed to aid God and His songs and sermone.

Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment, to sphodron kai enthousiastikon p. Longin.8.1; “pathos poiein” Arist. Rh.1418a12; “

Poiein something you creat: works of art, works of art, create, bring into existence, schemes, of poets, compose, write,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.;
b. represent in poetry, c. describe in verse, “theon en epesin” Pl.R.379a; epoiēsa muthous tous Aisōpou put them into verse, Id.Phd. 61b; “muthon” Lycurg.100.

CONTRARY TO ALMOST ALL CHURCH MUSIC AND RHETORIC

Opposite Enthousi-astikos , ē, on,

A. inspired, “phusis” Pl.Ti.71e; esp. by music,

This is what must be sacrificed or "burned up" before we can worship IN SPIRIT (reasonable)and in truth.  Romans 12.

Arist.Pol.1340a11; “hē e. sophia” divination, Plu.Sol.12; “e. ekstasis” Iamb.Myst.3.8; “to e.” excitement, Pl.Phdr. 263d: Sup. -ōtatos Sch.Iamb.Protr.p.129 P. Adv. “-kōs, diatithenai tina” Plu.2.433c: Comp. “-ōteron” Marin.Procl.6.

II. Act., inspiring, exciting, of certain kinds of music, Arist.Pol.1341b34; “nosēmata manika kai e.” Id.Pr.954a36: Comp. “-ōtera, akousmata” Pl.Ep. 314a.

-Logos verbal noun of legō  Opposite. muthos,

Muthos  all human songs and sermons are myths in relationship to Scripture.

2. fiction (Opposite. logos, historic truth), Pi.O.1.29 (pl.), N.7.23 (pl.), Pl.Phd.61b, Prt.320c, 324d, etc.

3. generally, fiction, “m. idioi” Phld.Po.5.5; legend, myth, Hdt.2.45, Pl.R.330d, Lg. 636c, etc.; “ho peri theōn m.”  “tous m. tous epikhōrious gegraphen”
2. public speech, “m. andressi melēsei” Od.1.358; “muthoisin skoliois” Hes.Op.194;  to be skilled in speech,

A muthosin skoliois is a Crooked Myth:

Acts 2:40 And with many other words he testified, and exhorted them, saying, Save yourselves from this crooked generation.

Hes. WD 194 The father will not agree with his children, nor the children with their father, nor guest with his host, nor comrade with comrade; nor will brother be dear to brother as aforetime. [185] Men will dishonor their parents as they grow quickly old, and will carp at them, chiding them with bitter words, hard-hearted they, not knowing the fear of the gods. They will not repay their aged parents the cost of their nurture, for might shall be their right: and one man will sack another's city. [190] There will be no favor for the man who keeps his oath or for the just or for the good; but rather men will praise the evil-doer and his violent dealing. Strength will be right, and reverence will cease to be; and the wicked will hurt the worthy man, speaking false words against him, and will swear an oath upon them. [195] Envy, foul-mouthed, delighting in evil, with scowling face, will go along with wretched men one and all. [200] And then Aidos and Nemesis,² with their sweet forms wrapped in white robes, will go from the wide-pathed earth and forsake mankind to join the company of the deathless gods: and bitter sorrows will be left for mortal men, and there will be no help against evil.

1 I.e.the race will so degenerate that at the last even a new-born child will show the marks of old age.

2 Aidos, as a quality, is that feeling of reverence or shame which restrains men from wrong; Nemesis is the feeling of righteous indignation aroused especially by the sight of the wicked in undeserved prosperity （cf. Psalms,lxxii. 1-19）. regard for others, respect, reverence,

Hebrews 12:25 See that ye refuse not him that speaketh.
        For if they escaped not who refused him that spake on earth,
        much more shall not we escape,
        if we turn away from him that speaketh from heaven:
Hebrews 12:26 Whose voice then shook the earth: but now he hath promised, saying, Yet once more I shake not the earth only, but also heaven.
Hebrews 12:27 And this word, Yet once more, signifieth the removing of those things that are shaken,
        as of things that are made,
        that those things which cannot be shaken may remain.
Hebrews 12:28 Wherefore we receiving a kingdom which cannot be moved, let us have grace, whereby we may serve God acceptably with reverence and godly fear:
Hebrews 12:29 For our God is a consuming fire.

Muthos is a drama or sketch presuming to enhance the Word.

5. plot of a comedy or tragedy, Id.Po.1449b5, 1450a4, 1451a16.
2. fiction ( Opposite logos, historic truth), Pi.O.1.29 (pl.), N.7.23 (pl.), Pl.Phd.61b, Prt.320c, 324d, etc.

Aristot. Poet. 1449b
[1449b] [1] Indeed it is only quite late in its history that the archon granted a chorus for a comic poet; before that they were volunteers. Comedy had already taken certain forms before there is any mention of those who are called its poets. Who introduced masks or prologues, the number of actors, and so on, is not known. Plot making [Epicharmus and Phormis] originally came from Sicily, and of the Athenian poets Crates was the first to give up the lampooning form and to generalize his dialogue and plots. Epic poetry agreed with tragedy only in so far as it was a metrical representation of heroic action, but inasmuch as it has a single metre and is narrative in that respect they are different.

Pind. O. 1 Water is best, and gold, like a blazing fire in the night, stands out supreme of all lordly wealth. But if, my heart, you wish to sing of contests, [5] look no further for any star warmer than the sun, shining by day through the lonely sky, and let us not proclaim any contest greater than Olympia. From there glorious song enfolds the wisdom of poets,¹ so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus
        placed your mind under the influence of sweetest thoughts..
Yes, there are many marvels,
        and yet I suppose the speech of mortals beyond the true account can be deceptive,
        stories adorned with embroidered lies;
[30] and Grace, who fashions all gentle things for men,
        confers esteem and often contrives to make believable the unbelievable.
        But the days to come are the wisest witnesses

The Deipnosophists of Athenaeus of Naucratis Book XIII: Concerning Women

It is a fact that even in ancient times they loved boys, as Ariston has said, whence it came about that those who were loved were called "paidika." For in truth, as Clearchus says in the first book of his Love Stories, quoting Lycophronides: "Neither in boy, nor in gilded maid, nor in deep-bosomed matron is the countenance fair if it be not modest. For it is modesty that sows the seed of beauty's flower." And Aristotle also has said that lovers look to no other part of their favourite's body than the eyes, in which dwells modesty.

