Dêmiourg-os , A.one who works for the people, skilled workman, handicraftsman, sculptors, the artisan class at Athens, Plutarch Thes. 25.
Agônizomenôn A.contend for a prize, esp. in the public games, 2.fight, 3.contend for the prize on the stage, of the rhapsode, playwright, actor, choragus, contgend for victory, argue sophistically
You will notice that there are three different modifiers to psallo: pselanta, psallon and psallonton: Psallonton scholazo speaks of having too much leasure, to loiter, linger, MousikosDemosthenes 21:[66] These and all similar acts, Athenians, are partly excusable in a chorus-master who is carried away by emulation; but to harass a man with one's hostility, deliberately and on every occasion, and to boast one's own power as superior to the laws, that, by Heaven! is cruel and unjust and contrary to your interests. For if each man when he becomes chorus-master could foresee this result: “If So-and-so is my enemy--Meidias for example or anyone else equally rich and unscrupulous--first I shall be robbed of my victory, even if I make a better show than any of my competitors next I shall be worsted at every point and exposed to repeated insults:” who is so irrational or such a poor creature that he would voluntarily consent to spend a single drachma?
There more than a dozen words which virtually EQUATE plucking the Lyre and plucking the bow: all such words speak of warfare or moral pollution. The word psallo is NEVER more than a metaphor meaning to shoot forth a hymn. When you pluck something, we have noted from ALL of Tom Burgess' proof texts you only do it with your FINGERS and never with a PLECTRUM. Therefore, psallo would repudiate beating on cymbals, picking a guitar or play a piano.
Tillô, pluck or pull outhair, 2. with acc. of that from which the hair or feathers are plucked, as a description of an idle fellow, also, pluck live sheep, instead of shearing, have one's hair plucked out as a punishment of adulterers
4. melê pluck the harp-strings, play harp-tunes, Cratin.256 (lyr.).
Melos , eos, to, B. esp. musical member, phrase: hence, song, strain,
3. melody of an instrument, phorminx [harp}; aulôn {flute}
II. since tearing the hair was a usual expression of sorrow, tillesthai tina tear one's hair in sorrow for any one III. metaph., pluck, vex, annoy, Similar to revello which is similar to Psallo
A. lyre, freq. in Hom., esp. as the instrument of Apollo [Abaddon, Apollyon], phormingos perikalleos hên ech' Apollôn , phrena terpomenon phorming; with seven strings (after Terpander's time), antipsallôn elephantodeton ph. Ar.Av.219 (anap.).
2. ph. achordos, metaphor for a bow, Arist.Rh.1413a1.
A. pluck off, a. pagên spring a trap that is set, Lyc.407; twang a string, Id.915; hêglôtta a. tên akran Atthida rings out the purest Attic, metaphor from the lyre,
Achordos , on,
A. without strings, melos Poet. ap. Arist.Rh.1408a6: phorminx a., metaph. of a bow, Thgn.Trag.1 (= Lyr.Adesp.127).
MUSES are the legendary locusts who are to be unleased by Apollo or Abbadon or Apollyon. However, a time will come--
And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev 18:22
Plucking the strings TECHNIKOS is the word for craftsman.
Technites (g5079) tekh-nee'-tace; from 5078; an artisan; fig. a founder (Creator): - builder, craftsman.
For a certain man named Demetrius, a silversmith, which made silver shrines for Diana, brought no small gain unto the craftsmen; Ac.19:24
The silversmith also make silver strings to give harps that sharp, twanging sound.
For he looked for a city which hath foundations, whose builder and maker is God. Heb.11:10
Craft includes all of the performance roles in pagan, perferted religion. In includes theater builders and stage managers:
Techne (g5078) tekh'-nay; from the base of 5088; art (as productive), i.e. (spec.) a trade, or (gen.) skill: - art, craft, occupation.
Forasmuch then as we are the offspring of God, we ought not to think that the Godhead is like unto gold, or silver, or stone, graven by art and mans device. Ac.17:29
A singer or musician or speaker was also a techne or craftsman.
