P 82 AUGUSTINE "St. Augustine likewise encourages the singing of Psalms to the lyre or psaltery." pg. 82
Book ten. XXXIII.49 But the
pleasures of my flesh -- to which the mind ought never to be surrendered nor by them
enervated -- often beguile me while physical sense does not attend on reason, to follow
her patiently, but having once gained entry to help the reason, it strives to run on
before her and be her leader. Thus in these things I sin unknowingly, but I come to know
it afterward.
50. At other times, shunning over-anxiously this very
deception, I
err in too great strictness; and sometimes to that degree, as to wish
the whole melody of sweet music which is used to David’s Psalter,
banished from my ears, and the Church’s too; and that mode
seems to me
safer, which I remember to have been often told me of Athanasius Bishop
of Alexandria, who made the reader of the psalm utter it with so
slight
inflection of voice that it was nearer speaking than singing.
Yet
again, when I remember the tears i shed at the Psalmody of Thy
Church,
in the beginning of my recovered faith; and how at this time, I am
moved, not with the singing, but with the things sung, when they are
sung with a clear voice and modulation most suitable, I acknowledge the
great use of this institution. Thus I fluctuate between peril of
pleasure and approved wholesomeness; inclined the rather (though not as
pronouncing an irrevocable opinion) to approve of the usage of singing
in the church; that so by the delight of the ears, the weaker minds may
rise to the feeling of devotion. Yet when it befalls me to be
more
moved with the voice than the words sung, I confess to have sinned
penally, and then had rather not hear music. See now my state;
weep
with me, and weep for me, ye, who so regulate your feelings within, as
that good action ensues. For you who do not act, these things
touch
not you. But, Thou, O Lord my God, hearken; behold, and see, and have
mercy, and heal me, Thou, in whose presence I have become a
problem to myself; and that is my infirmity.
In
Psalm 149 Augustine utterly condemns out ward praise by performers and puts
spiritual praise "in the
hearts" and even upon thy bed:
6.
"The saints
shall exult in glory" (ver. 5). I would say somewhat important about
the glory of the saints. For there is no one who loveth not glory.
But the glory of
fools, popular glory as
it is called, hath
snares to deceive, so
that a man, influenced by the praises of vain men, shall be willing to
live in such fashion as to be
spoken of by
men,
whosoever they be,
in whatsoever way.
Hence
it is that
men, rendered mad,
and puffed up with pride, empty
within, without
swollen, are willing ever to ruin their fortunes
by
bestowing them
on stage-players, actors, men who fight with
wild beasts, charioteers. What
sums they give, what sums they spend! They lavish the powers not only
of their patrimony, but of their minds
too.
They
scorn the poor, because
the people shouteth not that the poor should be given to, but the
people to shout that the fighter with wild beasts be given to. When
then no shout is raised to them, they refuse to spend; when madmen
shout to them, they are mad too:
nay,
all are mad,
both
performer, and
spectator, and the
giver.
This mad glory is blamed by the
Lord, is offensive in the eyes of the
Almighty. ...Thou choosest to
clothe the fighter with wild beasts, who may be beaten, and make thee
blush: Christ is never conquered; He hath conquered the devil, He
hath conquered for thee, and to thee, and in thee; such a conqueror
as this thou choosest not to clothe. Wherefore? Because there is less
shouting, less madness about it.
They then who
delight in such glory, have an empty conscience. Just
as they drain their chests, to send garments as presents, so do they
empty
their
conscience, so as to
have nothing precious therein.
7. But
the saints who "exult in
glory," no need is there for us to say how
they exult: just hear the verse of the Psalm which followeth: "The
saints shall exult in glory,
they shall
rejoice in their beds:"
not
in
theatres, or
amphitheatres, or circuses, or follies, or market places, but "in
their chambers."
What
is, "in
their chambers"? In their hearts. Hear the Apostle Paul
exulting in his closet: "For
this is our glory, the testimony of our conscience."
For our rejoicing is this, the testimony of our conscience, that in simplicity and
godly sincerity, not
with fleshly wisdom,
but by the grace of God, we have had our conversation in the world, and more
abundantly to youward. 2 Cor.
1:12
Suneidesis (g4893)
soon-i'-day-sis; from a prol. form of 4894;
co-
perception, i.e.
moral
consciousness; -
conscience.
Suneido (g4894) soon-i'-do;
from 4862 and 1492;
to see completely; used (like its prim.) only in two past tenses,
respectively mean. to
understand or become aware, and to be conscious or (clandestinely) informed
of:
- consider, know, be privy,
be
ware
of.
For we
write none other things
unto you, than what ye read or acknowledge; and I trust ye shall
acknowledge even to the end; 2
Cor. 1:13
"On the
other hand, there is
reason to fear lest any be pleasing to himself, and so seem to be
proud, and boast of his conscience. For every one ought to exult with
fear, for that wherein he exulteth is God's gift, not his own desert.
For there be
many that please themselves, and think themselves righteous; and there is another
passage which goeth against
them, which saith, "Who shall boast that he hath a clean heart, and that he is pure
from sin?" There is then, so to
speak, a limit to glorying in our conscience, namely, to know that
thy faith is sincere, thy hope sure, thy love without dissimulation.