"O thou of fair countenance, Galateia, with golden curls and voice that charms, a beauty among the Loves!" Blind this praise is, and nothing like that which Ibycus utters: "Euryalus, scion of the blue-eyed Graces...darling of the fair-haired Muses, thee did Cypris and Persuasion of the tender eyes rear amid the flowers of the rose." And so Phrynichus said of Troilus: "There shines upon his crimson cheeks the light of love...

Theophrastus, in hs essay On Love, quotes the tragic poet Chaeremon as saying that just as wine is mixed to suit the character of the drinkers, so also is the emotion inspired by Eros; when he comes in moderation, he is gracious, but when he comes too intensely and puts men to utter confusion, he is most cruel...
        Wherefore this poet, aptly distinguishing the influences of Eros,
        says: "With two arrows (verily) from the Graces he stretches his bow,
        the one bringing a happy lot, the other, utter confounding of life."
Now this same poet speaks of lovers in the play entitled The Wounded Man as follows: "Who denies that lovers live at hard labour? Why, in the first place, they must ever be on the war-path, their bodies must be able to endure toil to the utmost, and they must be most patient in pursuing their desire; inventive, impulsive, eager, skilfully managing the unmanageable, in utter misery while they live!" And Theophilus in He Liked to Play the Flute: "Who says that lovers have no sense? Surely, it must be somebody whose make-up is stupid. For if one take away from life its pleasures, there's nothing else left to do but die. Take my own case; in loving a harp-girl, a little maid, haven't I sense, in the gods' name? In beauty beautiful, in stature stately, in art clever; just to look at her is pleasanter than working for you all the time when you have the price of admission."

-Aristotle Poetics [941b] if convicted. Theft of property is uncivilized, open robbery is shameless: neither of these has any of the sons of Zeus practiced, through delight in fraud or force.
        Let no man, therefore, be deluded concerning this or persuaded
        either by poets or by any perverse myth-mongers into the belief that,
        when he thieves or forcibly robs (churches), he is doing nothing shameful,
        but just what the gods themselves do.1 That is both unlikely and untrue; a
        nd whoever acts thus unlawfully is neither a god at all nor a child of gods;

1 Cp.Plat. Rep 378 ff., Plat. Rep. 388 ff. Hermes is specially in mind, as notorious for his thefts and frauds; cp. Homer Iliad 5. 390; 24. 395, etc.

Plat. Prot. 347c] But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion.
        For it seems to me that arguing about poetry
        is comparable to the wine-parties of common market-folk.
        These people, owing to their inability to carry on a familiar conversation o
        ver their wine by means of their own voices and discussions—

347d such is their lack of education—put a premium on flute-girls
        by hiring the extraneous voice of the flute at a high price,
         and carry on their intercourse by means of its utterance.
But where the party consists of thorough gentlemen who have had a proper education,
        you will see neither flute-girls nor dancing-girls nor harp-girls,
        but only the company contenting themselves with their own conversation,
        and none of these fooleries and frolics—each speaking and listening decently in his turn,

Pind. N. 7 Skillful men know the wind that will come on the day after tomorrow, and they do not suffer loss through the love of gain. The rich man and the poor man alike travel together to the boundary of death. [20] And I expect that the story of Odysseus came to exceed his experiences,
        through the sweet songs of Homer,
        since there is a certain solemnity in his lies and winged artfulness,
        and poetic skill deceives, seducing us with stories,
        and the heart of the mass of men is blind.
For if [25] they had been able to see the truth, then mighty Aias, in anger over the arms, would never have planted in his chest the smooth sword—Aias, who was the most powerful in battle,

Plat. Phaedo 61b before making sure that I had done what I ought, by obeying the dream and composing verses. So first I composed a hymn to the god whose festival it was;
        and after the god, considering that a poet, if he is really to be a poet,
        must compose myths and not speeches,
        since I was not a maker of myths,
        I took the myths of Aesop, which I had at hand and knew, and turned into verse the first I came upon. So tell Evenus that, Cebes, and bid him farewell, and tell him, if he is wise, to come after me as quickly as he can.

Skolios , a, on,
II. metaph., crooked, i.e. unjust, unrighteous, “themistes” Il.16.387; muthoi, dikai, Hes.Op.194,221; ai skolian (sc. rhētran） ho damos heloito, Spartan law ap. Plu.Lyc.6; “logos” Thgn.1147; “apatai” Pi.Fr.213; “pateōn hodois skoliais” Id.P.2.85; riddling, obscure, “rhēmatia” Luc.Bis Acc.16; to s. tēs eisodou (into true science) Vett.Val.250.23: rarely of men, ithunei skolion makes the crooked one straight, Hes.Op.7; “s. kai phoberos” Plu.2.551f: with Verbs, skolia phronein, opp. euthus emmen, Scol.16; “s. prattein” Pl.Tht. 173a; tuphla kai s. Id.R.506c, cf. Grg.525a; skolia, ta, indirect methods, Cic.Att.13.39.2. Adv. “skoliōs” Hes.Op.258,262; “s. ekhontos tou khrēsmou” D.S.16.91; “eis plagia kai skolia” Pl.Tht.194b.
“s. prattein” Pl.Tht. 173a

Acts 2:40 And with many other words did he testify and exhort, saying, Save yourselves from this untoward generation.

The untoward or perverted or crooked generation were MARKED when....

G4646 skolios skol-ee-os' From the base of G4628 ; warped, that is, winding; figuratively perverse:crooked, froward, untoward.

Skolios 1 curved, winding, twisted, tangled, Lat. obliquus, Hdt., Eur., etc.:-- bent sideways, douleiê kephalê skoliê (Hor. stat capite obstipo) Theogn.: metaph. crooked, i. e. unjust, unrighteous , Il., Hes., etc.; skolia prattein, eipein Plat.:--so adv. skoliôs, Hes.