Moralia: And he pays great deference to the Muses if he be but a spectator of such contests.
Plucking strings was left to the harpIST and piping to the flute-girls which meant prostitutes, male or female. Children were taught music for the harmony it taught to make them valuable as a warrior. However, respectable people would not themselves play instruments in public. The word AUTHENTIA Paul used to MARK and outlaw the loud and non-sedentary women in the assembly means EROTIC and MURDEROUS. Any advertiser in the public assembly would be suspect.
Agônizomenôn contending for a prize. The THEATER was the place where they performed their often perverted ritual: theat-ês , Ion. theêtês , ou, ho, ( [theaomai] ) one who sees or goes to see,. E. Ion301; in the theatre, spectator, Ar.Nu.575, al.; th. sophistôn Th. 3.38 ; one who contemplates, talêthous Arist.EN1098a31 .
Iôn 301 shows that the CHARMING pluckers performed musical prophesying and GRACE was not a "blue eyed blond" but is the basis for CHARISMATIC which, in these meetings, involved sodomy often in the form of pederasty. The SON might be very careful NOT to be a performing musician because a KING'S SON just doesn't do that.
Charin is Charis 2. esp. in erotic sense, of favours granted (v. charizomai 1.3 ), charites aphrodisiôn erôtôn
A sOPHISts was a professional speaker who performed one of the ACTS rather than give free information. The OPHIS is the serpent in the book of Revelation. This is why rhetoricians, sOPHISts, singers and musicians were MANTI oracles or sorcerers and therefore EVERYONE Knew that they were PARASITES.
"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp. Source
"The psaltery (psalterion, saltere, sauterie, Psalterium, Psalter, salterio) is an ancient intstrument seen in many forms. Early versions were simply a wooden board with gut strings stretched between pegs. The strings were plucked with fingers or by plectra (the name might have derived from the Greek psallein meaning plucked with fingers).
"Its (pipe = to love passionately) was apparently a secular instrument and is never listed in the temple orchestra;
only in Ps. 150:4 it is mentioned in a religious (but not ritual) function.
Its ethos was not blameless at all, ase we see from Genesis Rabbah 50: 'The angels said to Lot: 'There are players of the pipe (organ) in the country, hence it ought to be destroyed.'" Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests." (Interpreters Dictionary of the Bible, p. 460, Abingdon).
Plutarch recounts the noble deeds and characters of Greek and Roman soldiers, legislators, orators, and statesmen. By definition, if he wrote anything on an intellectual level he would have written in Attic Greek or he would never have appealed to the elite able to buy his scribal works.
Secondly, there are forms of psallo which are NOT psallo. Just as people substitute different words in making their own copies there are many words to define one who SINGS and PLAYS an instrument at the same time
Thirdly, in any definition of Psallo, the ROOT meaning is to pluck, twang or shoot an arrow. ALL musical terms and names of instruments have evil, destructive or Satanic roots. Why would the Spirit give us a WARFARE word to UNITE the assembly with one MOUTH and one MIND?
"All things come into being by conflict of opposites, and the sum of things flows like a stream. This order, the same for all things, no one of gods or men has made, but it always was, and is, and ever shall be, an ever-living fire, kindling according to fixed measure, and extinguished according to fixed measure. Justice meant a balance of opposites, and hence could be defined as strife.
Heraclitus cited as an example the tension between the string and the frame in a bow or a musical instrument. 'Harmony lies in the bending back, as for instance of the bow or of the lyre... Opposition unites. From what draws apart results the most beautiful harmony. All things take place by strife'." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 188, Knopf)
> Psallô (psao or SOP)
I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps. to twang the bow-string, Eur.; belos ek keraos ps. to send a shaft twanging from the bow, Anth.;
The FUNDAMENTAL meaning of PSALLO is a warfare word: it never had ANY musical meaning. IF you pluck a string WITH YOUR FINGERS and not with a GUITAR PICK you make a noise or sound.