"The exultations of God
are in
their mouths"
(ver. 6). In such wise shall they "rejoice in their closets," as not to attribute to themselves that they
are good, but praise Him from whom they have
what they are, by whom they are called to attain to what they are
not, and from whom they hope for perfection, to whom they give
thanks, because He hath begun.
Robert Ballard pg 83 Marvin R. Vincent
, in his "Word studies in the New Testament" states "some thank that
the verb has here its original signification of singing with an
instrument. This IS its dominant sense in the Septuagint and
both Basil and Gregory of Nyssa define a psalm as implying instrumental
accompaniment."
NEVER: A psalm is a song and a
song may be read, recited, sung or sung with instrumental accompaniment.
The Bible always uses three words to meand Sing + Play +
Instrument. In fact the word does not MEAN with an instrument
because most often an instrument is not named.
GREGORY OF NYSSA (died c394)
8 . Now since man is a
rational animal,
the instrument of his body must be made suitable for the use of reason;
as you may see musicians producing their music
according to the form of
their instruments,
and not piping
with harps
nor harping
upon flutes,
so it must needs be that the
organization of these instruments of ours
should be adapted for reason, that when struck by the vocal organs
it might be able
to sound properly for the use of words.
As late as the fourth century,
Gregory, bishop of Nyssa, gave this definition of psalm:
"There is a
distinction between psalm, ode, praise, hymn, and prayer. A psalm is
the melody of a musical instrument; and ode is
a melodious expression made by the mouth with words.
This does not mean PLAY the melody. Tunes were derived from plucking the bow string or a lyre.
Hippolytus
"The psalterion is
a musical
instrument making its
sound from the upper
parts of iits construction and the
music
from this instrument is called a psalm."
(p. 29)
7. As there are
"psalms," and "songs,"
and "psalms
of song," and "songs of psalmody," it remains that we discuss the difference between
these.
We think, then,
that the "psalms"
are those which are simply played to an instrument,
without the
accompaniment of the
voice, and (which are composed) for the musical melody of the instrument;
And thus much as to the letter
of what is signified by these terms. But as to the mystical interpretation,
it would be a
"psalm" when, by smiting
the instrument, viz. the body, with good deeds we succeed in good action though
not wholly proficient in speculation;
and a "song," when, by revolving the mysteries of the truth, apart from the practical, and
assenting fully to them,
we have the noblest
thoughts of God and His oracles, while knowledge enlightens us, and wisdom
shines brightly in our souls; and a "song of psalmody," when, while
good action takes the
lead, according to the word,
The translators of the Septuagint used the Greek word "psallo" in its various forms. In the Greek world it is USED meaning to "Smite the strings of a harp with the FINGERS but never
with a PLECTRUM. Because they spoke of "shooting forth hymns" is
is ALWAYS translated as to SING. If a harp is being plucked then
psallo just means PLUCK: you must name what is to be plucked. It
is used meaning MELODY. But, we have just heard that when it means
MELODY it includes ONLY the instrument WITHOUT the human voice. You would be lying if you applied "psallo" to anything other than a simple harp.
There are are three terms: Singing, playing,
name of instrument. The fact that one PLAYS and instrument does
not mean that PLAY means to play an instrument.
Vincent's: Word
Studies Of
The New Testament,
Vol.
III, pg. 269-270 "...The noun psalm
(Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to
this verb (psallo in I Cor. 14:15 DEM), is used in the New Testament
of a religious song in general, having the character of an Old
Testament psalm...
"Some
think that the
verb has
here its original signification of singing with an instrument. This
is its dominant sense in the Septuagint, and both Basil and
Gregory of Nyssa define a psalm
as implying instrumental accompaniment...
"But neither Basil
nor
Ambrose nor
Chrysostom,
in their panegyrics upon music, mention instrumental music, and Basil expressly
condemns it.
Bingham
dismisses the matter summarily, and cites Justin Martyr as saying
expressly that instrumental music was not used in the Christian
Church. The verb is used here in the general sense of singing
praise.
No, psalm is EVER used in the Septuagint of SINGING with an
instrument. In most cases the word is translated as "sing" and
when a harp is intended it is named. Again, none of this was related to
modern "performance music." See Psalms in the LXX
Psalmos
also appears
in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew
term is used to describe a wide variety of songs. Neginah is translated
by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in
Ps 69:12
(song). It is striking to observe that in the LXX translation of
Lam
3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs
that are not only uninspired but are in fact the product of the
wicked, even drunkards, who mocked God and His word. The Hebrew
term neginah is used elsewhere in the Hebrew Scriptures of: the songs
of the wicked, Job 30:9 (song); the inspired praise of God, Psalm
61 title (Neginah-a song performed on a stringed instrument); and the uninspired
praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).
Lam 3:13 He hath caused the arrows of his
quiver to enter into my reins.
Lam 3:14 I was a derision to all my
people; and their song all the day.
Lam 3:15 He hath filled me with bitterness,
he hath made me drunken with wormwood.
Lam 3:16 He hath also broken my teeth with
gravel stones, he hath covered me with ashes.
