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Anything
which added to the promise of Jesus to remove the laded burden (songs)
and the burden laders perverts the gospel of REST: the word rest
forbits all commercial or entertaining performances used to create
"spiritual anxiety through religious rituals."
4190. poneros,
pon-ay-ros´; from a derivative of 4192; hurtful,
i.e. evil (properly, in effect or influence, and thus differing from
2556, which refers rather to essential character, as well as from 4550,
which indicates degeneracy from original
virtue); figuratively, calamitous;
also (passively) ill, i.e. diseased; but especially
(morally) culpable, i.e. derelict,
vicious, facinorous; neuter
(singular) mischief, malice, or
(plural) guilt; masculine (singular) the
devil, or (plural) sinners: -- bad,
evil, grievous, harm,
lewd, malicious, wicked(-ness).
See also 4191.
Phortos
a burden is anything imposed to be performed as the works of human hands denies that Jesus paid it all. A.
make, produce, first of something material, as manufactures, works of art, epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai,
Prasso III.
achieve, effect, accomplish
“tina Nēreidōn p. akoitin” Id.N.5.36; humnon p. grant power of song, ib.9.3;
II.
Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.
ph. erōtos, of Europa on the bull
A laded Burden is: A. poieō , A.
make, produce, first of something material, as manufactures, works of art,
3.
of sacrifices, festivals, etc., celebrate, “ p. hira” Hdt.9.19, cf. 2.49 ; p. sabbata observe the Sabbath, LXXEx.31.16;
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.
A laded Burden is B: To Study or practice of drama , atos, to/, (draō)
II.
action represented on the stage, drama, play, Ar.Ra.920, Arist.Po.1448a28, etc.; mē en tō d. not in the action on the stage, ib. 1460a31; exō tou d. ib. 1453b32; “ d. poiein” Ar.Ra.1021; “ saturikon d.” Pl.Smp.222d (with play on 1): metaph., stage-effect of any kind, “ ta eleina tauta d. eisagein” Id.Ap.35b: also, tragical event, Plb.23.10.12, Him.Ecl.1.12, etc.
A laded Burden is C. Sullog-ismos ,
A.
computation, calculation
2.
in the Logic of Arist., a syllogism or deductive argument,
defined provisionally as an argument in which, certain things being
posited, something different from them necessarily follows, APr.24b18, cf. 47a34, al.; of several kinds, e.g. ho apodeiktikos s. APo.74b11; o( dialektikos s. Top.100a22; eristikos s. ib. b24; sts. opposed to epagōgē (q.v.); ho ex epagōgēs s. the syllogism which springs out of induction, APr.68b15; “ to enthumēma s. tis” Rh.1355a8.
Epagōg-ē , 4.
allurement, enticement, “tais elpisi kai tais e.” D.19.322. b.
incantation, spell, in pl., Pl.R.364c, Lg.933d; Hekatēs phaskōn epagōgēn gegonenaispell, Thphr.Char.16.7.
7.
leading away into captivity, captivity, LXX Is.14.17: generally, distress, misery,Si.23.14 (pl.of tax-gatherers demand from one as the price for a thingsaying that Hecate had put it under a ib.
A laded Burden is D. Eur. Supp. 20 so now their mothers would bury in the grave the dead, whom the spear
has slain, but the victors prevent them and will not allow them to take
up the corpses, holding the laws of the gods in no honor. [20] Here
lies Adrastus on the ground with streaming eyes, sharing with them the
burden of their prayer to me, and bemoaning the havoc of the sword and
the sorry fate of the warriors whom he led from their homes. And he urges me to use entreaty to persuade my son
[25]
to take up the dead and help to bury them, either by winning words or force of arms, laying on my son and on Athens
this task alone. Now it happened that I had left my house and come to
offer sacrifice on behalf of the earth's crop [30] at this shrine,
where first the fruitful corn showed its bristling shocks above the
soil. And here at the holy altars of the two goddesses, Demeter and the
Maiden, I wait, holding these sprays of foliage, a bond that does not
bind, in compassion for [35] these childless mothers, gray with age,
and in reverence for the sacred garlands. My herald has gone to the
city, to call Theseus here, so that he may rid the land of that which
grieves them, or loose these suppliant bonds, [40] with pious
observance of the gods' will; for women should in all cases invoke the
aid of men, women that are discreet.
A laded Burden is E. Aristoph. Peace 748 Chorus
The Chorus turns and faces the audience.
Undoubtedly the comic poet who [735] mounted the stage to praise
himself in the parabasis would deserve to be handed over to the sticks
of the beadles. Nevertheless, oh Muse, if it be right to esteem the
most honest and illustrious of our comic writers at his proper value,
permit our poet to say that he thinks he has deserved a glorious
renown. First of all, he is the one who has compelled his rivals no
longer [740] to scoff at rags or to war with lice; and as for those
Heracleses, always chewing and ever hungry, he was the first to cover
them with ridicule and to chase them from the stage; he has also
dismissed that slave, whom one never failed to set weeping before you,
[745] so that his comrade might have the chance of jeering at his
stripes and might ask, “Wretch, what has happened to your hide? Has the
lash rained an army of its thongs on you and laid your back waste?”