The Secondary meaning does not relate to CARPENTERS but repudiates the MUSICAL connection:
so, schoinos miltophurês psallomenê a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark,
What false teachers do not know is that the SOCHOINOS or Papyrus rope was used by Jesus to DRIVE OUT the money changers from the Temple courts. They had made it a den of thieves or a house of merchandise which was QUARANTINED to the Agora or marketplace.
Jesus also CAST OUT the musical minstrels LIKE DUNG because they belonged in the marketplace along with rhetoricians, singers, musicians, prostitutes, sodomites, sellers of young boys and radishes.
He marked THAT generation and consigned the pipers, singers and dancers to the MARKETPLACE.
This Psallo rope was used to CAST OUT the idlers from the marketplace and force them into the ekklesia to hear INSTRUCTIONS ONLY as Jesus organized the church. With this PSALLO mark they would not be able to participate in "church."
Miltophurês
Miltoô 1 2 [miltos] to paint red:--Pass. to paint oneself red or be painted red, Hdt.; schoinion memiltômenon the rope covered with red chalk with which they swept loiterers out of the Agora to the Pnyx, Ar.
Miltophurês 1 [phurô] daubed with red, Anth. Phurô I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, to be doomed to have one's hair defiled with earth, II. metaph. to mingle together, confuse, thêriôdous from a confused and savage state,SCENE: The Athenian Ecclesia on the Pnyx; afterwards Dicaeopolis' house in the country.
On the other hand, what joy Dexitheus caused me at the musical competition, when he played a Boeotian melody on the lyre! But this year by contrast! Oh! what deadly torture to hear Chaeris perform the prelude in the Orthian mode! --Never, however, since I began to bathe, has the dust hurt my eyes as it does to-day.
Still it is the day of assembly; all should be here at daybreak, and yet the Pnyx [ekklesia location] is still deserted.
They are gossiping in the marketplace, slipping hither and thither to avoid the vermilioned rope. The Prytanes even do not come; they will be late, but when they come they will push and fight each other for a seat in the front row.
9 Several means were used to force citizens to attend the assemblies; the shops were closed; circulation was only permitted in those streets which led to the Pnyx; finally, a rope covered with vermilion was drawn round those who dallied in the Agora (the market-place), and the late-comers, ear- marked by the imprint of the rope, were fined.II. to play a stringed instrument with the fingers, NOT with the plectron
There is no text where PSALLO means PLAY an instrument: it simply means PLUCK. If you pluck a bow it hurts, if you pluck a harp you must NAME what it is you want to pluck.
2. later, to sing to a harp,
Again, there is no literature to this effect: the lexicons tell us how a word is USED without making a definition. In the literature you must define (1) sing, the (2) play and (3) WHAT to play.
3. SING NTest.Burgess wants SING NTest NOT to be another category. Rather, he says that we should read "later to sing to a harp in the NTestament. However, we will note that Thayer makes the separation by the semicolon. And the Latin definition makes the differences to be:
In a warrior's sense, PLUCK meant to kill someone but in a general sense it meant to play an instrument or to SOOT OUT a hymn. This removes the PLUCKING from warfare to social making of music which had its greatest utility in the brothels which were pagan "worship centers."
In a general sense, to sing to a musical instrument.
In ecclesiastical Latin, to sing the Psalms of David.These are not so much TIME CHANGING meanings but meanings defined by the situation.
You don't SHOOT real or love arrows when you sing at the "places of watering" or social gathering places.So, we HAVE to accept a REMOVAL in meaning from warfare to social or pagan religious settings.
For a Christian assembly or synagogue or school of the Bible we MUST accept another meaning which is to SHOOT OUT hymns.
If Burgess is correct and there was no SITUATIONAL DEFINITION of a word which just meant PLUCKING then how can he stop short of shooting literal or LOVE ARROWS from the mystical BOW or SERPENT STING SHOOTER of Apollyon?
He STILL does not have a hint of understanding when someone commands: PLUCK! He has to ask, "Pluck What?"