Lam 3:17 And thou hast removed my soul far
off from peace: I forgat prosperity.
NO PSALLO-LIKE WORD SPEAKS OF PLAYING AN INSTRUMENT
Psalmos , ho, twitching or twanging with the fingers, psalmoi
toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).
Psalmoi toxôn does not mean "sing and play a harp"
WITH a bow. Psalmoi just means pluck or twang a bow.
toxêrei psalmôi [toxeusas]
[Furnished with the Bow] + [Twitching with the fingers] +
[Shoot with the bow or metaphor Send forth a hymn]
3. c. acc. rei, shoot from a bow, metaph., discharge,
send forth, t. humnous Pi.I.2.3
hath shot these arrows in vain, E.Hec.603
Pi.I.2.3 The men of old, Thrasybulus, who mounted the chariot of the Muses with
their golden headbands, joining the glorious lyre, lightly shot forth
their honey-voiced songs for young men, if one was handsome and had [5]
the sweetest ripeness that brings to mind Aphrodite on her lovely
throne.
For in those days the Muse was not yet a lover of gain, nor did she
work for hire. And sweet gentle-voiced odes did not go for sale, with
silvered faces, from honey-voiced Terpsichore. But as things are now,
she bids us heed [10] the saying of the Argive man, which comes closest to actual truth:
“Money, money makes the man,” he said, when he lost his wealth and his friends at the same time.
IF YOU WANT TO SING AND PLAY WITH AN INSTRUMENT THE WORD IS:
Anti-psallô , A. [1] play a [2] stringed instrument [3] in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Ar.Av.218 .Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.
Chase off drowsy sleep, dear companion. [210]
Let the sacred hymn gush from thy divine throat in melodious strains;
roll forth in soft cadence your refreshing melodies to bewail the fate
of Itys,
which has been the cause of so many tears to us both. [215] Your
pure notes rise through the thick leaves of the yew-tree right up to
the throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre
responds to your plaintive accents; [220] he gathers the choir of
the gods and from their immortal lips pours forth a sacred chant of
blessed voices.
IF YOU WANT TO PLAY A STRINGED INSTRUMENT WITH A PLECTRUM
Pektis a stringed instrumnent, played with the fingers (not plēktron), shepard's pipe, pan's pipes, cage or net for catching birds.
With psallo you CANNOT use a guitar pick or play ANY other musical instrument.
Plektron
A.
anything to strike with:
1.
instrument for striking the lyre, plectrum,
spear point.
You cannot play an instrument and sing psalms defined by psallo.
Krekon Krekô ,
2. strike
a stringed instrument with the
plectron, magadin Diog.Ath.1.10 ; barbita
D.H.7.72 : generally, play on any instrument, aulonAr.Av.
682 (lyr.): less freq.c.dat., krekeindonakiAPl.4.231 (Anyte): c. acc. cogn., pêktidôn psalmois k. humnon
Robert Ballard pg 90 "But god, speaking
through His prophet, Isaiah says (8:20: "To the law and to the
testimony: if they speak not according to this word, it is because
there is no light in them."
SEE THE MISSED MESSAGE OF CHRIST IN ISAIAH 8
Isa 8:19And when they shall say unto you,
Seek unto them that
have familiar
spirits,
and unto wizards that peep, and that mutter:
should not a people seek unto their
God?
for the living to the dead?
The familiar
spirit is a
dry, empty
wineskin. It
serves as the echo chamber of the nebel which means 'VILE.' It has the same meaning as the harp and the sounding gongs
in 1 Cor. 13.
The Wizzard is one who
thinks that they can hear
the Word of God "beyond the sacred page." John called them
sorcerers
because they used rhetoric, singers and instrumentalists to STEAL the
Word and money from others
Yiddeoniy (h3049) yid-deh-o-nee';
from 3045; prop. a knowing
one; spec. a conjurer; (by impl.) a ghost:
- wizard.
"In Isa 8:19 the 'obhoth and yidh'onim
are spoken of those who
'chirp and mutter." These
terms refer to the necromancers themselves who practiced ventriloquism in connection with
their magical rites. In Isa 29:4 it
is said 'Thy voice shall be as
an 'obh, out of the ground.'... They are stamped in these
passages,
as in the Witch of Endor narrative, as deceivers practising a fraudulent
art. By implication their
power to evoke spirits
with
whom they were in familiar intercourse
is denied." (Int Std Bible
Ency., ency, p. 690)
H178
’ôb obe From the same as H1
(Ab, Ab, Lord, Lord sayers: apparently through the idea of prattling a
father’s name); properly a mumble, that is, a water skin (from its
hollow sound); hence a necromancer (ventriloquist, as from a
jar):—bottle, familiar spirit.
Pȳthon ,, I. the serpent slain, according
to the myth, near Delphi by o, who was fabled to
have been called Pythius in commemoration of this victory, Ov. M. 1, 438;
Stewart
sculpture 2.4 the epithet derives from his boyhood battle
against the Pythoness
at Delphi, when "the lord o, the far-shooter / shot a strong arrow
at her / and she lay there, torn with terrible pain" (Homeric Hymn
to Pythian o 356-59).
