2 Samuel 6 David's Ark Movement

ISIS is the Mother Goddess of Demon-Kairos Worship: Spiritual Terrorists and Images of Hell: Lipscomb University Summer Celebration 2016

2 Samuel 6 Latin English

The Spirit of Christ speaks through the prophets and apostles: that is antithetical to the Civil-Military-Priestly complex which operated the temple as the NATIONAL capital.  The godly people attended synagogue or School of the Word on the Rest days while the Civil State profaned the Sabbath meaning to sacrifice with loud instrumental noise. Jesus validated the Prophets made more certain to the Apostles while Christ identified the Temple-State as parasites.

BACKGROUND: God had virtually abandoned Israel and TURNED THEM OVER TO WORSHIP THE STARRY HOSTS (Acts 7) because of the PLAY or musical idolatry at Mount Sinai.  You should understand the Pagan Idolatry or The Golden Calf in Egypt Part One.  The Golden Calf Part Two.  The Actual Musical Idolatry at Mount Sinai which caused God to "turn them over to worship the starry host Part One.   And the Prophets showing the fatal consequence of musical idolatry and the loss of Grace Part Two.

6.644 Translated from Od. 8. 264, peplēgon de khoron theion posin, where however it would seem from a preceding line, v. 260, that khoron is the place of dancing, not the dance, though the other construction, khoron as a cogn. acc., would be sufficiently idiomatic. The sense of clapping the hands, though the most usual sense of ‘plaudo,’ does not seem to be the primary one, at least if we may argue from its derivation “plaustrum” (comp. “claudo,” “claustrum”), which may either be, as Scaliger ap. Forc. thinks, “a plaudendo terram,” or perhaps ‘a thing hammered,’ as krotein is used of applause, of hammering, and of the rattle of a car (okhea kroteontes Il. 15. 453), okhea krotēta Soph. El. 714 being taken by some ‘hammered,’ by others ‘made to rattle.’ Krotos podōn is used of dancing Eur. Heracl. 583, Tro. 746, like ‘pedibus plaudunt’ here, and the parallel may be completed by comparing krotēta melē Soph. Thamyris fr. 221, music struck out by the plēktron, with the similar action expressed by plaudere in the Ciris v. 179, “Non Libyco molles plauduntur pectine telae.” ‘Carmina dicuntG. 1. 350, where it is mentioned in connexion with dancing.

Commentary on Vergil, Aeneid. book 6, line 645. Orpheus was one of the mythical fathers of song, and his name was associated with revelations about the lower world, supposed to be preserved by secret societies (Dict. M. Orpheus), so that he is naturally made the harper who plays while the blessed spirits dance and sing. He is called ‘sacerdos,’ as in Hor. A. P. 391 he is called “sacer interpresque deorum.

The long robe was characteristic of musicians, as Cerda shows, comp. Prop. 3. 23. 16, “Pythius in longa carmina veste sonat” (of the statue of Apollo in the Palatine temple), and also Hor. A. P. 215, Ov. F. 6. 654, 688, where the long robes of the ‘tibicines’ are mentioned and accounted for. ‘Cum veste’ above v. 359. Elsewhere we have ‘in veste,’ as 12. 169, “puraque in veste sacerdos.

The description of the worship to which God abandoned the NOBILITY of Israel because of their musical idolatry at Mount Sinai, as well as the opinion of the Jewish Encyclopedia which identified it as STAR WORSHIP and the opinion of historic scholars, their worship was that the Levites practiced for over 400 years in Egypt: Dionysus or Bacchus worship which was never disconnected from the golden calves or APIS which represented Osiris, Isis and Horos as father, mother and infant son. 

Theosophy copies from Plutarch and others to say that the abandoned Jews worshipped Bacchus in varioous forms:

[[Vol. 2, Page]] 45 THE HEBREW KADESHIM.

Thus "
Bacchus was directly called upon," he says. The Sabazian worship was Sabbatic; the names Evius, or Hevius, and Luaios are identical with Hivite and Levite.

The French name Louis is the Hebrew Levi; Iacchus again is Iao or Jehovah; and Baal or Adon, like Bacchus, was a phallic god.

"Who shall ascend into the hill (the HIGH place) of the Lord?" asks the holy king David, "who shall stand in the place of his Kadushu [[Heb char]]"? (Psalms xxiv. 3). Kadesh may mean in one sense to devote, hallow, sanctify, and even to initiate or to set apart;

        but it also means the ministers of lascivious rites (the Venus-worship) and the true interpretation of the word Kadesh is bluntly rendered in Deuteronomy xxiii. 17; Hosea iv. 14; and Genesis xxxviii., from verses 15 to 22. The "holy" Kadeshuth of the Bible were identical as to the duties of their office with the Nautch-girls of the later Hindu pagodas.

Deut 23:17 There shall be no whore of the daughters of Israel, nor a sodomite of the sons of Israel.

Deut 23:18 Thou shalt not bring the hire of a whore, or the price of a dog, into the house of the Lord thy God for any vow: for even both these are abomination unto the Lord thy God.

3611. keleb, keh´-leb; from an unused root means. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute:--dog. 

Hos 4:14 I will not punish your daughters when they commit whoredom, nor your spouses when they commit adultery: for themselves are separated with whores, and they sacrifice with harlots: therefore the people that doth not understand shall fall.

The Hebrew Kadeshim or galli lived "by the house of the Lord, where the women wove hangings for the grove," or bust of Venus-Astarte, says verse the seventh in the twenty-third chapter of 2 Kings.

The dance performed by David round the ark was the "circle-dance" said to have been prescribed by the Amazons for the Mysteries. Such was the dance of the daughters of Shiloh (Judges xxi. 21, 23 et passim), and the leaping of the prophets of Baal (I Kings xviii. 26). It was simply a characteristic of the Sabean worship, for it denoted the motion of the planets round the sun.

That the dance was a Bacchic frenzy is apparent. Sistra were used on the occasion, and the taunt of Michael and the king's reply are very expressive. "The king of Israel uncovered himself before his maid-servants as one of the vain (or debauched) fellows shamelessly uncovereth himself." And he retorts: "I will play (act wantonly) before [[Heb char]], and I will be yet more vile than this, and I will be base in my own sight."