Prattein, Prassô II. experience certain fortunes, achieved bondage, i.e. brought it on himself, grant power of song, get something, plot, 3. of sexual intercourse, b. esp. of secret practices and intrigues

Philippians 2:15 That ye may be blameless and harmless, the sons of God, without rebuke, in the midst of a crooked and perverse nation, among whom ye shine as lights in the world;

Plut. De Gloria 4
Poetry also has won favour and esteem because it utters words which match the deeds, as Homer¹ says,

Many the lies that he spoke, but he made them all to seem truthful.

[p. 507] The story is also told that one of Menander's intimate friends said to him, ‘The Dionysian Festival is almost here, Menander; haven't you composed your comedy?’ Menander answered, ‘By heaven, I have really composed the comedy : the plot's all in order. But I still have to fit the lines to it.’ For even poets consider the subject matter more necessary and vital than the words.

When Pindar was still young, and prided himself on his felicitous use of words. Corinna warned him that his writing lacked refinement,
        since he did not introduce myths,
        which are the proper business of poetry,
but used as a foundation for his work unusual and obsolete words,
        extensions of meaning, paraphrases, lyrics and rhythms,
        which are mere embellishments of the subject matter.
So Pindar, giving all heed to her words, composed the famous lyric :

Ismenus, or Melia of the golden distaff,
Or Cadmus, or the holy race of men that were sown,
Or the mighty strength of Heracles,
Or the gladsome worship of Dionysus.

He showed it to Corinna, but she laughed and said that one should sow with the hand, not with the whole sack. For in truth Pindar had confused and jumbled together a seed-mixture, as it were, of myths, and poured them into his poem. That poetry concerns itself with the composition of mythological matters Plato also has stated.

A myth aims at being a false [p. 509] tale, resembling a true one ;
wherefore it is far removed from actual events,

if a tale is but a picture and an image of actuality, and a myth is but a picture and image of a tale. And thus those who write of imaginative exploits lag as far behind historians as persons who tell of deeds come short of those that do them.

as history to legend, prose, Opposite. poiêsis, Id.R.390a; Opposite to emmetros Opposite. poiêtikê, D.H.Comp.6; Opposite. poiêmata, ib.15; koina kai poiêmatôn kai logôn  Only the words of lyric or dramatic poetry.
X. the Word or Wisdom of God, personified as his agent in creation and world-government,

Sophia , Ion. -iē, h(, prop. A. cleverness or skill in handicraft and art 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, etc.; in driving, Pl. Thg.123c; in medicine or surgery, Pi.P.3.54; in divination, S.OT 502 (lyr.); “

Homer to Hermes: What skill is this? What song for desperate cares? What way of song? For verily here are three things to hand all at once from which to choose, —mirth, and love, and sweet sleep.
        [450] And though I am a follower of the Olympian Muses (Rev 18:22)
        who love dances and the bright path of song —
        the full-toned chant and ravishing thrill of flutes —

yet I never cared for any of those feats of skill at young men's revels, as I do now for this: [455] I am filled with wonder, O son of Zeus, at your sweet playing. But now, since you, though little, have such glorious skill, sit down, dear boy, and respect the words of your elders For now you shall have renown among the deathless gods, you and your mother also. This I will declare to you exactly: [460] by this shaft of cornel wood I will surely make you a leader renowned among the deathless gods, and fortunate, and will give you glorious gifts and will not deceive you from first to last.”

Now, you are free to learn whatever you please; [475] but since, as it seems, your heart is so strongly set on playing the lyre, chant, and play upon it, and give yourself to merriment, taking this as a gift from me, and do you, my friend, bestow glory on me.

Sing well with this clear-voiced companion in your hands; for you are skilled in good, well-ordered utterance. [480] From now on bring it confidently to the rich feast and lovely dance and glorious revel, a joy by night and by day.
        Whoso with wit and wisdom enquires of it cunningly,
        him it teaches [485] through its sound all manner of things that delight the mind,
        being easily played with gentle familiarities,
        for it abhors toilsome drudgery; but whoso in ignorance enquires of it violently,
        to him it chatters mere vanity and foolishness.

Strabo continued: c The general characteristics (1) of Eros Pandemos
        are that it is directed to women as well as boys,
        to the body rather than the soul,
        to unscrupulous satisfaction of lust;

(2) whereas Eros Uranios shuns females and seeks only such males as are noble and nearly mature both in mind and body. It is the followers of Eros Pandemos who have brought paederastia into disrepute.

lukos  cf. Il.22.263; hōs lukoi arn' agapōsin, of treacherous or unnatural love, Poet. ap. Pl.Phdr.241d; lukou bion zēn, i. e. live by rapine, Prov. ap. Plb.16.24.4; ek lukou stomatos, of getting a thing
VI. nickname of paiderastai, AP12.250 (Strat.), cf. Pl.Phdr. 241d.

Paiderast-ēs , ou, o(,

A. lover of boys, mostly in bad sense, Ar.Ach.265(lyr.), X.An.7.4.7, Pl. Smp.192b, Eub.130, etc.

Plat. Phaedrus [241d] Consider this, fair youth, and know that in the friendship of the lover there is no real kindness; he has an appetite and wants to feed upon you:

“Just as the wolf loves the lamb, so the lover adores his beloved.” There it is, Phaedrus! Do not listen to me any longer; let my speech end here.

Phaedrus
But I thought you were in the middle of it, and would say as much about the non-lover as you have said about the lover, to set forth all his good points and show that he ought to be favored. 

The third kind is the madness of those who are possessed by the Muses (Musicians of Rev 18);

which taking hold of a delicate and virgin soul,
and there inspiring frenzy,
awakens lyrical and all other numbers;
with these adorning the myriad actions of ancient heroes for the instruction of posterity (prophecy)

But he who, having no touch of the Muses' madness in his soul,

comes to the door and thinks that he will get into the temple by the help of art- he, I say, and his poetry are not admitted; the sane man disappears and is nowhere when he enters into rivalry with the madman.