Pȳtho ,
ūs, f., = Πυθώ,
I. the former name
of Delphi and its environs, Tib. 2, 3, 27
(Python, Müll.); Luc. 5, 134.—Hence,
I. Pȳthĭcus , a, um, adj., = Πυθικός, another form for Pythius, Pythian:
“o,” Liv. 5, 21: “oraculum,” id. 5, 15: “sortes,” id. 5, 23: “divinatio,” Val. Max.
1, 8, 10: “agon,” Tert. adv.
Gnost. 6.—
II. Pȳthĭus , a, um, adj., = Πύθιος, Pythian, Delphic, onian:
Delphis prognatus Pythius o, Naev B. P. 2, 20; so, “o,” Cic. Off. 2, 22, 77; “also incola,” Hor. C. 1, 16, 6; “and deus,” Prop. 2, 31 (3, 29), 16:
“oraculum,” Cic. Div. 1, 1, 3: “regna,” i. e. Delphi, Prop. 3, 13 (4, 12), 52:
“antra,” Luc. 6, 425: vates, i.
e. the Pythoness, Pythia,
Juv. 13, 199; cf. in the
foll. —
B. Substt.
1. Pȳthĭa , ae, f., = ἡ Πυθία, the priestess who uttered
the responses of the Delphic o, the Pythoness, Pythia, Cic. Div. 1, 19, 38; Nep. Milt. 1, 3. —
incantātĭo , ōnis, f. id.,
I.
an enchanting, enchantment (post-class.): “magicae, Firm. Math. 5, 5: incantationum vires,”
Verg.
A. 6.98
But you, if pious minds by pray'rs are won,
Oblige the father, and protect the son.
Yours is the pow'r; nor Proserpine in vain
Has made you priestess of her nightly reign.
If Orpheus, arm'd with his enchanting
lyre,
The ruthless king with pity could inspire,
And from the shades below redeem his wife;
If Pollux, off'ring his alternate life,
Amos and Jeremiah speak of the
Marzeah connected with the wine, women and musical instruments. The
Marzeah was a festival WITH and FOR the DEAD: Israel had a COVENANT
WITH DEATH.
"The
marzeah had an extremely
long history extending at least from the 14th century B.C. through
the Roman period. In the 14th century B.C., it was prominently
associated with the ancient Canaanite city of Ugarit (modern Ras
Shamra), on the coast of Syria...
The
marzeah was a pagan ritual that took the
form of a social
and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the
Bible for the inhabitants of Sheol)."
(King, Biblical
Archaeological
Review, Aug, 1988, p. 35, 35)
"These
five elements are:
........(1) reclining or
relaxing,
........(2) eating a meat meal,
........(3) singing with harp or
other musical
accompaniment,
........(4) drinking wine and
........(5) anointing oneself
with oil." (King,
p. 37).
To the
law and to the
testimony:
if
they speak not according to this word,
it is because there
is no light in them.
Isa 8:20
[19]
et cum dixerint ad vos quaerite a pythonibus et a divinis
qui stridunt in incantationibus suis numquid non populus a Deo
suo requirit pro vivis a mortuis
-strīdō
—, —, ere,
to make a shrill noise, sound harshly, creak, hiss,
grate, whiz, whistle, rattle, buzz: stridentia tinguunt Aera
lacu, V.: cruor stridit, hisses, O.: belua Lernae Horrendum stridens, V.: horrendā nocte (striges), O.: mare
refluentibus undis, V.: aquilone rudentes,
O.: videres Stridere secretā aure susurros, buzz,
H.
H7442
rânan
raw-nan' A primitive root;
properly to creak (or emit a stridulous sound), 2. tremulous sound
of a mast or pole "Shaken by the wind" also the sound of a
torrent. Vibrate the voice TRILL which is the
WOMEN'S sound of Halal above.
-cantus , ūs, m. id., 2.
With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,” Hor. C. 3, 7, 30:
B.
An incantation, charm, magic song, etc.: cantusque artesque magorum. Ov. M. 7, 195; 7, 201: “at cantu commotae Erebi de sedibus imis Umbrae ibant,” Verg. G. 4, 471: “magici,”
-pŏētĭcus , a, um, adj., = poiētikos,
I.
poetic, poetical: “verbum,” Cic. de Or. 3, 38, 153: “non poëtico sed quodam oratorio numero et modo,” id. ib. 1, 33, 151: “di,” represented by the poets,
Isa. 8:19 And when they shall say unto you,
Seek unto them that have familiar spirits,
and unto wizards that peep, and that mutter:
should not a people seek unto their God? for the living to the dead?
[19]
et cum dixerint ad vos quaerite a pythonibus et a divinis
qui stridunt in incantationibus suis numquid non populus a Deo
suo requirit pro vivis a mortuis
To the
law and to the
testimony:
if
they speak not according to this word,
it is because there
is no light in them. Isa 8:20
-Puthōn
cf. Puthō
I.
the serpent Python, slain by o.
II.
pneuma Puthōnos a spirit of divination, NTest.: ventriloquists （eggastrimuthoi） were called Puthōnes, Plut.