Paul knew, because he was literate, that PLUCK or PSALLO was already a word which, in polite literature, almost always spoke of SHOOTING hymns as one projects forth. Psallo never meant "sing songregationally with instrumental accompaniment" but just meant PLUCK. If you plucked a bow string it meant death so that the enemy made HARMONY by kicking his heels. If you PLUCKED a young boy you shot out love arrows. If you plucked a harp string you made a musical tone. And, if you plucked your own voice you shot out a hymn. And the literature makes it clear that you can SHOOT OUT psalms "to yourself" while you are going to sleep.
In addition to Psallo NOT being a musical word but a warfare or perverted religious word, the CONTEXT out of which this proof text has been yanked by its roots (the meaning of Revello or Psallo in yanking hair), is 100% of the time a MARK of perverted "religion."
We will repeat some of this for those who don't appreciate taking things out of context which is the meaning of a SERMON whereas the Latin "sermon" means what Paul meant: to discuss, dialog or commune:
Pericles, Part I.
Caesar [Probably Augustus.] once, seeing some wealthy strangers at Rome, carrying up and down with them in their arms and bosoms young puppy - dogs and monkeys, embracing and making much of them, took occasion not unnaturally to ask whether the women in their country were not used to bear children; by that prince - like reprimand gravely reflecting upon persons who spend and lavish upon brute beasts that affection and kindness which nature has implanted in us to be bestowed on those of our own kind. With like reason may we blame those who misuse that love of inquiry and observation which nature has implanted in our souls,
by expending it on objects unworthy of the attention either of their eyes or their ears, while they disregard such as are excellent in themselves, and would do them good.
The mere outward sense, being passive in responding to the impression of the objects that come in its way and strike upon it, perhaps cannot help entertaining and taking notice of every thing that addresses it, be it will, useful;
but, in the exercise of his mental perception, every man, if he chooses, has a natural power to turn himself upon all occasions,
and to change and shift with the greatest ease to what he shall himself judge desirable.
Remember the context from Burgess: And so Philip2 once said to his son, who, as the wine went round, plucked the strings charmingly and skilfully, "Art not ashamed to pluck the strings so well?"
So that it becomes a man`s duty to pursue and make after the best and choicest of everything, that he may not only employ his contemplation, but may also be improved by it. For as that color is most suitable to the eye whose freshness and pleasantness [Tom Burgess' proof text again] stimulates and strengthens the sight, so a man ought to apply his intellectual perception to such objects as, with the sense of delight, are apt to call it forth, and allure it to its own proper good and advantage.
Remembering also that Paul commanded Timothy to "give attendance to the public reading" of whatever Scriptures he had. And we know that the early church obeyed the command to SPEAK the Biblical text. We also know that it was universal knowledge that when "performance rhetoric" or "singing" began to be added it produced a GENDER BLEED which led to sexual perversion.
Tom Burgess: Such objects we find in the acts of virtue, which also produce in the minds of mere readers about them, an emulation and eagerness that may lead them on to imitation.
In other things there does not immediately follow upon the admiration and liking of the thing done, any strong desire of doing the like.
Nay, many times, on the very contrary, when we are pleased with the work, we slight and set little by the workman or artist himself, as, for instance, in perfumes and purple dyes, we are taken with the things themselves well enough,
........... but do not think dyers and perfumers otherwise than low and sordid people.It was not said amiss by Antisthenes, when people told him that one Ismenias was an excellent piper,
"It may be so," said he, "but he is but a wretched human being, otherwise he would not have been an excellent piper."
And king Philip, to the same purpose, told his son Alexander,
........... who once at a merry - meeting played a piece of music charmingly and skillfully,
........... "Are you not ashamed, son, to play so well?"For it is enough for a king or prince to find leisure sometimes to hear others sing, and he does the muses quite honor enough when he pleases to be but present, [leaving Burgess}
[The context again] while others engage in such exercises and trials of skill.
He who busies himself in mean occupations produces, in the very pains he takes about things of little or no use,
an evidence against himself of his negligence and indisposition to what is really good.
Nor did any generous and ingenuous young man, at the sight of the statue of Jupiter at Pisa, ever desire to be a Phidias, or, on seeing that of Juno at Argos, long to be a Polycletus, or feel induced by his pleasure in their poems to wish to be an Anacreon or Philetas or Archilochus.
For it does not necessarily follow, that, if a piece of work please for its gracefulness, therefore he that wrought it deserves our admiration.
Whence it is that neither do such things really profit or advantage the beholders, upon the sight of which no zeal arises for the imitation of them, nor any impulse or inclination, which may prompt any desire or endeavor of doing the like.
But virtue, by the bare statement of its actions, can so affect men`s minds as to create at once both admiration of the things done and desire to imitate the doers of them. The goods of fortune we would possess and would enjoy; those of virtue we long to practice and exercise; we are content to receive the former from others, the latter we wish others to experience from us.
Moral good is a practical stimulus; it is no sooner seen, than it inspires an impulse to practise; and influences the mind and character not by a mere imitation which we look at, but, by the statement of the fact, creates a moral purpose which we form.
Speaking the Psalms written by the Spirit of Christ are intended to instill historical information which is that which God has given to us "for our learning." When you get pleasured by listening to a skilled singer or watch Twila twitch around the stage, JUST WHAT is it that you take home with you of a useful nature? Nothing. That is why EVERYONE understood them as sorcerers and therefore PARASITES.
Plutarch, Symposium, book 1 notes:
Antisthenes, Hermogenes, and the like,--we will permit them to philosohize, and to mix Bacchus with the Muses as well as with the Nymphs; for the latter make him wholesome and gentle to the body, and the other pleasant and agreeable to the soul. And if there are some few illiterate persons present, they, as consonants with vowels, in the midst of the other learned, will participate not altogether inarticulately and insignificantly.
But if the greater part consists of such who can better endure the noise of any bird, fiddle-string, or piece of wood than the voice of a philosopher,Just so, when philosophers midst their cups dive into minute and logical disputes, they are very troublesome to those that cannot follow them through the same depths; and those that bring in idle songs, trifling disquisitions, common talk, and mechanical discourse destroy the very end of conversation and merry entertainments, and abuse Bacchus.
Therefore, as when Phrynichus and Aeschylus brought tragedy to discourse of fictions and misfortunes, it was asked, What is this to Bacchus?--so methinks, when I hear some pedantically drawing a syllogism into table-talk, I have reason to cry out, Sir, what is this to Bacchus?
Perchance one, the great bowl standing in the midst, and the chaplets given round, which the god in token of the liberty he bestows sets on every head, sings one of those songs called [Skolios] (CROOKED OR OBSCURE); this is not fit nor agreeable to a feast.
See the connection to THIS CROOKED GENERATION:Though some say these songs were not dark and intricate composures; but that the guests sang the first song all together, praising Bacchus and describing the power of the god; and the second each man sang singly in his turn, a myrtle bough being delivered to every one in order, which they call an because he that received it was obliged to sing;
and after this a harp being carried round the company, the skilful took it, and fitted the music to the song; this when the unskilful could not perform, the song was called [Greek omitted] because hard to them, and one in which they could not bear a part.Further down in Pericles
And a third, Eupolis, in the comedy called the Demi, in a series of questions about each of the demagogues, whom he makes in the play to come up from hell, upon Pericles being named last, exclaims, -
"And here by way of summary, now we`ve done,
Behold, in brief, the heads of all in one."The master that taught him music, most authors are agreed, was Damon (whose name, they say, ought to be pronounced with the first syllable short). Though Aristotle tells us that he was thoroughly practised in all accomplishments of this kind by Pythoclides.
Damon, it is not unlikely, being a sophist, out of policy, sheltered himself
under the profession of music to conceal from people in general his skill in other things, and under this pretence attended Pericles, the young athlete of politics, so to say, as his training - master in these exercises.