Then in reference to his ablutions and absolutions, as being the physician who orders them, he may be rightly called Apolouon (purifier); or

in respect of his powers of divination, and his truth and sincerity,
which is the same as truth, he may be most fitly called Aplos, from aplous (sincere),

as in the Thessalian dialect, for all the Thessalians call him Aplos; also he is Ballon (always shooting), because he is a master archer who never misses; or again, the name may refer to his musical attributes, and then, as in akolouthos, and akoitis, and in many other words the a is supposed to mean "together,"

so the meaning of the name Apollo will be "moving together," whether in the poles of heaven as they are called,

or in the harmony of song, which is termed concord,

because he moves all together by an harmonious power, as astronomers and musicians ingeniously declare.

And he is the God who presides over harmony, and makes all things move together, both among Gods and among men. And as in the words akolouthos and akoitis the a is substituted for an o, so the name Apollon is equivalent to omopolon;

only the second l is added
in order to avoid the ill-omened sound of destruction (apolon).

Now the suspicion of this destructive power still haunts the minds of some who do not consider the true value of the name, which, as I was saying just now, has reference to all the powers of the God, who is the single one, the everdarting, the purifier, the mover together (aplous, aei Ballon, apolouon, omopolon).

Cyrenaica pleasure is the only good. Good in a pleasing agitation of the mind or in active enjoyment. hedone. Nothing is just or unjust by nature, but by custom and law.
Cynĭcus , i, m., = κυνικός (doglike). I. Subst., a Cynic philosopher, a Cynic, Cic. de Or. 3, 17, 62; id. Fin. 3, 20, 68; Hor. Ep. 1, 17, 18; Juv. 13, 121: “nudi dolia,” i. e. of Diogenes, id. 14, 309.—Hence, adj.: Cynĭcus , a, um, Cynic: “institutio,” Tac. A. 16, 34: “cena,” Petr. 14; and in * adv.: Cynĭcē , after the manner of the Cynics, Plaut. Stich. 5, 4, 22.—

Pl. St. 5.4 SAGARINUS PARASITE REBUFFED
STICHUS
As many as there are fingers on your hand. The Greek song is, "Drink either your five cups⁹ or your three, but not your four."

You say right; I care for no dainties. Drink away, Piper; drink, if you do drink. I' faith, this must be drunk--don't shirk it. Holds the goblet to the PIPER. Why flinch at what you see must be done by you? Why don't you drink? Do it, if you are to do it. Take it, I tell you, for the public pays for this. That's not your way to shirk your drink. Take your pipes¹⁴ out of your mouth. The PIPER drinks.

14 Take your pipes: The "Tibicines," "Pipers" or "flute-players," among the Greeks and Romans, were in the habit of playing upon two pipes at the same time. These were perfectly distinct, and were not even, as has been supposed by some, connected by a common mouth-piece. The Romans were particularly fond of this music, and it was introduced both at sacrifices, funerals, and entertainments. See a comical story about the Roman "Tibicines" in the Fasti of Ovid, B. 6, l. 670 et seq. From the present specimen they appear to have been merry souls, occupying much the same place as the country fiddlers of modern times

kharizomai kharis

Aristoph. Ach. 265 DICAEOPOLIS
Oh, Phales,¹ companion of the orgies of Bacchus, night reveller, god of adultery, friend of young men, these past six² years I have not been able to invoke thee. With what joy I return to my farmstead, thanks to the truce I have concluded, freed from cares, from fighting and from Lamachuses!³ How much sweeter, oh Phales, oh, Phales, is it to surprise Thratta, the pretty woodmaid, Strymodorus' slave, stealing wood from Mount Phelleus, to catch her under the arms, to throw her on the ground and possess her, Oh, Phales, Phales! If thou wilt drink and bemuse thyself with me, we shall to-morrow consume some good dish in honour of the peace, and I will hang up my buckler over the smoking hearth.

1 The god of generation, worshipped in the form of a phallus.

2 A remark which fixes the date of the production of The Acharnians, viz. the sixth year of the Peloponnesian War, 426 B.C.

3 Lamachus was an Athenian general, who figures later in this comedy.

Plat. Phaedrus [241d] “Just as the wolf loves the lamb, so the lover adores his beloved.” There it is, Phaedrus! Do not listen to me any longer; let my speech end here.

Phaedrus
But I thought you were in the middle of it, and would say as much about the non-lover as you have said about the lover, to set forth all his good points and show that he ought to be favored. 

kharizomai kharis

See all of Phaedrus

d The varying NOMOI [Legalism means human tradition] concerning Eros may be classified thus:—

(1) In all Greek states except Athens the nomos is simple, either (a) approving paederastia, as in Elis and Boeotia; or (b） condemning it, as in Ionia and states subject to barbarian rule, where it is held to foster a dangerous spirit of independence (e.g. Harmodius and Aristogiton).

(2) At Athens the nomos is complex.

(a) Eros is approved, and its excesses condoned, when directed towards superior youths approaching manhood.

(b) It appears to be condemned, in so far as parents forbid their boys to hold converse with “erastae.” The explanation of this ambiguous attitude must be sought in the principle laid down above, that the moral quality of an act depends upon the conditions of its performance.

The Athenian nomos provides a test for distinguishing between good and bad forms of Eros: the test of time shows whether or not the right motive (desire for aretē) actuates both the lover and his object justifies all erotic pursuits and surrenders, even mutual deception: hence we conclude that kalon aretēs heneka kharizesthai. This motive alone

GRACE is Kharizo

2. gratify or indulge a humour or passion, once in S., “thumō kharizesthai kena” El.331, cf. Antipho 4.3.2, X.An. 7.1.25; “orgē” E.Fr.31; “glōssē” Id.Or.1514 (troch.); “erōti” Pi.Fr. 127; “tē epithumia” Pl.R.561c: “tō sōmati” X.Mem.1.2.23; tē gastri ib.2.1.2, Cyr.4.2.39; tē hēdonē ib.4.3.2.