-Pu_thō , gen. ous, dat. oi, h(, Pytho, the region in which lay the city of Delphi, A.
“Puthoi eni petrēessē” Il.9.405; “P. en ēgatheē” Od.8.80, Hes. Th.499, etc.; of Delphi itself, Pi.P.4.66, 10.4, Hdt.1.54, etc. (Acc. to the legend, derived from the rotting of the serpent, h.Ap.372.
incantātĭo , ōnis, f. id.,
in-canto , āvi, ātum, 1, v. a. and n. *
II.
In partic.
A.
To say over, mutter, or chant a magic formula against some one: QVI MALVM CARMEN INCANTASSET, Fragm. XII. Tab. ap. Plin. 28, 2, 4, § 17.—
B.
Transf.
2.
To bewitch, enchant: “quaesisti, quod mihi emolumentum fuerit incantandi (sc. illam)?” App. Mag. p. 305: “incantata mulier,” id. ib.: “pileum vetitis artibus,” Amm. 14, 7, 7.
vincŭlo , āvi, ātum, 1, v. a. id.,
I.
to fetter, bind, chain: “multa animalia redimiculis gaudent, et phalerari sibi magis quam vinculari videntur,” Ambros. in Psa. 118, Serm. 3, 6; Cael. Aur. Tard. 4, 8, 108.
vincŭlum
, or (also in class. prose), contr., vinclum , i, n. id.,
I.
that with which any thing is bound, a band, bond, rope, cord, fetter, tie (cf.: catena, manica, compes).
măgĭcus , a, um, adj., = magikos,
I.
of or belonging to magic, magic, magical (poet. and in post-Aug. prose): “artes,” Verg. A. 4, 493: “magicis auxiliis uti,” Tib. 1, 8, 24: “arma movere,” Ov. M. 5, 197: “superstitiones,” Tac. A. 12, 59: “vanitates,” Plin. 30, 1, 1, § 1: “herbae,” id. 24, 17, 99, § 156: “aquae,” Prop. 4, 1, 102 (5, 1, 106): di magici, that were invoked by incantations (as Pluto, Hecate, Proserpine), Tib. 1, 2, 62; Luc. 6, 577: “linguae,” i. e. hieroglyphics, id. 3, 222; “but lingua,” skilled in incantations, Ov. M. 7, 330; Luc. 3, 224: “cantus,” Juv. 6, 610: “magicae resonant ubi Memnone chordae,” mysterious, id. 15, 5.
măgĭcē , ēs, f., = magikē (sc. tekhnē),
I.
the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam dico magicenque, Plin. 30, 1, 2, § 10; 30, 1, 2, § 7: “magices factio,” id. 30, 1, 2, § 11.
And the book is delivered to him that is not
learned, saying, Read this, I pray thee:
and he saith, I am not learned. Isa
29:12
Wherefore
the Lord said,
Forasmuch as this people draw near me with
their mouth,
and
with their lips do
honour
me,
but
have removed their heart far from me,
and
their fear toward me is taught by the
precept of men: Isa 29:13
Therefore, behold, I will
proceed to do a
marvellous work among this people,
even a marvellous
work and a
wonder:
for the WISDOM of
their
wise
men shall perish,
and the understanding of
their prudent men shall be
hid. Isa 29:14
WHAT IS A WISE
MAN?
I. Sapientia
” Mart. 9, 6, 7: “sapisset,”
Plaut. Rud. 4, 1, 8), 3,
v. n. and a. [kindr. with opos, saphēs,
Sophia
and sophos] A.
skilled in any handicraft or art, clever
Sophia
A.
cleverness or skill in handicraft and art, as in
carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412; of the
Telchines, Pi.O.7.53; hē entekhnos s., of Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and
Palamedes, X.Mem.4.2.33, cf.
1.4.2; in music and
singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8,
Sophos A. skilled in any
handicraft or art, clever, mostly of poets and
musicians,
Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.),
cf. Ar.Ra.896 (lyr.),
Sophis-tês , ou, ho, master of one's craft, adept, expert, of diviners,
Hdt.2.49; of poets,
meletan sophistais
prosbalon
Pi.I.5(4).28
, cf. Cratin.2; of musicians, sophistês . .
parapaiôn
chelun
A.Fr.314 , cf. Eup.447, Pl.Com. 140; sophistêi Thrêiki
Cergy Musicians. panu thaumaston legeis s. Pl.R.596d;
3.
later of the rhētores, Professors of Rhetoric,
and prose writers
Robert Ballard: Men truly have a zeal for God, but it may not be
according to knowledge (Rom 10:2).
Those who have imposed instruments--machines
for doing hard work--do so because they think that they can make
themselves more appealing to God. However, that implies that God
has not been wise enough to define Himself inclusively and exclusively.
Romans 10:1 BRETHREN, my hearts desire and prayer to
God for Israel
is, that they
might be saved.
Romans 10:2 For I bear them record that they have a
zeal of
God,
........... but not according to knowledge.
Romans 10:3 For they, being ignorant of Gods righteousness,
........... and going about to establish their own
righteousness,
............have not submitted
themselves unto the
righteousness of
God.