Damon`s lyre, however, did not prove altogether a successful blind; he was banished the country by ostracism for ten years, as a dangerous inter - meddler and a favorer of arbitrary power,
........... and, by this means, gave the stage occasion to play upon him.As, for instance, Plato, the comic poet, introduces a character, who questions him -
........... "Tell me, if you please,
........... Since you`re the Chiron who taught Pericles."Pericles, also, was a hearer of Zeno, the Eleatic, who treated of natural philosophy in the same manner as Parmenides did, but had also perfected himself in an art of his own for refuting and silencing opponents in argument; as Timon of Phlius describes it,
Also the two - edged tongue of mighty Zeno, who,
Say what one would, could argue it untrue."Since Thucydides describes the rule of Pericles as an aristocratical government, that went by the name of a democracy, but was, indeed, the supremacy of a single great man, while many others say, on the contrary,
that by him the common people were first encouraged and led on to such evils as appropriations of subject territory; allowances for attending theatres, payments for performing public duties, and by these bad habits were, under the influence of his public measures,
changed from a sober, thrifty people, that maintained themselves by their own labors, to lovers of expense, intemperance, and license, let us examine the cause of this change by the actual matters of fact.
2. For, indeed, there was from the beginning a sort of concealed split, or seam, as it might be in a piece of iron, marking the different popular and aristocratical tendencies;
but the open rivalry and contention of these two opponents made the gash deep, and severed the city into the two parties of the people and the few.
And so Pericles, at that time more than at any other, let loose the reins to the people, and made his policy subservient to their pleasure,
contriving continually to have some great public show or solemnity, some banquet, or some procession or other in the town to please them,
coaxing his countrymen like children, with such delights and pleasures as were not, however, unedifying. Besides that every year he sent out three - score galleys, on board of which there went numbers of the citizens, who were in pay eight months, learning at the same time and practising the art of seamanship.
I need to review this material by Tom Burgess because I was sent a copy of his book and asked to refute it. I would advise Tom like Philip advised Alexender the Great:
who once at a merry - meeting played a piece of music charmingly and skillfully,
........... "Are you not ashamed, son, to play so well?"
Well, Tom, I can tell you that people who are Biblically and spiritually aware get a cold chill up the back when people claim to "stand in the holy place" to lead people into the presence of God. People never quite understand why they feel polluted and flee from such churches: more than half of the Madison Church in Nashville fled. It was only later that they understood why they needed to WASH. It is not very spiritual to blame people for fleeing what clearly OFFENDS and DISCORDS mature people.
If everything Tom said was Biblically and historically accurate he would still be left with Paul INSISTING on us SPEAKING or READING "that which is written" and he makes a strong case to leave the SINGING which is an excitement and violates Paul's instructions in Romans 15 and the MELODY is defined as meaning GRACE and not a MUSICAL INSTRUMENT but a poetic term inherent in literal odes.
I will add more from Plutarch later but it will not get easier: music AS worship or theatrical preaching as opposed to RECITING or READING the words of men like Homer automatically meant that it flowed from a HOMOSEXUAL propensity and /or led to an effeminate and even perverted ritual. The originators of refusing to RECITE Homer by the males into singing and instruments were the women of LESBOS: the Lesbian women.
You CANNOT contradict Paul and make PSALLO mean externally MAKING MUSIC without implicating yourself in the WARFARE who gave His name to to the concept of plucking bowstrings and plucking harp strings to MAKE WAR or MAKE LOVE. Paul POINTS to a 100% polluted and polluting Greek practice to CONTRAST what a Christian MUST do unless he wants to be seen as making war on God's people or trying to MAKE LOVE which was a central ACT OF WORSHIP in the pagan worship.
You will never find PSALLO used in polite society and you will never find the word meaning anything more than to touch (i.e. sexually or to pluck) or play. If you want to PLAY or PLUCK the harp you must tell the reader whether you are PLUCKING a harp or PLUCKING unwanted hair of the musical performers which was to identify prostitutes or sodomites in a religious sense.
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