3. in erotic sense, grant favours to a man, Ar.Ec.629 (anap.), Pl.Smp.182a, Phdr.231c, 256a, X.Mem.3.11.12, etc.: hence of Comedy, “oligois kharisasthai” Ar.Eq.517 (anap.): c. acc. cogn., “kh. thēleian apolausin” Luc.Am. 27.
3. c. acc. pers., give up as a favour, tē mētri kh. Oktabion, by dropping a law aimed at him,

b Similarly with music. The “discordant concord” of Heraclitus
        hints at the power of music to harmonize sounds previously in discord,
        and divergent times.
Thus music is “the science of Erotics in regard to harmony and rhythm.” It is less in the pure theory than in applied music (metrical compositions and their educational use) that the dual nature of Eros comes to light; when it does, the Eros Pandemos must be carefully guarded against.

d Lastly, in religion, it is the disorderly Eros which produces the impiety which it is the function of divination to cure; and religion may be defined as “the science of human Erotics in regard to piety.”
3) Eros is supremely good, since he is a most just, having no lot in violence or injustice;
        b most temperate, for he is the master of pleasure since no pleasure is greater than love;
        c most courageous, as holding sway over Ares, the most courageous of the gods;
       d most wise, being expert
            (a) in both musical and creative poesy, and
        (b) in the practical arts, as instructor of Zeus, Apollo and Athene in their respective crafts
             (he, too, inspired the gods with love of beauty and dethroned Necessity).

Apollo is Abaddon or Apollyon and the Muses (Rev 18) are his musical deceptive team known as dirty adulteresses and by John as sorcerers.

The Logos or Word of Christ is antithetical to sophia: the Word is masculine and "straight": Sophia is illogical, musical, effeminate and in religious music always gender confused.

The word logos has been used in different senses along with Rhema. Both Plato and Aristotle used the term logos along with rhema to refer to sentences and propositions.

The Septuagint translation of the Hebrew Bible into Greek uses the terms Rhema and Logos as equivalents and uses both for the Hebrew word Dabar, as the Word of God.

Some modern usage in Christian Theology distinguishes Rhema from Logos (which here refers to the written scriptures) while Rhema refers to the revelation received by the reader from the Holy Spirit when the Word (Logos) is read.

People who denounce the Word and direct commands often hear words "beyond the sacred pages."  This direct operation of the Holy Spirit (Jesus Christ) and the concept of "faith only" (that mythos term) usually rely on John Calvin  However, while Calvin said that no person can know about God without a direct operation of the Holy Spirit, He said that God performed two direct operations;

He gave us the Scriptures which convey Spirit and He sent evangelists out to preach the Word.

Jung's analytical psychology

In Carl Jung's analytical psychology, he contrasted a rational, decisive logos with an emotional mythos.
Jung contrasted the critical and rational faculties of logos
        with the emotional, non-reason oriented and mythical elements of mythos.
        In Jung's approach logos vs mythos can be represented as "science vs mysticism",
         or "reason vs imagination" or "conscious activity vs the unconscious".

For Jung, logos represented the masculine principle of rationality, in contrast to its female counterpart, eros:

Woman’s psychology is founded on the principle of Eros, the great binder and loosener,
        whereas from ancient times the ruling principle ascribed to man is Logos.
        The concept of Eros could be expressed in modern terms as psychic relatedness,
        and that of Logos as objective interest.

Jung attempted to equate logos and eros, his intuitive conceptions of masculine and feminine consciousness, with the alchemical Sol and Luna. Jung commented that in a man the lunar anima and in a woman the solar animus has the greatest influence on consciousness. Jung often proceeded to analyze situations in terms of "paired opposites", e.g. by using the analogy with the eastern yin and yang and was also influenced by the Neoplatonics.

In the New Testament

Gospel of Matthew: The Son of man came eating and drinking,	and they say,	Behold a man gluttonous,	and a winebibber,	a friend of publicans and sinners. But wisdom is justified of her children. Matthew 11:19
St. Paul refers to the concept,	notably in 1 Corinthians,	but obscurely,	deconstructing worldly wisdom: Where is the wise? where is the scribe? where is the disputer of this world? hath not God made foolish the wisdom of this world?—1 Corinthians 1:20
Paul sets worldly wisdom against a higher wisdom of God: But we speak the wisdom of God in a mystery,	even the hidden wisdom,	which God ordained before the world unto our glory. —1 Corinthians 2:7
(James 3:13-18; cf. James 1:5) distinguishes between two kinds of wisdom. One is a false wisdom, which is characterized as "earthly, sensual, devilish" and is associated with strife and contention. The other is the 'wisdom that comes from above'			But the wisdom that is from above is first pure, then peaceable,gentle, [and] easy to be intreated, full of mercy and good fruits,without partiality, and without hypocrisy.—James 3:17
Among many verses in the Septuagint prefiguring New Testament usage is Psalms 33:6 which relates directly to the Genesis creation. Theophilus of Antioch references the connection in To Autolycus 1:7. Augustine of Hippo considered that in Ps.33:6 both logos and pneuma were "on the verge of being personified".			Psalm 33:6 "By the word (logos) of the Lord the heavens were made, and by the breath (pneuma) of his mouth all their host (dynamis)." (ESV)

PANDEMONIUM AND SILENCE AT CORINTH Article by Richard and Catherine Clark Kroeger

Although we may idealize the early church, most of us would not have enjoyed a visit to a worship service at Corinth.  The impression which one was most likely to receive was that of chaos and delirious insanity:

So if the whole congregation is assembled and all are using the 'strange tongues' of ecstasy, and some uninstructed persons or unbelievers should enter, will they not think you are mad?  (1Corinthians 14:23, NEB)

Greeks considered madness an important aspect of worship.  Women in particular responded to Bacchus (also known as Dionysus), the god of madness; 'him of the orgiastic cry, exciter of women, Dionysus, glorified with mad honors'. 