3. agnoountes gar tēn tou theou dikaiosunēn,
kai tēn idian
zētountes stēsai, tē dikaiosunē tou theou oukh hupetagēsa
The claim is that people who have NEVER used instruments in the
School of Christ are ignornat. No one works harder to defend themselves
than instrumentalists which have no hint from Jesus that He needs help.
zēt-eō 4 search or inquire into, investigate, examine, of philosophical investigation,
5.
equire, demand, 2. c. inf., seek to do . III. have to seek, feel the want of,
Submitting is the Greek Hupotasso (g5293)
hoop-ot-as'-so; fRomans 5259 and 5021; to subordinate; reflex. to
OBEY: -
be UNDER obedience (obedient), put under, subdue unto, (be, make)
subject (to, unto), be (put) in subjection (to, under), submit self
unto.
Romans 10:4 For Christ is
........... the end of the law
for
righteousness
........... to every one that believeth.
What about people who spend
so much time seeking to justify themselves from all of the instrumental
sounds under a sacrificial system God did not command?
Romans 10:5 For Moses describeth the righteousness which is of the law,
That the man which doeth those things shall live by them.
Next, Paul points to the musical idolatry at Mount Sinai: there was no redemption for this idolatry.
Romans 10:6 But the righteousness which is
of faith speaketh on
this wise,
........... Say not in thine heart, Who shall
ascend into heaven?
........... (that is, to bring Christ down Romans
above:)
Romans 10:7 Or, Who shall descend into the deep?
........... (that is, to bring up Christ again
fRomans the dead.)
Romans 10:8 But what saith it?
........... The word is nigh thee, even in thy mouth,
and in thy heart:
...........
that is, the
word of
faith, which
we
preach;
But the word is
very nigh unto thee, in thy mouth, and in thy heart,
........... that thou mayest do it.
Deut 30:14
P. 90 Robert Ballard: God Himself pointed out, in Isaiah
55:8 that "My thoughts are not your thoughts, neither are your ways My
ways." Christians are NOT to withdraw themselves out of the world, nor
disassociate themselves from its rightful activities, ad did those who
followed the monastic-asthetic principle, which led them eventially and
inevitably to exclude instruments as being "worldy."
All of the musical forms came out of the monastic orders working with
the professional composers. They were not INCLUDED in connection with
congregational singing in the Bible or church history in the public
assemblies.
The clear command is that YOU don't use your thoughts or YOUR words.
Isaiah 58:12 And they that shall be of thee shall build the old waste places:
thou shalt raise up the foundations of many generations;
and thou shalt be called, The
repairer of the breach, The restorer of paths to dwell in.
Isaiah 58:13 If thou turn away thy foot from the sabbath,
from doing thy pleasure on my holy day;
and call the sabbath a delight, the holy of the LORD, honourable;
and shalt honour him, not doing thine own ways,
nor finding thine own pleasure, nor speaking thine own words:
Isaiah 58:14 Then shalt thou delight thyself in the LORD;
and I will cause thee to ride upon the high places of the earth,
and feed thee with the heritage of Jacob thy father:
for the mouth of the LORD hath spoken it.
SEE ISAIAH 55 WHICH DEFINES THE FUTURE REST DAY
HO, every one that thirsteth,
come ye to the
waters,
and he that hath no money;
come ye, buy, and eat; yea,
come, buy wine and milk
WITHOUT MONEY
and WITHOUT PRICE.
Isa 55:1
2 Cor. 2:17 For we are not as many,
............
which
corrupt the word of God:
............
but as of
sincerity, but as of God,
............
in the sight
of God speak we in Christ.
kapēl-euō,
A. to be a retail-dealer, drive
a petty trade Hdt. 3.89
ta
mathēmata
sell learning by retail, hawk
it about, Pl. Prt.313d
, 2 Cor. 2:17, of prostitutes,
Plat. Prot. 313d
For among the provisions,
you know, in which these men deal, not only are they themselves
ignorant what is good or bad for the body, since in selling they
commend them all, but the people who buy from them are so too, unless
one happens to be a trainer or a doctor. And in the same way, those who
take their doctrines the round of our cities, hawking them about to any
odd purchaser who desires them, commend everything that they sell, and
there may well be some of these too, my good sir, who are ignorant
which of their wares is
[313e]
good or bad for the soul;
and in just the same case are the people who buy from them, unless one
happens to have a doctor's knowledge here also, but of the soul. So
then, if you are well informed as to what is good or bad among these
wares, it will be safe for you to buy doctrines from Protagoras or from
anyone else you please: but if not, take care, my dear fellow, that you
do not risk your greatest treasure on a toss of the dice.
Eilikrineia (g1505( i-lik-ree'-ni-ah;
from
1506; clearness, i.e. (by impl.) purity (fig.): -
sincerity.
2 Co.1:12 For our rejoicing is this, the testimony of our
conscience, that in simplicity and godly
sincerity, not
with fleshly wisdom, but by the grace of God, we have had our
conversation in the world, and more abundantly to youward.