After having delivered us from all these wearisome ineptitudes and
these low buffooneries, he has built up for us a great art, like a
palace with high towers, [750] constructed of fine phrases, great
thoughts and of jokes not common on the streets. Moreover it's not
obscure private persons or women that he stages in his comedies; but,
bold as Heracles, it's the very greatest whom he attacks, undeterred by
the fetid stink of leather or the threats of hearts of mud. He has the
right to say, “I am the first ever dared to go straight for that beast
with the sharp teeth [755] and the terrible eyes that flashed lambent
fire like those of Cynna, surrounded by a hundred lewd flatterers, who
spittle-licked him to his heart's content; it had a voice like a
roaring torrent, the stench of a seal, the unwashed balls of a Lamia and the arse of a camel
A laded Burden is F. Aristoph. Pl. 771
Wife Do you refuse these gifts?
Plutus [795] I will accept them at your
fireside, as custom requires. Besides, we shall thus avoid a ridiculous
scene; it is not meet that the poet should throw dried figs and
dainties to the spectators; it is a vulgar trick to make them laugh.
Wife [800]
You are right. Look! yonder's Dexinicus, who was already getting to his feet to catch the figs as they flew past him.
A laded Burden is G Erōs , ōtos, o(, acc. erōn for : (heramai, eraō A):—love, mostly of the sexual passion, “thēlukratēs e.” A.Ch.600 (lyr.)
III.
at Nicaea, a funeral wreath, EM379.54.
The Kleros of Aphrodite: hence, of oracles, E.Hipp.1057, Ph. 838; “Hermēs gar ōn klērō poiēseis oid' hoti” Ar.Pax365;
III.
of the Levites, “Kurios autos klēros autou” LXX De.18.2: hence, of the Christian clergy, “en klērō katalegomenos”
khthōn , h(, gen. khthonos,
hupo khthonos, of the nether world, “Tartaron cf. A.Eu.72; hoi hupo kh. philoi, i.e. those in the shades below, Id.Ch.833
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Jesus Christ died to REMOVE this burden: Click for Isaiah 28
Because
ye have said, We have
made a covenant with
death,
and with hell
are we at agreement; when the overflowing scourge shall pass through, it shall not come
unto
us: for we have made lies our
refuge, and under falsehood have we
hid ourselves: Is.28:15
A
vital focus of
questioning was the world of the dead. The recently deceased might exert influence
on the living for good or for
bad. Offerings to the dead, which were required by custom, were
intended, among other purposes, to make them well disposed. People occasionally
deposited with
their offerings a letter telling the deceased of their problems and
asking for assistance. A few of these letters are complaints to the
deceased person, alleging that he or she is afflicting the writer. This written
communication with the
dead was confined to the very few literate members of the population,
but it was probably part of a more widespread oral practice. Some tombs of
prominent people acquired minor cults
that may have originated in frequent successful recourse to them for
assistance. Britannica Online
See The Feast of Tabernacles
in Jerusalem
The Marzeah in
Amos 5
"The
marzeah had an extremely
long history extending at least from the 14th century B.C. through
the Roman period. In the 14th century B.C., it was prominently
associated with the ancient Canaanite city of Ugarit (modern Ras
Shamra), on the coast of Syria...
The
marzeah was a pagan ritual that took the
form of a social
and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the
Bible for the inhabitants of Sheol)." (King, Biblical
Archaeological
Review, Aug, 1988, p. 35, 35)
"These
five elements are: (1)
reclining or relaxing, (2) eating a meat meal, (3) singing with harp
or other musical accompaniment, (4) drinking wine and (5) anointing
oneself with oil." (King, p. 37).
"we
recognize the same
elements: the sacrifices and libation, the cultic feast in which the
congregation gets a share of food and drink after it has been blessed
by the king, and the merry-making, now in the form of instrumental
and vocal music. But the central act of the ritual, which was
performed by the king, is called literally 'drinking' the god
(Gurney, O. R. Some Aspects of Hittite Religion, p. 33-34, Oxford
University Press, 1977)
"The
normal order of events was
a meal, followed by a drinking party. Entertainment might include
anything from a rhetorcian or philosopher discoursing on some topic,
to musical entertainment, to sexual dalliance."
"Plutarch
implicitly contrasts
a serious dinner featuring a sage as the after-dinner speaker with
the other sorts of dinners--where sexual play with the girl
flute-players or hetairae was common." (Witherington, Ben, Why Not
Idol Meat, Bible Review, June 1994, p. 41-42).
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2.
of authors, elaborate a work, Ar.Nu.526; of a science, work out, “ha thelei”
4.
simply, write, treat, “poiētēs ōn pepragmateutai peri to hieron” IG11(4).544.5 (Delos, iii B. C.); ta pepragmateumena hup' autō his works, composilions,
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331. anathema, an-ath´-em-ah;
from 394; a
(religious) ban or (concretely) excommunicated (thing or person): —
accused, anathema, curse, x great.
1 Cor 16:22 If any man love not the
Lord Jesus
Christ, let him be Anathema Maranatha.
The Levites cursed by Jacob were abandoned
to carry out the work of the "lord" in the worship of the starry host
for a nation sentenced to be returned to "beyond Babylon." They were
dedicated to the Lord and "had no inheritance in Israel."
-Anathêma
, /, (anatithēmi) A.
that which is set up: hence, like agalma, votive offering set up in a temple, Hdt.1.14,92, S.Ant.286, etc.; “a. ek leitourgiōn” Lys.26.4. 2.
used by Hom. only in first sense of agalma, delight, ornament, “molpē t' orkhēstus te: ta gar t' anathēmata daitos” Od.1.152, cf. 21.430, IG14.1390; tois tekousin anathēma biotou, of children, E.Fr.518, cf. Pl.Hp.Mi.364b; to help deserving poverty is “basilikou ploutou a. kai kataskeuasma lamprotaton” D.H.19.14.
-Agalma , atos, to/, acc. to Hsch. pan eph' hō tis agalletai,
A.
glory, delight, honour, Il.4.144, etc.; kephalaisin andrōn agalmata (sc. lophoi) Alc.15; khōras a., of an ode, Pi.N.3.13, cf. 8.16;
2.
pleasing gift, esp. for the gods, “a. theōn” Od.8.509, of a bull adorned for sacrifice, ib.3.438; of a tripod, Hdt.5.60, al.; generally, = anathēma, IG1.37312a, etc.; “Kharēs eimi . . a. tou Apollōnos” GDI5507 (Miletus); “anthēken a.” Simon.155; so, Hekatēs a . . . kuōn, because sacred to her, E.Fr.968, = Ar.Fr.594a; a. Aida, of a tombstone, Pi.N.10.67.
Hekatēs a . . . kuōn, because sacred to her, E.Fr.968, = Ar.Fr.594a; a. Aida, of a tombstone, Pi.N.10.67.
-Molp-ē , h(, (melpō)
A.
dance or rhythmic movement with song, Od. 6.101, Il.18.606.
2.
more freq. song, 1.472; “ molpēs te glukerēs kai amumonos orkhēthmoio” 13.637; “ molpē t' orkhēstus te” Od.1.152, cf. Hes.Th.69, Sapph.Supp.25.5, Pi.O.10.84, 6.97 (pl.), A.Ag.106 (lyr.), etc.: Com. in lyr., “ molpa klagga” Mnesim.4.57 (anap.): metaph., ou m. suriggos ekhōn the note, S.Ph.212 (lyr.): also in late Prose, as Luc.Salt.23.
Apollo in Revelation is Abaddon or Apollyon and the muses are the Locusts in John's coded message.
-Hom. Od. 1.125 Heralds poured water over their hands, and maid-servants heaped by them
bread in baskets, and youths filled the bowls brim full of drink; and
they put forth their hands to the good cheer lying ready before them.
[150] Now after the wooers had put from them the desire of food and
drink, their hearts turned to other things, to song and to dance; for
these things are the crown of a feast. And a herald put the beautiful
lyre in the hands of Phemius, who sang perforce among the wooers; [155]
and he struck the chords in prelude 2
to his sweet lay.
But Telemachus spoke to flashing-eyed Athena, holding his head close,
that the others might not hear: “Dear stranger, wilt thou be wroth with
me for the word that I shall say? These men care for things like these,
the lyre and song, [160] full easily, seeing that without atonement
they devour the livelihood of another, of a man whose white bones, it
may be, rot in the rain as they lie upon the mainland, or the wave
rolls them in the sea.
-Hom. Od. 21.401
A Levite musician who entered into a
holy place would be sacrificed: modern musicians claim that they are
dedicated to the Lord. There are several Biblical examples which prove
that they will be cast alive into the lake of fire.
3.
of a slave in a temple, a. poleōs devoted to this service by the city, E.Ion310.—Cf. anathema.
Any object so sacrificed or devoted
to the Lord
could not be redeemed (Num. 18:14; Lev. 27:28, 29); and hence the idea
of exterminating was connected with the word. The Hebrew verb (haram)
is frequently used of the extermination of idolatrous nations. It had a
wide range of application. The anathema or herem was a person or thing
irrevocably devoted to God (Lev. 27:21, 28); and "none devoted shall be
ransomed. He shall surely be put to death" (27:29). The Hebrew word
therefore carried the idea of devoted to destruction (Num. 21:2, 3;
Josh. 6:17); and hence a majority of scholars have treated the word
anathema similarly, generally as meaning a thing accursed. For example,
in Deut. 7:26 an idol is called a herem = anathema, understood to mean
a thing accursed
Sorry bout that but you will not be able to believe it: Time is short
and that is why the Church of Christ thread tries to silence just
quoting the Bible: music means to silence the voice of the victim.
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: (the trumpet sound)
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, t
hat 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.
Christ in Isaiah 30 says that hell is prepared for God to drive His
enemies into: the MARKS are wind, string and percussion instruments.
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