(Plutarch, Moralia 671c  Ancient Corinth was a center of Dionysiac worship,

See Tom Burgess, NACC use of Moralia

and Pausinius, world traveler of the second century of our era gives this description:

In the market-place, for most of the temples are there, is the Ephesian Artemis, and there are two wooden statues of Dionysus, gilt except the faces, which are painted with red paint, one they call Lysian Dionysus and the other Dionysus the Reveler.  The tradition about these statues I will record.  Pentheus, they say, when he outraged dionysus, among other acts of reckless daring actually at last went to mount Cithaeron to spy on the women, and climbed up into a tree to see what they were doing; and when they detected him, they forthwith dragged him down, and tore him limb from limb.  And afterwards, so they say at Corinth, the Pythian priestess told them to discover that tree and pay it divine honors.  And that is why these statues are made of that very wood.  (Description of Greece, II.ii; tr. A.R. Shilleto)

See our Copy of Pausanias on Attica
And on Corinth.

Jesus as the WORD is the -LOGOS or rational discord of God:  The ONE God always had His Word and Reason with Him. John 1:1 In the beginning was the Word [Logos],   and the Word was with God, and the Word was God. John 1:2 The same was in the beginning with God. John 1:3 All things were made by him; and without him was not any thing made that was made. John 1:4 In him was life; and the life was the light of men.         John 6:63 It is the spirit that quickeneth;               the flesh profiteth nothing:         the words that I speak unto you,              they are spirit, and they are life. John 1:5 And the light shineth in darkness;         and the darkness comprehended it not. John 8:12 Then spake Jesus again unto them, saying,         I am the light of the world: he that followeth me         shall not walk in darkness,         but shall have the light of life. Gen. 1:1 In the beginning God created the heaven and the earth. Gen. 1:2 And the earth was without form, and void; and darkness was upon the face of the deep. And the [Breath] of God moved upon the face of the waters. Gen. 1:3 And God said [Amar], Let there be light: and there was light. Gen. 1:4 And God saw the light, that it was good: and God divided the light from the darkness. Psa. 33:6 By the [1] word of the [2] LORD were the heavens made; and all the host of them by the [3] breath of his mouth. Psa. 33:7 He gathereth the waters of the sea together as an heap: he layeth up the depth in storehouses. Psa. 33:8 Let all the earth fear the LORD: let all the inhabitants of the world stand in awe of him. Psa. 33:9 For he spake, and it was done;         he commanded, and it stood fast. -Lego Count, recount, tell over, say, speak, 8. at the beginning of letters or documents, maintain as a thesis,    Sophron of sound mind. having control over the sensual desires, temperate, self-controlled, chaste, reasonable comparison. , esp. in the theatre, Singing the words of a male god was considered obscene.
	Opposite to epithumia  A. desire, yearning, longing after a thing, desire of or for it, Theaomai :--gaze at, behold, mostly with a sense of wonder, 3. view as spectators -Iliad 7.442 Thus were they toiling, the long-haired Achaeans; and the gods, as they sat by the side of Zeus, the lord of the lightning, marvelled at the great work of the brazen-coated Achaeans. [445] And among them Poseidon, the Shaker of Earth, was first to speak: Father Zeus, is there now anyone of mortals on the face of the boundless earth, that will any more declare to the immortals his mind and counsel? -Isocrates 4.[43] Now the founders of our great festivals are justly praised for handing down to us a custom by which, having proclaimed a truce [peace of god] and resolved our pending quarrels, we come together in one place, where, as we make our prayers and sacrifices in common, we are reminded of the kinship which exists among us and are made to feel more kindly towards each other for the future, reviving our old friendships and establishing new ties.3 [44] And neither to common men nor to those of superior gifts is the time so spent idle and profitless, but in the concourse of the Hellenes the latter have the opportunity to display their prowess, the former to behold these contending against each other in the games; and no one lacks zest for the festival, but all find in it that which flatters their pride, -Xenophon 4.5.[7] Thus, then, the Persians employed their time; but the Medes drank and revelled and listened to the music of the flute and indulged themselves to the full with all sorts of merry-making. For many things that contribute to pleasure had been captured, so that those who stayed awake were at no loss for something to do. -Thelema -Matt 7.[21]  Not everyone who says to me, 'Lord, Lord,' will enter into the Kingdom of Heaven; but he who does the will of my Father who is in heaven. [22] Many will tell me in that day, 'Lord, Lord, didn't we prophesy in your name, in your name cast out demons, and in your name do many mighty works?' [23]  Then I will tell them, 'I never knew you. Depart from me, you who work iniquity.' -Esther 1.8 The drinking was according to the law; none could compel: for so the king had appointed to all the officers of his house, that they should do according to every man's pleasure.
Ratio   I. a reckoning, account, calculation, computation. 1. plea, pretext, ground, would have admitted of an explanation, 2. statement of a theory, argument, to be explained    c. in Logic, proposition, whether as premiss or conclusion    d. rule, principle, law, as embodying the result of logismos 4. thesis, hypothesis, provisional ground, 5. reason, ground 6. formula (wider than definition, but freq. equivalent thereto), term expressing reason, 7.reason, law exhibited in the world-process,    c. in Neo-Platonic Philos., of regulative and formative forces, derived from the intelligible        and operative in the sensible universe IV. inward debate of the soul 1.t hinking, reasoning,  explanation, Plat. Theaet. 189e Socrates As the talk which the soul has with itself about any subjects which it considers. You must not suppose that I know this that I am declaring to you. But the soul, as the image presents itself to me, when it thinks, is merely conversing with itself, asking itself questions and answering, Plat. Soph. 263e Stranger Well, then, thought and speech are the same; only the former, which is a silent inner conversation of the soul with itself, has been given the special name of thought. Is not that true? Theaetetus Certainly. Stranger But the stream that flows from the soul in vocal utterance through the mouth has the name of speech? Opposite perception, Epagōgēs If you could AID God then you claim to be superior meaning blasphemy.  See Malachi 3.
	Epagōg-ē , 2. bringing in to one's aid, introduction 4. allurement, enticement, “tais elpisi kai tais e.” D.19.322. b. incantation, spell, in pl., Pl.R.364c, Lg.933d; Hekatēs phaskōn epagōgēn gegonenai saying that Hecate had put it under a spell, Thphr.Char.16.7. 7. leading away into captivity, captivity, LXX Is.14.17: generally, distress, misery, ib.Si.23.14 Plat. Rep. 364c any misdeed of a man or his ancestors, and that if a man wishes to harm an enemy, at slight cost he will be enabled to injure just and unjust alike, since they are masters of spells and enchantments1 that constrain the gods to serve their end. And for all these sayings they cite the poets as witnesses, with regard to the ease and plentifulness of vice, quoting:“ Evil-doing in plenty a man shall find for the seeking; 1 In Laws 933 D both are used of the victim with epōdais, which primarily applies to the god. Cf. Lucan, Phars. vi. 492 and 527. Epōdē , Ion. and poet. epa^oidē , A. song sung to or over: hence, enchantment, spell, of the Magi, Hdt.1.132 Soph. Aj. 582 To Tecmessa. Come, take the child right away, shut tight the doors and make no laments before the house. [580] God, what a weepy thing is woman. Quick, close the house! It is not for a skilful doctor to moan incantations over a wound that craves the knife. Luke 7:32 They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped [Auleo] unto you, and ye have not danced; we have mourned [threneo] to you, and ye have not wept. [Klaio]
Opposite perception,
	-Plato, Theaetetus 189e Socrates  Excellent. And do you define thought as I do?Theaetetus How do you define it? Socrates   As the talk which the soul has with itself about any subjects which it considers. You must not suppose that I know this that I am declaring to you. But the soul, as the image presents itself to me, when it thinks, is merely conversing with itself, asking itself questions and answering,
in Logic, of discursive reasoning,  OPPOSITE intuition 2. reason as a faculty, V. continuous statement, narrative (whether fact or fiction), oration lego       Trut opposite myths, poems
	Without   Prooimion  A. opening, introduction; in Music, prelude, overture, Pi.P.1.4; in poems, proëm, preamble,  Pind. P. 1 Golden lyre, rightful      joint possession of Apollo [Abaddon, Apollyon]     and the violet-haired Muses, [Filthy shepherds, sorcerers Rev 18] to which the dance-step listens, the beginning of splendid festivity; and singers obey your notes, whenever, with your quivering strings, you prepare to strike up chorus-leading preludes. [5] You quench even the warlike thunderbolt of everlasting fire. And the eagle sleeps on the scepter of Zeus, relaxing his swift wings on either side, the king of birds;         and you pour down a dark mist over his curved head,         a sweet seal on his eyelids. Slumbering, he ripples his liquid back,         [10] under the spell of your pulsing notes. Even powerful Ares, setting aside the rough spear-point, warms his heart in repose; your shafts charm the minds even of the gods, by virtue of the skill of Leto's son and the deep-bosomed Muses. But those whom Zeus does not love are stunned with terror when they hear the cry of the Pierian Muses, on earth or on the irresistible sea; Skill Sophia cleverness or skill in handicraft and art, in music and singing, poetry. Divination.   Sorcery says John in Revelation 18 always performed by the "lusted after fruits."
4.speech, delivered in court, assembly VI. verbal expression or utterance, lego, lexis       -Lexis A.speech, OPPOSITE ôidê
	-ôidê, 1.art of song 5. = eppsdê, spell, incantation 4. text of an author,  OPPOSITE exegesis [Peter's private interpretation outlaws exegesis] Arist.En1142a26
2. common talk, report, tradition d. the talk one occasions, repute, mostly in good sense, good report, praise, honour, 3. discussion, debate, deliberation, c. dialogue, as a form of philosophical debate,          The meaning of the sunagogue or syllogimos or syllogism. 1. divine utterance, oracle, expression, utterance, s IX expression, utterance, speech regarded formally
	Polayto, Sophists    [263e] and the several differences between them. Theaetetus Give me an opportunity. Stranger Well, then, thought and speech are the same; only the former,      which is a silent inner conversation of the soul with itself,      has been given the special name of thought. Is not that true?Theaetetus Certainly. Stranger  But the stream that flows from the soul       in vocal utterance through the mouth       has the name of speech? Allêlôn (redupl. from allos) of one another, to one another, one another; hence, mutually, reciprocally John 14:15 If ye love me, keep my commandments. John 14:16 And I will pray the Father, and he shall give you another Comforter,         that he may abide with you for ever; John 14:17 Even the Spirit of truth; whom the world cannot receive,         because it seeth him not, neither knoweth him:         but ye know him; for he dwelleth with you, and shall be in you. John 14:18 I will not leave you comfortless: I will come to you. Melos 2. metaph., “esmen . . allēlōn melē” Ep.Rom.12.5, cf. 1 Ep.Cor.6.15. Rom 12.[5] so we, who are many, are one body in Christ, and individually members one of another. 1 Cor 6.[15] Don't you know that your bodies are members of Christ? Shall I then take the members of Christ, and make them members of a prostitute? May it never be! Homer Iliad 4.Still it beseemeth that my labour too be not made of none effect; for I also am a god, and my birth is from the stock whence is thine own, and crooked-counselling Cronos begat me as the most honoured of his daughters [60] in twofold wise, for that I am eldest, and am called thy wife, whilst thou art king among all the immortals. Nay then, let us yield one to the other herein, I to thee and thou to me, and all the other immortal gods will follow with us; and do thou straightway bid Athene [65] go her way into the dread din of battle of Trojans and Achaeans,
IX 2 prose,  OPPOSITE -poiêsis, Id.R.390a; OPPOSITE -poiêtikê, D.H.Comp.6; opp. poiêmata, onomatopoeic word
	-poi-êsis A.fabrication, creation, production, -Melos   B. esp. musical member, phrase: hence, song, strain, lyric songs, 3.melody of an instrument, mimesis Aoide singing, spell, incantations, -Mousa  -Melodia -Cantus B. An incantation, charm, magic song
OPPOSITE -psilometria, Arist.Po.1448a11;
	-Psilo-metria a verse not accompanied by music logion logion A.oracle, esp. one preserved from antiquity. 2. ta l. Kuriou the sayings of the Lord, LXX Ps.11(12).6, cf.Act.Ap.7.38, Ep.Rom.3.2, 1 Ep.Pet.4.11. Aristotle, Poetics 1448a: In painting too, and flute-playing and harp-playing, these diversities may certainly be found, and it is the same in prose and in unaccompanied verse. For instance Homer's people are "better," Cleophon's are "like," while in Hegemon of Thasos, the first writer of parodies, and in Nicochares, the author of the Poltrooniad, they are "worse."  It is the same in dithyrambic and nomic poetry,
Logos is the  OPPOSITE  emmetra, ib.1450b15 (pl Id.Rh.1404a31 There is NO meter in the Bible: you could not "sing" it tunefully if your life depended on it: that is PREDESTINED. John 3:34 For he whom God hath sent speaketh the words of God: for God giveth not the Spirit by measure unto him.
	-Metron II. metre, Ar.Nu.638, 641, etc.; opp. melos (music) and rhuthmos (time), Pl.Grg.502c, etc.; logous psilous eis metra tithentes putting into verse, Id.Lg.669d; “ta en metrō pepoiēmena epē” X.Mem. 1.2.21. -Frango B. Transf., in gen., to break up small, to grind, bruise, crush, corrupta oratio maxime comprehensione obscura, compositione fracta consistit, id. 8, 3, 57: “effeminata et fracta impudicis modis (musice),” id. 1, 10, 31. -Impudicus I.Shameless, impudent ( = impudens;) II.Unchaste, immodest, lewd, id. cat. 2, 5, 10 -Modus   2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: “vocum,” Cic. Div. 2, 3, 9: “musici,” Quint. 1, 10, 14: “lyrici,” Ov. H. 15, 6: “fidibus Latinis Thebanos aptare modos,” Hor. Ep. 1, 3, 12: Bacchico exsultas (i. e. exsultans) modo, Enn. ap. Charis. p. 214 P. (Trag. v. 152 Vahl.): “flebilibus modis concinere,” Cic. Tusc. 1, 44, 106: saltare ad tibicinis modos, to the music or sound of the flute, Liv. 7, 2: “nectere canoris Eloquium vocale modis,” Juv. 7, 19.—Fig.: “verae numerosque modosque ediscere vitae,” moral harmonies, Hor. Ep. 2, 2, 144.— Mūsĭcus a, um, adj., = mousikos. A. Adj.: “leges musicae,” the rules of music, Cic. Leg. 2, 15, 39: “sonus citharae,” Phaedr. 4, 18, 20: “pedes,” Plin. 29, 1, 5, § 6.— 2. mūsĭ-ca , ōrum, n., music: “in musicis numeri, et voces, et modi,” Cic. de Or. 1, 42, 187: “dedere se musicis,” id. ib. 1, 3, 10: “et omnia musicorum organa,” Vulg. 1 Par. 16, 42.—
X. X. the Word or Wisdom of God, personified as his agent in creation and world-government, “ho pantodunamos sou l.” LXX Wi.18.15; “ho ek noos phōteinos l. huios theou” Corp.Herm.1.6, cf. Plu.2.376c; l. theou di' hou kateskeuasthē ho kosmos] Ph.1.162; tēs tou theou sophias: hē de estin ho theou l. ib.56; l. theios . . eikōn theou ib.561, cf. 501; ton tomea tōn sumpantōn theou l. ib.492; ton aggelon hos esti l. ib.122: in NT identified with the person of Christ, “en arkhē ēn ho l.” Ev.Jo.1.1, cf. 14, 1 Ep.Jo.2.7, Apoc.19.13; “ho l. tēs zōēs” 1 Ep.Jo.1.1.
	Protagoras was nicknamed Logos Plato, Protogoras: All distinguish between the low class in the market-place and the decent, educated people. [347c] But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion. For it seems to me that arguing about poetry is comparable to the wine-parties of common market-folk. These people, owing to their inability to carry on a familiar conversation over their wine by means of their own voices and discussions That includes the performance preaching: Agoraios  epith. of Artemis and Athena, v. infr.):--   A. in, of, or belonging to the agora, Zeus A. as guardian of popular assemblies,   2. of things, vulgar, III. generally, proper to the agora, skilled in, suited for forensic speaking   b. agoraios, market-day, IGRom.4.1381 (Lydia). (The distn. agoraios vulgar,   agoraios public speaker, drawn by Ammon. [Where Jesus consigned pipers, singers, dancers] Hupokritikos 2.suited for speaking or delivery, actor's art, acting a part, pretending to. Hupokrites 2. of an orator I. interpreter or expounder, “tēs di' ainigmōn phēmēs” Pl.Ti. 72b; “oneirōn” Luc.Somn.17, etc. 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, poikilos  rhapsodist, pretender, dissembler, hypocrite 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” D.H.Is.3. Matthew 23:[13]  "Woe to you, scribes and Pharisees, hypocrites! For you devour widows' houses, and as a pretense you make long prayers. Therefore you will receive greater condemnation. [14]  "But woe to you, scribes and Pharisees, hypocrites! Because you shut up the Kingdom of Heaven against men; for you don't enter in yourselves, neither do you allow those who are entering in to enter Jesus points to Isaiah 29 and Ezekiel 33 where Jesus identified the Scribes and Pharisees as "rhetoricians, singers and instrument players." I know of no recorded history which does not agree. Jesus equated the MEN of that generation to CHILDREN which questioned their gender: This was beyond the pale for any male so the insult is stinging. 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. [347d] such is their lack of education--put a premium on flute-girls by hiring the extraneous voice of the flute at a high price, and carry on their intercourse by means of its utterance. But where the party consists of thorough gentlemen who have had a proper education,       you will see neither flute-girls nor dancing-girls nor harp-girls,       but only the company contenting themselves with their own conversation,       and none of these fooleries and frolics--       each speaking and listening decently in his turn, Romans 15:4 For whatsoever things were written aforetime         were written for our learning, that we through patience         and comfort of the scriptures might have hope. Romans 15:5  Now the God of patience and consolation         grant you to be likeminded one toward another according to Christ Jesus: Romans 15:6 That ye may with one mind and one mouth         glorify God, even the Father         of our Lord Jesus Christ.