Sophia A.
cleverness or skill
in handicraft and art, in music and singing, tekhnē
kai
s.
h.Merc.483,
cf. 511;
in poetry,
Incline your ear, and come unto me:
hear,
and your soul shall
live;
and I will make an
everlasting covenant with you,
even the sure mercies of
David. Isa 55:3
Matt.
11:28 Come unto me,
all ye
that labour
and are
heavy laden,
and I
will give
you rest.
Click for the Laded Burden
Phortos
i A.
load, freight, cargo, Od.8.163,
14.296,
Hes.Op.
631, Hdt.1.1,
S.Tr.537,
and later Prose, as PEnteux.2.11
(iii B. C.), Plu.Marc.14,
Luc.VH1.34;
epoiēsanto
me
ph.,
expld. as pepragmateumai,
prodedomai,
phortos
gegenēmai,
Call.Fr.4.10P.;
ph.
erōtos,
of Europa on the bull, Batr.78,
cf. Nonn.D.4.118.
Epoiēsanto A.
make, produce, first of something
material, as manufactures, works of art, expld. as pepragmateumai,
prodedomai,
phortos
gegenēmai,
A. Pragmateuomai work
at at thing, labour to bring it about, take
in hand, treat laboriously, be engaged in. Work at writing religious
poetry for use around the shrine or Hieros the
temple of Athena for the hierodoulo
Hierodoulos Nethinim
1 Esdras 1:2 especially of the temple courtesans at Corinth and
elsewhere
also male prostitutes. Str.8.6.20,
6.2.6;
Neokoros
B. Prodidomi pay in advance, play false, be guilty of
treachery, surrender
4. after Hom., of Poets, compose,
write, p.
dithurambon,
epea,
Hdt.1.23,
4.14;
“p.
Represent in verse,or poetry, invent, represent, myths, comedy,
tragedy
Click
for the meaning of REST.
Is. 55:8 For my thoughts are not your thoughts,
neither are your ways my
ways, saith the LORD.
Is. 55:9 For as the heavens are higher than the earth,
so are my ways higher than
your ways,
and my thoughts
than your
thoughts.
If the musical discorders THINK then it cannot be from God: that is why
the clear command is for the elders to teach that which has been taught.
WHY IS THAT, asks Peter
as explained by Christ?
2Pet. 2:1 But there were
false prophets
also among the people,
even as
there shall be false teachers among you,
who
privily shall bring in damnable heresies,
even
denying the Lord that bought them,
and bring
upon themselves swift destruction.
2Pet. 2:2 And many shall follow their pernicious
ways;
by reason
of whom the WAY OF TRUTH shall be evil spoken of.
Aselgeia
demagogon tōn
dēmagōgōn” Arist.Pol.1304b22
II. licentiousness,
“peri
tas
sōmatikas
epithumias”
Plb.36.15.4
Lust toward boys Xen. Const. Lac. 2.13
Xen. Const. Lac. 2.13
The customs instituted by Lycurgus were opposed to all of these. If
someone, being himself an honest man, admired a boy's soul and tried to
make of him an ideal friend without reproach and to associate with him,
he approved, and believed in the excellence of this kind of training.
But if it was clear that the attraction lay in the boy's outward
beauty, he banned the connexion as an abomination; and thus he caused
lovers to abstain from boys no less than parents abstain from sexual
intercourse with their children and brothers and sisters with each
other [14] I
am not surprised, however, that people refuse to believe this. For in
many states the laws are not opposed to the indulgence of these
appetites.
Lusting
after Theaomai —gaze
at, behold, mostly with a sense of wonder,
at a work
3. view
as spectators, esp. in the theatre, Isoc.4.44;
hoi
theōmenoi
the spectators, Ar.Ra.2,
cf.Nu.518,
al. (but also, onlookers, bystanders, Antipho 3.3.7)
5. HISTORICAL, SECULAR EVIDENCE
Danny Corbitt: The 4-year ascetic experience of John
Chrysostom (died 407) permanently
damaged his health,20 and he was “twice deposed and sent
into exile because of his asceticism which he wanted to impose on
others.”21 Jerome (died 420) taught that a virgin shouldn’t
even know what a musical instrument is22 and that no man
should ever hear a woman sing.23 Augustine (died 430)
thought that singing itself was a concession to weak brothers.24
Chysostom Letter to Theodore After His Fall
Where
are they now who used to strut
through the market
place with much pomp, and a crowd of
attendants? who were clothed in silk
and redolent
with perfumes, and
kept a table for
their parasites, and were in constant
attendance at the theatre?
What has
now become of all that parade of theirs? It is all
gone;-the costly splendour of their
banquets, the
throng of
musicians, the
attentions of flatterers, the loud
laughter, the relaxation of spirit, the enervation
of mind, the voluptuous,
abandoned,
extravagant
manner
of
life-it
has all come to an end.
The musical discorders shoud be happy that these "libertarians" now do that in what they call "the worship service."
IT IS A FACT THAT IT WAS THE ASCETICS WHO IMPOSED INSTRUMENTS.
Nicetas in his works ' On Vigils' and ' On the good of Psalmody'
illustrates further the similarity of ideals of private and corporate
devotional hours in East and West c. A.d. 400 ;
and he was one of the pioneers of the newer feeling which allowed hymns
other than those in Scripture, the Psalter above all,
to form part of
corporate Christian worship, though the prejudice against this died
hard.'