When we remember that David had sojourned among the Tyrians and Philistines, where their rites were common; and that indeed he had conquered that land away from the house of Saul, by the aid of mercenaries from their country, the countenancing and even, perhaps, the introduction of such a Pagan-like worship by the weak "psalmist" seems very natural. David knew nothing of Moses, it seems, and if he introduced the Jehovah-worship it was not in its monotheistic character, but simply as that of one of the many gods of the neighboring nations -- a tutelary deity to whom he had given the preference, and chosen among "all other gods."

Following the Christian dogmas seriatim, if we concentrate our attention upon one which provoked the fiercest battles until its recognition, that of the Trinity, what do we find? We meet it, as we have shown, northeast of the Indus; and tracing it to Asia Minor and Europe, recognize it among every people who had anything like an established re-


a. 1. Of or pertaining to the Sabbath; resembling the Sabbath; enjoying or bringing an intermission of labor.

Sabbatical year

(Jewish Antiq.) every seventh year, in which the Israelites were commanded to suffer their fields and vineyards to rest, or lie without tillage.

David was king and not an elder in the synagogue and cannot be an example of the Christian assembly restricted to teach what Christ taught. God gave David a TENT, but Solomon built God a HOUSE, but God is not worshipped in houses built by human hands or by the works of human hands.

By taking over and adapting Jerusalem's ancient cult, David provided Israel with a new worship, one that featured his own status and its sacral significance. Britannica religious role

"The process by which David achieved this status for himself, his house, and his city may be traced in II Samuel 5–8. When David took Jerusalem, he assumed the rule over its inhabitants and their religious institutions with the cult centred on Mt. Zion. The previous (Jebusite) ruler had been both king and high priest, and played the role of mediator between the city and its deity. There was no precedent for such a mediative and priestly role of kings in Israelite religion, nor of walled cities as the seat of government and worship. Apparently, David simply took over the Jebusite cult on Zion and adapted it to his own (and Israelite) use. Beginning with David and throughout the entire period of the monarchy, for about four centuries, Israel’s worship on Zion gave a central place to the king, not simply as officiant but substantively, as the figure who in his office and person embodied the relationship between God and the nation. In contrast, the premonarchic worship of Israel, at Shechem and elsewhere, had featured a Covenant between God and the people, through their tribal heads, as the bond in the relationship. By taking over and adapting Jerusalem’s ancient cult, David provided Israel with a new worship, one that featured his own status and its sacral significance. 

And walked in the statutes of the heathen, whom the Lord cast out from before the children of Israel,

and (statutes) of the kings of Israel, which they had made. 2 Kings 17: 8 

Later, when the ELDERS fired God and demanded a king LIKE THE NATIONS it was so that they could worship like the nations. God warned that the kings would enslave them and steal their property.  You should never see any King of the cursed Monarchy as an approved example without understanding First Samuel Eight.  

Because of the census affair, David was too fearful to ever return to Gibeon to seek God. Therefore, God gave him A JEBUSITE HIGH PLACE called Jerusalem (Dueling Mountains set on seven hills) and called Sodom by John.

David was being instructed by GAD the SEER or STAR GAZER. Therefore, the message was NOT for WORSHIP which was always in the human spirit

David was intending to BRING GOD IN THE BOX to HIS new tent which PEGGED GOD'S FEET to the ground. This Monarchy was a CURSE intending to carry out the captivity and death sentence.


The first attempt seems to have implicated most of the leading men of Israel.  However, this was an act of the NOBILITY of Civil-Military-Clergy complex to which God had already abandoned to carry out the rituals of the worship of the starry host.

2 Sam 6:1 AGAIN, David gathered together all the chosen men of Israel,
............ thirty thousand.

2 Sam 6:2 And David arose, and went with all the people that were with him
............ from Baale of Judah, to bring up from thence the ark of God,
............ whose name is called by the name of the Lord of hosts
............ that dwelleth between the cherubims.

Now, the first thing they do is VIOLATE THE LAWS of God. However, the law he "heard" was that that thangy in the BOX was where David was sure HE had God under control. Therefore, they acted out of their OWN WILL based on BIBLICAL SILENCE because THEY WERE DEAF as are all

God SHOUTS about things like pagan RELIGIONISM called worship but people PRESUME that God is SILENT just because they are deaf.

2 Sam 6:3 And they set the ark of God upon a new cart, and brought it out of the house of Abinadab that was in Gibeah: and Uzzah and Ahio, the sons of Abinadab, drave the new cart.


2 Sam 6:4 And they brought it out of the house of Abinadab which was at Gibeah, accompanying the ark of God: and Ahio went before the ark.

The temple and worship "like the nations" was permitted only when Israel's elders fired God and demanded a nation and worship "like the nations." The prophets and Stephen make it clear that whatever you can see as "worship" after the beginning of the Monarchy was a return to their prayed-for Babylonian or Egyptian musical idolatry.

"Despite the differences between the Mosaic and the Egyptian cults, it can hardly be denied that Egyptian influence on Jewish musical practices were quite significant. They would stand to reason because of the high quality of egyptian cultic music.

The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).

The trumpet blown for decampment, at the gathering of the people and on different cultic occasions, especially during sacrifices (2 Chron. 30:21; 35:15; Num 10:2), was the signaling instrument of the Egyptian army.

The sistrum, according to 2 Sam 6:5, was used by the Israelites and bore the name mena'anim. It was the same as the Egyptian kemkem which was employed in the cult of Isis.

Therefore thou hast forsaken thy people the house of Jacob, because they be replenished from the east, and are soothsayers like the Philistines, and they please them selves in the children of strangers (adulterous women). Isaiah 2:6

Soothsayers: Anan (h6049) aw-nan'; a prim. root; to cover; used only as denom. from 6051, to cloud over; fig. to act covertly, i. e. practise magic: - * bring, enchanter, Meonemin, observer of times, soothsayer, sorcerer.

This points to RESPONSIVE SINGING and the worship of ANATH.

Nachash (h5172) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe.

Nachash (h5175) naw-khawsh'; from 5172; a snake (from its hiss): - serpent.

DAVID'S AROUSERS: don't get upset: God turned Israel over to worship the starry host.

"In an inscription from Cyprus, in one from Rhodes and in several from around the district of Carthage, there are references to important personages who bear the title Mqm'lm which we can translate as AROUSERS of the god.'" (de Vaux, Roland, The Bible and the Ancient Near East, Doubleday, p. 247).

"We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'AROUSERS,' sang (every morning?) this verse from "Ps 44:23: "Awake, O Lord! Why do you sleep? Rouse yourself! Do not reject us forever." The Talmud tells us that John Hyrcanus suppressed the practice because it recalled too readily a pagan custom." (Roland de Vaux, p. 247).

"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (End of Quasten Click to see Music and the Feminine connection)

The me'oreim term is associated with the "resounding gong" and the "clanging cymbal" of 1 Cor. 13-- me'onem "means to emit a hoarse nasal sound such as was customary in reciting the prescribed formula" or charm.

"Peckham 1987:84-87: the association of Astarte with the dying god, Eshmun, may well be related to child sacrifice, as Peckham; Robertson 1982:329. Given the parallel to Genesis 22, the tradition of Kronos sacrificing his only son as a part of the Phoenician cult looks to be related to the thriving business of infant sacrifice in Phoenician culture.

The mourning ritual connected with Astarte in KAI 37 and elsewhere, and the tradition of "raising the god" (mqm 'lm), identified as Astarte's bridegroom in KAI 44:2, in Phoenician epigraphs (c.f. the Eqron epigraph, lmqm, in the seventh c., where other indications of Phoenician influence are present), suggest the importance of the cycle through the underworld in this cult

Peckham, J. B. 1987 Phoenicia and the Religion of Israel: The Epigraphic Evidence. Pp. 79-99 in Ancient Israelite Religion. Essays in Honor of Frank Moore Cross, ed. P. D. Miller, P. D. Hanson and S. D. McBride.Philadelphia: Fortress.

2 Sam 6:5 And David and all the house of Israel played before the Lord
............ on all manner of instruments made of fir wood
............ even on harps, and on psalteries, and on timbrels,
............ and on cornets, and on cymbals. 

Playing instruments often involved sexual play as at Mount Sinai. We will look at that aspect later.

Quasten notes that the tambourine , like in Augustine,

"had already occupied an important position in the cult of the Egyptians, for its sound, which was deep and hollow, expelled the demons. The rhythmic musical character of the tambourine was highly suited to induce psychic stimulation."( p. 37)

Clacal (h6767) tsel-aw-tsal'; from 6749 redupl.; a clatter, i. e. (abstr.) whirring (of wings); (concr.) a cricket; also a harpoon (as rattling), a cymbalclanging): - cymbal, locust, shadowing, spear. (as

All thy trees and fruit of thy land shall the locust consume. De.28:42

And David and all the house of Israel played before the Lord on all manner of instruments made of fir wood, even on harps, and on psalteries, and on timbrels, and on cornets, and on cymbals. 2S.6:5

As with all musical instruments, the cymbal has vile or violent roots--

calal (h6749) tsaw-lal' a prim. root; prop. to tumble down, i. e. settle by a waving motion: - sink. Comp. 6750, 6751.

Calal (h6750) tsaw-lal'; a prim. root [rather ident. with 6749 through the idea of vibration]; to tinkle, i. e. rattle together (as the ears in reddening with shame, or the teeth in chattering with fear): - quiver, tingle.

The toph or tambourine or Tabret gave its name to Topheth which had once been king Solomon's Music Grove. This word came to stand for HELL just outside of Jerusalem also called SODOM.

Ver. 3. Timbrel. The toph was employed by David in all the festivities of religion (2Sa 6:5). The occasions on which it was used were mostly joyful,and those who played upon it were generally females (Ps 68:25), as was the case among most ancient nations, and is so at the present day in the East.

The usages of the modern East might adequately illustrate all the scriptural allusions to this instrument, but happily we have more ancient and very valuable illustration from the monuments of Egypt. In these we find that the tambourine was a favourite instrument, both on sacred and festive occasions. There were three kinds, differing, no doubt, in sound as well as in form; one was circular, another square or oblong, and the third consisted of two squares separated by a bar. They were all beaten by the land, and often used as an accompaniment to the harp and other instruments. The tambourine was usually played by females, who are represented as dancing to its sound without the accompaniment of any other instrument. --John Kitto.

H4517 mena‛na‛men-ah-ah' From H5128 ; a sistrum (so called from its rattling sound):--cornet.
H5128 nûa noo'-ah A primitive root; to waver, in a great variety of applications, literally and figuratively (as subjoined):—continually, fugitive, X make to [go] up and down, be gone away, (be) move (-able, -d), be promoted, reel, remove, scatter, set, shake, sift, stagger, to and fro, be vagabond, wag, (make) wander (up and down).


"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

 David was king and it is clear that none of the people knew the laws for moving the Ark of the Covenant.

2 Sam 6:6 And when they came to Nachons threshingfloor,
............ Uzzah put forth his hand to the ark of God,
............ and took hold of it; for the oxen shook it.

2 Sam 6:7 And the anger of the Lord was kindled against Uzzah,
............ and God smote him there for his error;
............ and there he died by the ark of God.

2 Sam 6:8 And David was displeased,
............ because the Lord had made a breach upon Uzzah:
............ and he called the name of the place Perez-uzzah to this day.

Charah (h2734) khaw-raw'; a prim. root [comp. 2787]; to glow or grow warm; fig. (usually) to blaze up, of anger, zeal, jealousy: - be angry, burn, be displeased, * earnestly, fret self, grieve, be (wax) hot, be incensed, kindle, * very, be wroth. See 8474.

2 Sam 6:9 And David was afraid of the Lord that day, and said,
............ How shall the ark of the Lord come to me?


2 Sam 6:10 So David would not remove the ark of the Lord unto him into the city of David: but David carried it aside into the house of Obed-Edom the Gittite.

2 Sam 6:11 And the ark of the Lord continued in the house of Obed-Edom the Gittite three months: and the Lord blessed Obed-Edom, and all his household.

2 Sam 6:12 And it was told king David, saying, The Lord hath blessed the house of Obed-Edom, and all that pertaineth unto him, because of the ark of God. So David went and brought up the ark of God from the house of Obed-Edom into the city of David with gladness.

For ALL churches which use any kind of "music" to control people long enough to pick the pockets of widows and honest workers, DAVID is the saviour chosen over the Spiritual David. Therefore, you should eat, drink and make Mary because you have been taken captive and God is DRUMMING you into the place of buring with music (Isaiah 30LXX) 

You must REMEMBER that David was chosen to help carry out the captivity and death penalty imposed because of musical idolatry at Mount Sinai and which became "beyond redemption" when the elders demanded a SLICK PREACHER just like all of the other nations. God gave David a Jebusite High Place which is identified with Hagar, Egypt, Mount Sinai and Sodom.

2 Sam 6:13 And it was so,
............ that when they that bare the ark of the Lord had gone six paces,
............ he sacrificed oxen and fatlings.

Many of the Classical and Church Fathers writers define similar events in all pagan nations.

Tertullian notes But if you argue that the racecourse is mentioned in Scripture, I grant it at once.

But you will not refuse to admit that the things which are done there are not for you to look upon: the blows, and kicks, and cuffs, and all the recklessness of hand, and everything like that disfiguration of the human countenance, which is nothing less than the disfiguration of God's own image.

You will never give your approval to those foolish racing and throwing feats, and yet more foolish leapings; you will never find pleasure in injurious or useless exhibitions of strength;

certainly you will not regard with approval those efforts after an artificial body
which aim at surpassing the Creator's work;

Salax , a-cis, adj. [salio; cf. sagax, from sagio] .
I. Fond of
leaping, esp. of male animals, lustful, lecherous, salacious: galli, Varr. R. R. 3, 9, 5 : aries, Ov. F. 4, 771 : salaciora animalia, Lact. Opif. Dei, 14: salacissimi mares, Col. 7, 9, 1 ; 8, 2, 9: cauda, Hor. S. 1, 2, 45 .--Vulgarly applied to Priapus: deus, Auct. Priap. 14, 1; 34, 1; and sarcastically: salacissimus Juppiter, Sen. ap. Lact. 1, 16, 10.--

II. Poet. transf., that provokes lust, provocative: erucae, Ov. R. Am. 799 : bulbi, Mart. 3, 75, 3 : herba, i.e. eruca, Ov. A. A. 2, 422 ; Mart. 10, 48, 10.

Ov. A. A. 2, 422 Ovid's Art of Love: Book II
and you will have the very opposite of complacency in the athletes Greece, in the inactivity of peace, feeds up. And the wrestler's art is a devil's thing. The devil wrestled with, and crushed to death, the first human beings. Its very attitude has power in it of the serpent kind, firm to hold-tortures to clasp-slippery to glide away. You have no need of crowns; why do you strive to get pleasures from crowns?

People PRETEND that God is silent when He shouts. The baker put the hole in the donut for a purpose and NOT for street people to FILL IN.


2 Sam 6:14 And David danced before the Lord with all his might;
............ and David was girded with a linen ephod.

2 Samuel 6. [14]  David danced before Yahweh with all his might; and David was girded with a linen ephod. [15]  So David and all the house of Israel brought up the ark of Yahweh with shouting, and with the sound of the trumpet.

-2 Samuel 6.[14] et David saltabat totis viribus anteDominum porro David erat accinctus ephod lineo [15] etDavid et omnis domus Israhel ducebant arcam testamentiDomini in iubilo et in clangore bucinae

Sal·ta·to·ry (slt-tôr, sôl-) adj.
1. Of, relating to, or adapted for leaping or dancing.
2. Proceeding by leaps rather than by smooth, gradual transitions.

-Saltō āvī, ātus, āre, freq. salio, to dance : in convivio saltare nudus coeperat: nemo enim fere saltat sobrius, nisi, etc.: scire saltare, O.: Fac saltet, O.: ad tibicinis modos, L.—Fig., to speak jerkingly, speak in short clauses : saltat incīdens particulas.—With acc: aliquam mimo saltante puellam, dancing a girl's part , O.: Cyclopa, H.: saltata poëmata, recited with rhythmical movements

-Tertullian: certainly you will not regard with approval those efforts after an artificial body which aim at surpassing the Creator's work;

-sălax , ācis, adj. salio; cf. sagax, from sagio.
I. Fond of leaping, esp. of male animals, lustful, lecherous, salacious: “galli,Varr. R. R. 3, 9, 5: “aries,Ov. F. 4, 771: “salaciora animalia, Lact. Opif. Dei, 14: salacissimi mares,Col. 7, 9, 1; 8, 2, 9: “cauda,Hor. S. 1, 2, 45.—Vulgarly applied to Priapus: “deus,Auct. Priap. 14, 1; 34, 1; and sarcastically: salacissimus Juppiter, Sen. ap. Lact. 1, 16, 10.—
II. Poet. transf., that provokes lust, provocative: “erucae,Ov. R. Am. 799: “bulbi,Mart. 3, 75, 3: “herba, i.e. eruca,Ov. A. A. 2, 422; Mart. 10, 48, 10. Impers. pass.: “cantatur ac saltatur per omnes gentes,Quint. 2, 17,

"The ritual dance was probably widespread in the ancient East. David's performance has Egyptian parallels. Seti I, the father of Rameses II, and three other Pharaohs are said to have danced before a deity, and Asiatic monuments attest the custom elsewhere... The description of David's dance: he 'danced before Jehovah with all his might... leaping and dancing before Jeh' (2 S 6: 14-16) suggests three features that particular display and the mode of dancing which it represented: violent exertion, leaping (Mephassez) and whirling round (mekharker) . Perhaps the whirling dance of Islam is a modern parallel to the last." (Int Std Bible Ency., Games, p. 1170).


Isa 42:2 He shall not cry, nor lift up, nor cause his voice to be heard in the street.

cla-mo , a-vi, a-tum, 1, v. n. and  I. a. [Sanscr. kar-, to celebrate; Gr. kaleô, klêtos; cf.: clarus, classis, nomenclator, concilium]. 

Hillel, Judgex 12:1
Sal·ta·to·ry (slt-tôr, sôl-) adj.
1. Of, relating to, or adapted for leaping or dancing.
2. Proceeding by leaps rather than by smooth, gradual transitions.

-Salto Salii a salitando), āvi, ātum, 1,

    accessory signif.).
-I. Neutr.: vidi in his unum puerum bullatum, non minorem annis duodecim, cum crotalis saltare, quam saltationem impudicus servulus honeste saltare non posset, Scipio Afric. ap. Macr. S. 2, 10 (v. the whole chapter on this subject); cf. Cic. Pis. 10, 22; id. Deiot. 9, 26; id. Mur. 6, 13; id. Off. 3, 24, 93: “in foro (as an indecorum),id. ib. 3, 19, 75: “quin scire velim saltare puellam,Ov. A. A. 3, 349: “fac saltet,id. R. Am. 334: Sa. Salta, saltabo ego simul. Ste. Siquidem mihi saltandum est, tum vos date, bibat, tibicini, Plaut. Stich. 5, 5, 14; 5, 5, 16; cf.: “ad tibicinis modos (ludiones),Liv. 7, 2: “tu inter eas restim ductans saltabis,Ter. Ad. 4, 7, 34: “negarem posse eum (sc. oratorem) satisfacere in gestu, nisi palaestram, nisi saltare didicisset,Cic. de Or. 3, 22, 83: si vox est, canta; “si mollia bracchia, salta,Ov. A. A. 1, 595; Vulg. 2 Reg. 6, 14; id. Matt. 14, 6.—Prov.: “cecinimus vobis, et non saltastis,Vulg. Matt. 11, 17; cf. Luc. 7, 32.— Impers. pass.: “cantatur ac saltatur per omnes gentes,Quint. 2, 17, 10.—*
 -B. Trop., of an orator, to speak in a jerking manner, i. e. in little clauses: “Hegesias dum imitari Lysiam vult, saltat incidens particulas,Cic. Or. 67, 226.—
-II. Act., to dance, i. e. to represent by dancing and gesticulation, to perform in pantomime a play or a part (not ante-Aug.): “pantomimus Mnester tragoediam saltavit, quam olim Neoptolemus tragoedus egerat,Suet. Calig. 57; so, “pyrrhicham,id. Caes. 39: “aliquam mimo saltante puellam,Ov. A. A. 1, 501: “Cyclopa,Hor. S. 1, 5, 63: “Glaucum,Vell. 2, 83, 2: “Turnum Vergilii,Suet. Ner. 54: odaria, to accompany with dancing, Petr. 53, 11: “laudes alicujus,Plin. Pan. 54, 1.—Pass.: “ficti saltantur amantes,Ov. R. Am. 755: “saltata poëmata,recited with an accompaniment of dancing, id. Tr. 2, 519; cf. id. ib. 5, 7, 25: “plerique jactant cantari saltarique commentarios suos,Tac. Or. 26: “saltatur Venus, saltatur et Magna Mater,Arn. 4, n. 35.
-Jactant Th throw, cast, hurl, to scatter semen. To throw, toss about, make gestures, throw kisses, to be restless, rebellius, sow serpen's seed. “irrita sacrilega jactas incendia dextra,id. M. 14, 539: “hastas,Cic. de Or. 2, 78, 3 [cause controversy about questions]
-Să_crĭlĕgus , a, um, adj. sacer-lego, I. that steals sacred things, that robs a temple, sacrilegious: (tithes and offerings)
Ovid, Meta 14.527
When the holy mother of the gods, recalling
how those same pines were felled on Ida's crest,
filled the wind with a sound of cymbals clashed
and trill of boxwood flutes. Borne through light air
by her famed lion yoke, she came and said,
“In vain you cast the fire with impious hand,
Turnus, for I will save this burning fleet.
I will not let the greedy flame consume
trees that were part and members of my grove.”
Venus (Lucifer, Zoe) the Mother Goddess

-Saltō āvī, ātus, āre, freq. [salio] , to dance: in convivio saltare nudus coeperat: nemo enim fere saltat sobrius, nisi, etc.: scire saltare, O.: Fac saltet, O.: ad tibicinis modos, L.--Fig., to speak jerkingly, speak in short clauses: saltat incīdens particulas.--With acc: aliquam mimo saltante puellam, dancing a girl's part, O.: Cyclopa, H.: saltata poëmata, recited with rhythmical movements, O.

-tībīcĭna , ae, f. [tibicen] ,  I. a female fluteplayer,  

-Greek: Orcheomai [g3738] dancing, singing hymns and dancing, make one's heart leap
represent by dancing or pantomime, orkheisthai tēn tou Kronou teknophagian, o. ton Aianta, Luc.Salt.80, 83, cf. AP9.248 (Boeth.), 11.254 (Lucill.).
metaph., leap, bound,orkheitai de kardia phobōA.Ch.166, cf. Anaxandr.59 ; Thessaliē ōrkhēsato Thessaly shook, trembled, Call.Del.139.

 Therein furthermore the famed god of the two strong arms cunningly wrought a dancing-floor like unto that which in wide Cnosus Daedalus fashioned of old for fair-tressed Ariadne. There were youths dancing and maidens of the price of many cattle, holding their hands upon the wrists one of the other. [595] Of these the maidens were clad in fine linen, while the youths wore well-woven tunics faintly glistening with oil; and the maidens had fair chaplets, and the youths had daggers of gold hanging from silver baldrics. Now would they run round with cunning feet [600] exceeding lightly, as when a potter sitteth by his wheel that is fitted between his hands and maketh trial of it whether it will run; and now again would they run in rows toward each other. And a great company stood around the lovely dance, taking joy therein; [605] and two tumblers whirled up and down through the midst of them as leaders in the dance.

-Heredotus 6.CXXIX. When the appointed day came for the marriage feast and for Cleisthenes' declaration of whom he had chosen out of them all, Cleisthenes sacrificed a hundred oxen and gave a feast to the suitors and to the whole of Sicyon. [2]  After dinner the suitors vied with each other in music and in anecdotes for all to hear. As they sat late drinking, Hippocleides, now far outdoing the rest, ordered the flute-player to play him a dance-tune; the flute-player obeyed and he began to dance. I suppose he pleased himself with his dancing, but Cleisthenes saw the whole business with much disfavor. [3]  Hippocleides then stopped for a while and ordered a table to be brought in; when the table arrived, he danced Laconian figures on it first, and then Attic; last of all he rested his head on the table and made gestures with his legs in the air. [4]  Now Cleisthenes at the first and the second bout of dancing could no more bear to think of Hippocleides as his son-in-law, because of his dancing and his shamelessness, but he had held himself in check, not wanting to explode at Hippocleides; but when he saw him making gestures with his legs, he could no longer keep silence and said, “son of Tisandrus, you have danced away your marriage.” Hippocleides said in answer, “It does not matter to Hippocleides!” Since then this is proverbial.

-Melpo celebrate with song and dance, play the harp, sing, play the flute, dancea war-dance in honor of Ares. Sing of, celebrate.

2 Sam 6:15 So David and all the house of Israel
............ brought up the ark of the Lord with shouting,
............ and with the sound of the trumpet.

-jūbĭlo , āvi, ātum, 1, v. n. and
I. a. [jubilum], to shout, to raise a shout of joy: “quiritare, jubilare,Varr. L. L. 6, § 68 Müll.: aliquem, to call out to a person: io buccol quis me jubilat? Poet. ib.: “jubilate Deo,Vulg. Psa. 99, 4: “in conspectu regis Domini,id. ib. 99, 6.

-Clangor , ōris, m. clango,
I. a sound, clang, noise (mostly poet. and in Aug. prose).
I. Of wind instruments: “tubarum,Verg. A. 2, 313; cf. id. ib. 8, 526; 11, 192; Luc. 1, 237; Sil. 2, 19; Stat. Th. 3, 651; Flor. 4, 2, 67; cf. Ov. M. 3, 707.—
II. Of birds (in crying or flying). clangorem fundere, Cic. poët. Tusc. 2, 10, 24: tremulo clangore volare, id. poët. Div. 2, 30, 63; Ov. M. 12, 528; 13, 611: “cum magno clangore volitare,Liv. 1, 34, 8; 5, 47, 4; Col. 8, 13, 2; Plin. 18, 35, 87, § 363 sq.; 10, 8, 10, § 23 al.; Flor. 1, 13, 15; * Suet. Dom. 6 al.—In plur., Verg. A. 3, 226.—
III. Of dogs, a barking, baying, Grat. Cyn. 186.

psoph-os , ho,

Used with Hoplon

-būcĭna (not buccĭna ), ae, f., = bukanē,
I. a crooked horn or trumpet (while tuba is usually the straight trumpet; cf. Veg. Mil. 3, 3, 5 Stewech.).
A.  A war-trumpet: “bello dat signum rauca cruentum Bucina,Verg. A. 11, 475: “quā bucina signum Dira dedit,id. ib. 7, 519.—In gen., as a signal employed in changing the four night-watches, and for waking the soldiers (cf. Dict. of Antiq.): “te gallorum, illum bucinarum cantus exsuscitat,Cic. Mur. 9, 22: “ubi secundae vigiliae bucinā datum signum esset,Liv. 7, 35, 1; Prop. 4 (5), 4, 63; Sil. 7, 154.—
2.  Hence, meton.: ad primam, secundam, etc., bucinam (for vigiliam), at the first, second, etc., watch: “ut ad tertiam bucinam praesto essent,Liv. 26, 15, 6.—It was also blown at the end of the evening meal, Tac. A. 15, 30 Nipp. ad loc.—
B.  In other spheres of life; “so for calling assemblies of the people:
But NOT during the synagogue assembly.
bucina datur: homines ex agris concurrunt,Cic. Verr. 2, 4, 44, § 96:
-Cic. Ver. 2.4.96 They, having prepared and armed a body of men, come by night; they break in the doors of the temple; the keepers of the temple and the guardians hear them in time. A trumpet the signal of alarm well known to all the neighbourhood, is sounded; men come in from the country, Tlepolemus is turned out and put to fight; nor was anything missed out of the temple of Chrysas except one very diminutive image of brass
bucina cogebat priscos ad verba Quirites,Prop. 4 (5), 1, 13. Curt. 3, 3, 8.—
For designating the hours of the day (which were divided into four parts),Sen. Thyest. 799; cf. bucino.—
C.  Poet., a kind of circular, winding shell on which Triton blew, Triton's shell, Ov. M. 1, 335 and 337; cf. bucinator.—
D.  Trop.: “foedae bucina famae,the trump of ill fame, Juv. 14, 152; cf. bucinator, II.

2 Sam 6:16 And as the ark of the Lord came into the city of David,
............ Michal Sauls daughter looked through a window,
............ and saw king David leaping and dancing before the Lord;
............ and she despised him in her heart. 

2 Sam 6:17 And they brought in the ark of the Lord,
............ and set it in his place,
............ in the midst of the tabernacle that David had pitched for it:
............ and David offered burnt offerings and peace offerings before the Lord.

2 Sam 6:18 And as soon as David had
............ made an end of offering burnt offerings and peace offerings,
............ he blessed the people in the name of the Lord of hosts.

2 Sam 6:19 And he dealt among all the people,
............ even among the whole multitude of Israel,
............ as well to the women as men, to every one a cake of bread,
............ and a good piece of flesh, and a flagon of wine.
............ So all the people departed every one to his house.

2 Sam 6:20 Then David returned to bless his household.
............ And Michal the daughter of Saul came out to meet David,
............ and said, How glorious was the king of Israel to day,
............ who uncovered himself to day
............ in the eyes of the handmaids of his servants,
............ as one of the vain fellows shamelessly uncovereth himself

-2 Samuel6.20] reversusque est et David ut benediceret domui suae et egressa Michol filia Saul in occursum David ait quam gloriosus fuit hodie rex Israhel discoperiens se ante ancillas servorum suorum et nudatus est quasi si nudetur unus de scurris

-Nūdo , āvi, ātum, 1, v. a. nudus,

I. to make naked or bare; to strip, bare, lay bare, expose to view, uncover (syn.: exuo, detego, revelo).
1. In milit. lang., to leave uncovered, leave exposed or defenceless, to expose a place to the enemy
2. Pregn., to strip, spoil, plunder: “spoliavit nudavitque omnia,Cic. Verr. 1, 5, 14

-Scurra , ae, m.an elegant, town-bred man; a fine gentleman, gallant, dandy. Also of an elegant debauchee,   1. A city buffoon, droll, jester (usually in the suite of wealthy persons, and accordingly a kind of parasite; syn.: -Of the clown in a pantomime, Juv. 13, sannio, parasitus) Same as Auloedus one who sings to the flute.

Cicero 28 [29] Wherefore, not only is the military glory which you slight to be preferred to your formulas and legal pleas; but even the habit of speaking is far superior, as regards the attainment of honours, to the profession to the practice of which you devote yourself. And therefore many men appear to me to have preferred this at first; but afterwards, being unable to attain eminence in this profession, they have descended to [p. 344] the other. Just as men say, when talking of Greek practitioners, that those men are flute-players who cannot become harp-players, so we see some men, who have not been able to make orators, turn to the study of the law

-Sannĭo , ōnis, m. sanna,  I. one who makes mimicking grimaces, a buffoon (cf. scurra), Cic. de Or. 2, 61, 251; id. Fam. 9, 16, 10; Amm. 14, 6, 16.

-Părăsītus , i, m., = parasitos, lit. one who eats with another; hence,
I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods, Varr. ap. Aug. Civ. Dei, 6, 7; App. M. 10, p. 246, 35.—Hence, parasitus Phoebi, a player, actor, Mart. 9, 29, 9.—
II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite (syn. scurra): “nos parasiti planius ... Quasi mures semper edimus alienum cibum, etc.,Plaut. Capt. 1, 1, 7; cf. id. Pers. 1, 3, 3; id. Stich. 2, 1, 42: “parasitorum in comoediis assentatio,Cic. Lael. 26, 98: “edaces parasiti,Hor. Ep. 2, 1, 173; Juv. 1, 139. —Comically, of a whip: ne ulmos parasitos faciat, that he will make his elm-twigs stick to me like parasites, i. e. give me a sound flogging, Plaut. Ep. 2, 3, 5.—The tutelar deity of parasites was Hercules, Plaut. Curc. 2, 3, 79.
-Delicatus II.Addicted to pleasure; luxurious, voluptuous; and subst., a voluptuary, a wanton.
B.Transf., soft, tender, delicate (poet. and in post-Aug. prose):   Cat. 20, 10
       capella she-goat, term of reproach, a dirty fellow.
1.Spoiled with indulgence, delicate, dainty, effeminate:  “multarum deliciarum comes est extrema saltatio,id. Mur. 6: “deliciis diffluentes,id. Lael. 15

-Vĕnustus , a, um, adj. 1. Venus,
I. lovely, comely, charming, pleasing, winning, agreeable, graceful, beautiful, elegant, etc. (syn.: pulcher, formosus, speciosus). comoedia)

Eroeis , essa, en, ( [eros] ) poet., A. lovely, charming, Haliê Hes.Th.245 , cf. h.Ven.263,h.Merc.31 ; bômos Sapph.54 , cf. Ar.Av.246(lyr.); Nêmertês Emp.122.4 ; Helenês tupos APl.4.149 (Arab.)

Eros1 [poet. form of erôs (cf. gelôs] I. love, desire, Hom., etc.
II. as nom. pr.
Eros, the god of love, Hes.

Sam 6:21 And David said unto Michal,
............ It was before the Lord, which chose me before thy father,
............ and before all his house,
............ to appoint me ruler over the people of the Lord, over Israel:
............ therefore will I play before the Lord.


Sporting or playing is defined as the "original sin" of musical celebration at Mount Sinai after Israel took their "marriage vow" with God and His Covenant.

And they rose up early on the morrow, and offered burnt offerings, and brought peace offerings; and the people sat down to eat and to drink, and rose up to play. Exodus 32:6

To play is the Hebrew:

Cachaq (h6711) tsaw-khak'; a prim. root; to laugh outright (in merriment or scorn); by impl. to sport: - laugh, mock, play, make sport.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of

music in religious services, though idolatrous,
is more distinctly
marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

Of Samson:

But the Philistines took him, and put out his eyes, and brought him down to Gaza, and bound him with fetters of brass; and he did grind in the prison house. Judges 16:21

Now, when Samson "played" he did play a child's game and when he ground in the prison house he didn't make flour. Grind is:

Tachan (h2912) taw-khan'; a prim. root; to grind meal; hence to be a concubine (that being their employment): - grind (-er).

Take the millstones, and grind meal: uncover thy locks, make bare the leg, uncover the thigh, pass over the rivers. Is.47:2

This "play" is also the Hebrew:

Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.

As Samson was ready to be sacrificed the pagans wanted him to PLAY in the same way the Jewish clergy would try to get Jesus to sing and dance the perverted Dionysus choral. The word for "play" in Exodus and David's musical dance are interchangeable:

And it came to pass, when their hearts were merry, that they said, Call for Samson, that he may make us sport (7832) . And they called for Samson out of the prison house; and he made them sport (6711) : and they set him between the pillars. Judges 16:25

The word "played" is used of David to show that this word means that they played the instruments:

And David and all the house of Israel played before the Lord on all manner of instruments made of fir wood, even on harps, and on psalteries, and on timbrels, and on cornets, and on cymbals. 2 Sam 6:5

Played is:

Sachaq (h7832) saw-khak'; a prim. root;

to laugh (in pleasure or detraction);

by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.

Exodus 32 Wilderness Judges Samsos 2 Samuel David
h6711 h6711

h7832 h7832

Playing or laughing before the Lord was what caused Him to TURN THEM over to worship the pagan gods. Therefore, the common people now quarantined from the temple, were to SYNAGOGUE or EKKLESIA for instruction at which time the TRIUMPH was outlawed:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.

-paizō Dor. paisdō Theoc.15.42: Lacon. pres. part. gen. pl. fem. paiddōhan Ar. Lys.1313 (lyr.): fut. paixoumai Syrac. in X.Smp. 9.2,

4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōnAr.Ra.230; dance and sing, Pi. O.1.16.
5. play amorously, “pros allēlousX.Smp.9.2; “meta tinosLXX Ge.26.8; of mares, Arist.HA572a30.

Latin Play:
A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing: “illa ipsa ludens conjeci in communes locos, Cic. Par. prooem.: Prima Syracosio dignata est ludere versu Nostra ... Thalia,Verg. E. 6, 1.—Esp., to play on an instrument of music, to make or compose music or song: “ludere quae vellem calamo permisit agresti,Verg. E. 1, 10

coloni Versibus incomptis ludunt,Verg. G. 2, 386: “carmina pastorum,id. ib. 4, 565;

-Ov. A. A. 2, 389 Ovid's Art of Love: Book II.....Latin

Or when she combs or when she curls her hair,1
Commend her curious
art and gallant air.
Singing, her voice, dancing, her steps, admire;
Applaud when she desists, and still desire.

Let all her words and actions wonder raise;
View her with
raptures, and with raptures praise
Fierce as Medusa though your mistress prove,
These arts will teach the stubborn beauty love.

Be cautious lest you overact your part,
And temper your hypocrisy with art;
Let no false action give your words the lie,
For once deceiv'd, she's ever after shy.

In Autumn oft, when the luxurious year
Purples the grape, and shows the vintage near;
When sultry heats, when colder blasts arise,
And bodies languish with inconstant skies;

If vitious heav'n infects her tender veins,
And in her tainted blood some fever reigns;
Then your kind vows, your pious care bestow,
The blessings you expect to reap then sow;

Think nothing nauseous in her loath'd disease,
But with your ready hand contrive to please;
Weep in her sight, then fonder kisses give,
And let her burning lips your tears receive;

-Ovid's Art of Love: Book II

When servants merry make, and feast, and play,2
Then give her something to keep holiday.
Retain them ev'ry one, the porter most,
And her who nightly guards the happy coast
I no profuse nor costly gifts commend,
But choose and time it well, whate'er you send.

Provide the product of the early year,
And let your boy the rural present bear;
Tell her 'twas fresh, and from your manor brought,
Tho' stale, and in the suburb market bought:

The first ripe cluster let your mistress eat,
With chesnut, melons, or fair peaches, treat;
Some larger fish, or choicer fowl, present;
They recommend your passion where they're sent.

'Tis with these arts the childless miser's caught,
Thus future legacies are basely bought;
But may his name with infamy be curst,
That practis'd them on love, and women first.

In tender sonnets most your flame rehearse,
But who, alas! of late are mov'd by verse?
Women a wealthy treating fool admire,
Applaud your wit,-but costly gifts require.

This is the golden age, all worship gold;
Honours are purchas'd, love and beauty sold.
Should Homer come with his harmonious train,
And not present, Homer's turn'd out again.

6 This has allusion to a festival celebrated at Rome by the servants, in remembrance of a great piece of service their predecessors had done the Romans, soon after the invasion of the Gauls; the time of celebrating it was in July. It was done in honour of Juno Caprotina according to Macrobius, in his Saturnalia, book i. chap. 2. The free maidens and servants, says the same author, sacrificed on that day to Juno, under a wild fig-tree, called in Latin Caprilicus, in memory of that complaisant virtue which inspired the servant maids to expose themselves to the lust and revenge of the enemy for the preservation of the public honour. For after the Gauls had taken the city, and were driven out again, when things were restored to their former order, the neighbouring nations believing the Romans were very much weakened by the late invasion, siege, and sack, took hold of that opportunity to invade them, choosing Posthumius Livius of Fidenes for their chief, and demanded of the senate, that if they would preserve their city and authority, they should send them their wives and daughters.

Cat. 61, 207 -Catalus 61

Your lighted links, 0 boys, wave high:
I see the flamey veil draw nigh:
Hie, sing in merry mode and cry
"0 Hymen Hymenaeus io,
0 Hymen Hymenaeus!"

Lest longer mute tongue stays that joys
In festal jest, from Fescennine,
Nor yet denay their nuts to boys,
He-Concubine! who learns in fine
His lordling's love is fled.

Throw nuts to boys thou idle all
He-Concubine! wast fain full long
With nuts to play: now pleased as thrall
Be thou to swell Talasios' throng:
He-Concubine throw nuts.

Wont thou at peasant-girls to jape
He-whore! Thy Lord's delight the while:
Now shall hair-curling chattel scrape
Thy cheeks: poor wretch, ah! poor and vile:--
He-Concubine, throw nuts.

2 Sam 6:22 And I will yet be more vile than thus,
............ and will be base in mine own sight:
............ and of the maidservants which thou hast spoken of,
............ of them shall I be had in honour.

H7043 qâlal kaw-lal' A primitive root; to be (causatively make) light, literally (swift, small, sharp, etc.) or figuratively (easy, trifling, vile, etc.):—abate, make bright, bring into contempt, (ac-) curse, despise, (be) ease (-y, -ier), (be a, make, make somewhat, move, seem a, set) light (-en, -er, ly, -ly afflict, -ly esteem, thing), X slight [-ly], be swift (-er), (be, be more, make, re-) vile, whet.

-vīlis , e, adj., I. of small price or value, purchased at a low rate, cheap (opp. carus).vile, abandoned, id. C. 3, 27, 57: “tu poscis vilia rerum,id. Ep. 1, 17, 21: “si, dum me careas, est tibi vile mori,Ov. H. 7, 48.—

Cicero 71 XXVI.[71] O singular wisdom, O judges! Do they not seem to have cut this man off and separated him from nature; from whom they took away at once the heaven, the sun, water and earth, so that he who had slain him, from whom he himself was horn, might be deprived of all those things from which everything is said to derive its birth. They would not throw his body to wild beasts, lest we should find the very beasts who had touched such wickedness, more savage; they would not throw them naked into the river, lest when they were carried down into the sea, they should pollute that also, by which all other things which have been polluted are believed to be purified. There is nothing in short so vile or so common that they left them any share in it

Sordidus, squalid, dirty, unclean, foul, filthy, Carmen a song, poem, verse, oracular response, prophecy, form of incantation, tune, air, lay, strain, note, sound b. Meanly, stingily, penuriously, sordidly: “nimis illum sordide Simonidi dixisse, se dimidium ejus ei, quod pactus esset, pro illo carmine daturum,Cic. de Or. 2, 86, 352:

M. Tullius Cicero, Orations

XXVI.[71] O singular wisdom, O judges! Do they not seem to have cut this man off and separated him from nature; from whom they took away at once the heaven, the sun, water and earth, so that he who had slain him, from whom he himself was born, might be deprived of all those things from which everything is said to derive its birth. They would not throw his body to wild beasts, lest we should find the very beasts who had touched such wickedness, more savage; they would not throw them naked into the river, lest when they were carried down into the sea, they should pollute that also, by which all other things which have been polluted are believed to be purified. There is nothing in short so vile or so common that they left them any share in i


Plaut. Ep. 1, 1, 49:

2 Sam 6:23 Therefore Michal the daughter of Saul had no child unto the day of her death.

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