"The authority of St. Ambrose, who himself wrote hymns for public
worship, had no doubt great influence. The musical difficulty to their
more general use was a real one. It was in monastic circles, then, that
hymns proper took real root, and from their daily offices passed in the
later Middle Ages into the Breviary of the ordinary clergy. The early
Celtic monks in particular were active in the use and production of
hymns; and from the 12th cent, onwards we can trace the periods of
fresh revival in monastic religion by this spontaneous form of
devotional expression—James Hastings, Encyclopedia of religion and Ethics, V12, 770-774
"Rome was always
conservative in usages, as appears most clearly in its manner of
reciting the Psalms, which were the staple of worship other than
prayer. The Eastern form was antiphonal singing between two choirs, a
method which took definite shape at Antioch about 350, and spread
westwards rapidly — through Cappadocia, Constantinople, Milan. In Rome,
as also in Africa, the old 'plain song'—with its simpler style of
music—continued longer to prevail, probably seeming to the Roman mind,
as to Augustine, to be 'better adapted to the sober gravity of Divine
worship.' Net the practical advantages
of the new system, especially as 'winning weaker brethren to devotion
by the delight which it ministered to the ear,' were manifest; and ere
Augustine's death in 430 the change in Rome had begun to act, though it
took etfect only gradually
Following their ascetic map, it is no wonder that the Swiss reformer
Zwingli banished even vocal singing from the churches.25 We
speak of how these ascetics chanted, but we don’t chant.
That's false: there was no congregational singing during the
time of
Zwingli: being Bible literate he knew that none of the TEACHING the
Word of Christ had any external musical content. After Zwingli was dead
Calvin allowed some of the Psalms to be rewritten to make singing
remotely possible. That violated the direct command not to "private
interpret" of further expound. He responded to the masses used to
attending secular performances in the great cathedrals. In fact both
singing and harmony were developed by the monastic orders who had time
to fiddle around.
300.
Even in Egypt, where asceticism appeared earliest, as late as the end
of the 4th cent, there were only two corporate daily seasons of
worship, evening and morning. At Antioch we hear that c. 350 Bishop
Leontins 'brought the congregations collected by the ascetics Flavian
and Diodorus in the cemetery chapels, into the city churches,' and so
introduced antiphonal singing, by two opposite choirs, into wider use. James Hastings, Encyclopedia of Religion and Ethics p 770
2 The hymn-singing of the 'Lollards' was personal rather than in public
worship, but illustrates the tendency of fresh personal religion to
break into song.
Further, largely in consequence of this
Biblicism, the reformation he directed was more radical. What Zwingli
specially detested in the later growths which had buried this early
Christianity was anything that could be called ' the worship of the
creature.' Worship belonged to God alone, ' the God and Father ot our
Lord and Saviour Jeans Christ.' He did not undervalue art or music in
themselves—far from it—but, when they were so employed as to hinder an
intelligent Creator, then to him they were anathema. 876.
In fact, no one did congregational singing with or without an
instrument: if none of the Bible is metrical, and Calvin permitted some
psalms (only) to be radically rewritten and set to meter to be sung in
unison (only). Zwingli knew that yu cannot obey the DIRECT
COMMAND to use one mind and one mouth to speak that which is
written for our learning. All eastern "songs" were spoken or
cantillated: chanted something like this:
^^^- ^^^- ^^^- ^^^
"Reformed' or Calvinitt
worship,—The germ of this type is seen already in Zwingli who made the Protestant emphasis on the Word of the
gospel rather than its Sacraments determine the order and forms of
public worship: such worship, too, was to him only a special mode of
the worship of the whole Christian life, and here 'obedience is better
than sacrifice' or any formal act of worship. Simplicity, then, in
cnltns was hia practical role, in the interests of worship ' in spirit
and in truth.'
Don't you wonder why all of the latter day musical
idolaters pour down so much wrath on Zwingli who said it just like the
Church in the Wilderness, all of the New Testament and the Campbells
who knew that:
Church
is A School of Christ
Worship
is reading and musing the Word of God.
However, the Catholic cathedrals which had been used for secular
musical performances had a lot of church members wanting to sing
instead of speak:
"In keeping with these principles, Calvin insisted on the value of congregational singing, as helping the soul to rise into the atmosphere of worship; but. he limited the contents of sacred song to the inspired Scriptural models, the Psalter in particular, adapted only verbally to musical melody
Notice, that you cannot begin something if people always sang to attract the weaker people by the lust of the ear:
"Another feature
characteristic of the Protestant form of worship, one expressive of
its concern for the active participation of the whole congregation, with a faith fully conscious of its proper objects of adoration, is vernacular singing, whether of psalms or of other forms of devotion.
Here a mode of worship which in mediaeval Catholicism had been confined to the few,
particularly those separated by vows to a specialized ' religious' life,
was made part of common worship for all James Hastings, Encyclopedia of Religion and ethics.
Genesis 4:19 And Lamech took unto him two wives: 
BIBLE 101 POINT ONE: