Gal. 1:1
Paul, an apostle, (not of men, neither by
man,
but by Jesus
Christ, and God the Father, who raised him from
the dead;)
Gal. 1:2 And all the brethren which are with me, unto the churches of
Galatia:
John marks as Anti-Christ those who do not believe what all of the Bible teaches:
Acts 2:34 For David is not ascended into the heavens:
but he saith himself, The LORD
said unto my Lord,
Sit thou on my right hand,
Acts 2:35 Until I make thy foes thy footstool.
Acts 2:36 Therefore let all the house of Israel know assuredly,
that God hath made
that same Jesus,
whom ye have crucified,
both Lord and Christ.
1Timothy 2:3 For this is good and acceptable in the sight of God our Saviour;
1Timothy 2:4 Who will have all men to be saved, and to come unto the knowledge of the truth.
1Timothy 2:5 For
there is one God,
and one mediator between God and men,
the man Christ Jesus;
1Timothy 2:6 Who gave himself a ransom for all, to be testified in due time.
1Timothy 2:7 Whereunto I am ordained a preacher, and an apostle, (I speak the truth in Christ, and lie not;) a teacher of the Gentiles in faith and verity.
Gal. 1:3 Grace be to you and peace
from God the
Father,
and from our Lord Jesus Christ,
Gal. 1:4 Who gave himself for our sins,
that he
might deliver us from
this present evil world,
according to the will of
God and our Father:
Jesus will not pray for the World: that is Cosmos or Kosmos and speaks
to the people who connect music to the worship of the physical world
which needs adorning. |
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Throughout the Bible musical instruments are the MARK that God has
removed His grace: the speakers, singers and instrument players in
Revelation 18 are called sorcerers: Anathema meaning to be
predestinated to the Lake of fire.
Gal. 1:3 Grace be to you and peace
from God the
Father,
and from our Lord Jesus Christ,
Gal. 1:4 Who gave himself for our sins,
that he
might deliver us from
this present evil world,
according to the will of
God and our Father:
Jesus will not pray for the World: that is Cosmos or Kosmos and speaks
to the people who connect music to the worship of the physical world
which needs adorning.
For I have given unto
them the words which thou gavest me;
and they
have received them,
and have known surely that I came out from thee,
and they have believed that thou didst send me. John
17:8
Then Paul and Barnabas
waxed bold, and said, It was necessary that the word of God
should first have been spoken to you: but seeing ye put it
from you, and judge yourselves unworthy of everlasting life,
lo, we turn to the Gentiles. Ac.13:46
I pray for
them: I pray not for the world, but for them
which thou hast given me; for they are thine. John 17:9
Neither
pray I for these alone, but for them also which shall
believe on ME through THEIR WORD; John 17:20
WHO ARE THOSE "OF THE WORLD?"
Titus 2:11 For the grace of God that bringeth
salvation hath appeared to all men,
Titus 2:12 Teaching us that,
denying ungodliness and WORLDY
lusts,
we should live soberly,
righteously,
and godly,
in this present world;
kosmos , metaph., of ornaments of speech, such as epithets, Id.9.9 (pl.), Arist.Rh.1408a14, Po.1457b2, 1458a33; hadumelē k. keladeinpraise, Pi.O.11 (10).13 (s.v.l.).
Pind. O. 11 My tongue wants to foster such themes; [10] but it is by the gift of a
god that a man flourishes with a skillful mind, as with anything else.
For the present rest assured, Hagesidamus son of Archestratus: for the
sake of your boxing victory,
I shall loudly sing a sweet song, an
adornment for your garland of golden olive,
[15] while I honor the race
of the Western Locrians.
There, Muses, join in the victory-song; I
shall pledge my word to you that we will find there a race that does
not repel the stranger, or is inexperienced in fine deeds, but one that
is wise and warlike too.
Kosmo-krator epith. of ouranos, Orph.H.4.3; “ Zeus Mitras Hēlios k. Dam.Pr.131; hoi k. tou skotous toutou the cosmic rulers of this sinful world, Ep.Eph.6.12; “ hoi k. hoi ta hupo selēnēn stoikheia dioikountes”
3. Astrol., ruler of the kosmos
-Helios II.
as pr. n., Helios, the sun-god, Od.8.271, etc.; nē ton Hē. Men.Sam. 108; hupo Dia Gēn Hēlion, in manumission-formula, POxy.48.6, 49.8 (i A.D.), IG9(1).412（Aetolia), IPE2.54.10(iii A.D.); [“ Hēlios doulous eleutherous poiei” Artem.2.36; identified with Apollo, Carm.Pop.12, E.Fr.781.11; with Dionysus, D.Chr.31.11, etc.
2.
Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c, cf. D.S.2.30, Theo Sm. p.130H. (I.-E. sāwelios, cf. Cret. abelios, Lith. sáulė, Lat. sōl.）
WE DO NOT DO BATTLE WITH THE KOSMOKRATOR WITH THE DEVIL'S WEAPONS.
Eph. 6:12 For we wrestle not against flesh and blood, but against
principalities, against powers, against the rulers of the darkness of
this world, against spiritual wickedness in high places.
Pale (g3823) pal'-ay; from pallo, (to vibrate; another form for 906); wrestling:
- / wrestle
Pallo like PSALLO and
several other words from which people make SPEAKING into MAKING MUSIC
are all primarily words of MAKING WAR or polluting people in one way or
another. THAT'S why Paul put the word IN THE HEART or spirit and NOT
literally SHOOTING one another in the musical contests.
-Pallô, poise, sway
a missile before it is
thrown, sway, brandish, she drove
it furiously, tripped on the shield-rim, quiver, leap, esp. in fear, II. Pass., swing,
dash oneself, Pi.N.5.21; vibrate,
of strings, Pl.Phd.94c (psalloito ap.
Stob.); leap, bound,
quiver, quake, phrena
deimati pallôn S.OT153 (lyr.); dash along, of horses, E.El.477
(lyr.).
kosm-ikos , ē, on, ( kosmos IV)
s.v. Orpheus: Astrol., k. kentra (goad) skhēma to sing sweet songs of
(Logos Speak opposite of myth,
poetry, meter
Logik-os
, ē, on, (logos) A.
of or for speaking or speech, merē l. the
organs of speech, Plu.Cor.38: logikē, hē, speech, Opposite.
mousikē,
D.H. Comp. 11; “l. phantasia”
expressed in speech, Stoic.2.61.. genethlialogika) “epithumiai” Ep.Tit.2.12. genethlia_log-ikos , ē, on,
Logos Speak opposite of myth,
poetry, meter
Logik-os
, ē, on, (logos) A.
of or for speaking or speech, merē l. the
organs of speech, Plu.Cor.38: logikē, hē, speech, Opposite .
mousikē,
D.H. Comp. 11; “l. phantasia”
expressed in speech, Stoic.2.61.
Orpheus , eōs, o(, Dor. Orphēs Ibyc.10A,
Orphēn Hdn.Gr.1.14:—
A. Orpheus, Pi.P.4.177, Pl.R.364e,
etc.:—Adj. Orpheios , a, on, E.Alc. 969(lyr.),
Pl.Lg.829e; or Orphikos , ē, on, Hdt.2.81 ; “ en tois O. epesi kaloumenois” Arist.de
An.410b28.\
Epos , older wepos SIG9
(v. infr.), etc., eos, to (Skt.
A. vácas
'word', ' hymn', cf. eipon):
1. song or lay accompanied by music,
8.91, 17.519.
IV. in pl., epic poetry, Opposite. melē (lyric poetry), iambeia, dithuramboi, etc., “ rhaptōn epeōn aoidoi” Pi.N.2.2 ; “ ta Kupria epea” Hdt.2.117, cf. Th.1.3, X.Mem.1.4.3, Pl.R.379a, etc. ;
“ epea te poiein pros luran t' aeidein” Theoc.Ep.21.6 ; “ nikēsas epos” IG3.1020
; poētēs epōn
Skhēma 2. appearance, Opposite. the reality, ouden allo plēn . . s. a mere outside, E.Fr.25, cf. 360.27,
Pl.R.365c; show,
pretence, “ēn de touto . . s. politikon tou logou” Th.8.89; ; “skhēmasi kai khrōmasi mimeisthai” esp. outside show, pomp, to tēs arkhēs s. Pl.Lg.685c;
5.
character, role, metabalein to s. Pl.Alc.1.135d; “panta s. poiein” Id.R.576a;
7.
a figure in Dancing, Ar.V.1485: mostly in pl., figures, gestures
“skhēmata pros ton aulon orkheisthai” X.Smp.7.5; en . .
X.Smp.7.5; en . . mousikē [hēs to kitharizein kai to adein kai to embainein orthōs;] kai skhēmata . . kai melē enesti figures and tunes, Pl.Lg.655a 10.
= to aidoion LXXIs.3.17.
Melos THE word for musical melody. B.
esp. musical member, phrase: hence, song, strain 2.
music to which a song is set, tune 3.
melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos”
Xen. Sym. 7.5 However, these questions also fail to
promote the same object that wine does; but if the young people were to
have a flute accompaniment and dance figures depicting the Graces, the
Horae,
and the Nymphs, I believe that they would be far less wearied
themselves and that the charms of the banquet would be greatly
enhanced.”“Upon my word, Socrates,” replied the Syracusan, “you are quite right; and I will bring in a spectacle that will delight you.
Epithu_m-ia lust of the EYE, lust of the EAR says
Barnes of Amos
A.
desire, yearning, “e. ektelesai” Hdt.1.32; epithumia by passion, Opposite. pronoia, Th.6.13:
sexual desire, lust, Xen. Const. Lac. 2.13 BOY love
Titus 2:13 Looking for that blessed hope,
and the glorious appearing of the
great God and our Saviour Jesus Christ;
Titus 2:14 Who gave himself for us,
that he might redeem us from all
iniquity,
and purify unto himself a
peculiar people,
zealous of good works.
Kosm-eō , A.
order, arrange, esp. set an army in array, marshal it
onomasi kekosmēmenous” Pl.Ap.17 c; “ tragikon lēron” Ar.Ra.1005; k. ergon ariston ib. 1027; “ to logikon ekheis exaireton, touto kosmei” Arr.Epict.3.1.26; “ logon euruthmiais” Isoc.5.27; “ hauton logois” Pl.La.196 b, cf. 197 c; “ epi to meizon k.” Th.1.21; ton . . tēn ekeinōn aretēn kosmēsonta (in speaking) D.18.287:—Pass., “ ēthos semnotēti -mēmenon”
Ruruthm-ia , h(,
2.
harmony between the orator and his hearers, Plu.2.45e.
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Gal. 1:5 To whom be glory for ever and ever. Amen.
Gal. 1:6 I marvel that ye are so soon removed
from him
that called
you
into the grace of Christ unto another gospel:
Gal. 1:7 Which is not another; but there be some
that trouble you,
and
would pervert the gospel of Christ.
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Anything
which added to the promise of Jesus to remove the laded burden (songs)
and the burden laders perverts the gospel of REST: the word rest
forbits all commercial or entertaining performances used to create
"spiritual anxiety through religious rituals."
4190. poneros,
pon-ay-ros´; from a derivative of 4192; hurtful,
i.e. evil (properly, in effect or influence, and thus differing from
2556, which refers rather to essential character, as well as from 4550,
which indicates degeneracy from original
virtue); figuratively, calamitous;
also (passively) ill, i.e. diseased; but especially
(morally) culpable, i.e. derelict,
vicious, facinorous; neuter
(singular) mischief, malice, or
(plural) guilt; masculine (singular) the
devil, or (plural) sinners: -- bad,
evil, grievous, harm,
lewd, malicious, wicked(-ness).
See also 4191.
Phortos
a burden is anything imposed to be performed as the works of human hands denies that Jesus paid it all. A.
make, produce, first of something material, as manufactures, works of art, epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai,
Prasso III.
achieve, effect, accomplish
“tina Nēreidōn p. akoitin” Id.N.5.36; humnon p. grant power of song, ib.9.3;
II.
Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.
ph. erōtos, of Europa on the bull
A laded Burden is: A. poieō , A.
make, produce, first of something material, as manufactures, works of art,
3.
of sacrifices, festivals, etc., celebrate, “ p. hira” Hdt.9.19, cf. 2.49 ; p. sabbata observe the Sabbath, LXXEx.31.16;
4.
after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “ p. theogoniēn Hellēsi” Id.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian, tragōdian, etc., Pl.Smp.223d; “ palinōdian” Isoc.10.64, Pl.Phdr.243b, etc.; “ poiēmata” Id.Phd.60d: abs., write poetry, write as a poet, “ orthōs p.” Hdt.3.38; “ en toisi epesi p.” Id.4.16, cf. Pl.Ion534b: folld. by a quotation, “ epoēsas pote . .” Ar.Th.193; “ eis tina” Pl.Phd.61b; “ peri theōn” Id.R.383a, etc.
A laded Burden is B: To Study or practice of drama , atos, to/, (draō)
II.
action represented on the stage, drama, play, Ar.Ra.920, Arist.Po.1448a28, etc.; mē en tō d. not in the action on the stage, ib. 1460a31; exō tou d. ib. 1453b32; “ d. poiein” Ar.Ra.1021; “ saturikon d.” Pl.Smp.222d (with play on 1): metaph., stage-effect of any kind, “ ta eleina tauta d. eisagein” Id.Ap.35b: also, tragical event, Plb.23.10.12, Him.Ecl.1.12, etc.
A laded Burden is C. Sullog-ismos ,
A.
computation, calculation
2.
in the Logic of Arist., a syllogism or deductive argument,
defined provisionally as an argument in which, certain things being
posited, something different from them necessarily follows, APr.24b18, cf. 47a34, al.; of several kinds, e.g. ho apodeiktikos s. APo.74b11; o( dialektikos s. Top.100a22; eristikos s. ib. b24; sts. opposed to epagōgē (q.v.); ho ex epagōgēs s. the syllogism which springs out of induction, APr.68b15; “ to enthumēma s. tis” Rh.1355a8.
Epagōg-ē , 4.
allurement, enticement, “tais elpisi kai tais e.” D.19.322. b.
incantation, spell, in pl., Pl.R.364c, Lg.933d; Hekatēs phaskōn epagōgēn gegonenaispell, Thphr.Char.16.7.
7.
leading away into captivity, captivity, LXX Is.14.17: generally, distress, misery,Si.23.14 (pl.of tax-gatherers demand from one as the price for a thingsaying that Hecate had put it under a ib.
A laded Burden is D. Eur. Supp. 20 so now their mothers would bury in the grave the dead, whom the spear
has slain, but the victors prevent them and will not allow them to take
up the corpses, holding the laws of the gods in no honor. [20] Here
lies Adrastus on the ground with streaming eyes, sharing with them the
burden of their prayer to me, and bemoaning the havoc of the sword and
the sorry fate of the warriors whom he led from their homes. And he urges me to use entreaty to persuade my son
[25]
to take up the dead and help to bury them, either by winning words or force of arms, laying on my son and on Athens
this task alone. Now it happened that I had left my house and come to
offer sacrifice on behalf of the earth's crop [30] at this shrine,
where first the fruitful corn showed its bristling shocks above the
soil. And here at the holy altars of the two goddesses, Demeter and the
Maiden, I wait, holding these sprays of foliage, a bond that does not
bind, in compassion for [35] these childless mothers, gray with age,
and in reverence for the sacred garlands. My herald has gone to the
city, to call Theseus here, so that he may rid the land of that which
grieves them, or loose these suppliant bonds, [40] with pious
observance of the gods' will; for women should in all cases invoke the
aid of men, women that are discreet.
A laded Burden is E. Aristoph. Peace 748 Chorus
The Chorus turns and faces the audience.
Undoubtedly the comic poet who [735] mounted the stage to praise
himself in the parabasis would deserve to be handed over to the sticks
of the beadles. Nevertheless, oh Muse, if it be right to esteem the
most honest and illustrious of our comic writers at his proper value,
permit our poet to say that he thinks he has deserved a glorious
renown. First of all, he is the one who has compelled his rivals no
longer [740] to scoff at rags or to war with lice; and as for those
Heracleses, always chewing and ever hungry, he was the first to cover
them with ridicule and to chase them from the stage; he has also
dismissed that slave, whom one never failed to set weeping before you,
[745] so that his comrade might have the chance of jeering at his
stripes and might ask, “Wretch, what has happened to your hide? Has the
lash rained an army of its thongs on you and laid your back waste?”
After having delivered us from all these wearisome ineptitudes and
these low buffooneries, he has built up for us a great art, like a
palace with high towers, [750] constructed of fine phrases, great
thoughts and of jokes not common on the streets. Moreover it's not
obscure private persons or women that he stages in his comedies; but,
bold as Heracles, it's the very greatest whom he attacks, undeterred by
the fetid stink of leather or the threats of hearts of mud. He has the
right to say, “I am the first ever dared to go straight for that beast
with the sharp teeth [755] and the terrible eyes that flashed lambent
fire like those of Cynna, surrounded by a hundred lewd flatterers, who
spittle-licked him to his heart's content; it had a voice like a
roaring torrent, the stench of a seal, the unwashed balls of a Lamia and the arse of a camel
A laded Burden is F. Aristoph. Pl. 771
Wife Do you refuse these gifts?
Plutus [795] I will accept them at your
fireside, as custom requires. Besides, we shall thus avoid a ridiculous
scene; it is not meet that the poet should throw dried figs and
dainties to the spectators; it is a vulgar trick to make them laugh.
Wife [800]
You are right. Look! yonder's Dexinicus, who was already getting to his feet to catch the figs as they flew past him.
A laded Burden is G Erōs , ōtos, o(, acc. erōn for : (heramai, eraō A):—love, mostly of the sexual passion, “thēlukratēs e.” A.Ch.600 (lyr.)
III.
at Nicaea, a funeral wreath, EM379.54.
The Kleros of Aphrodite: hence, of oracles, E.Hipp.1057, Ph. 838; “Hermēs gar ōn klērō poiēseis oid' hoti” Ar.Pax365;
III.
of the Levites, “Kurios autos klēros autou” LXX De.18.2: hence, of the Christian clergy, “en klērō katalegomenos”
khthōn , h(, gen. khthonos,
hupo khthonos, of the nether world, “Tartaron cf. A.Eu.72; hoi hupo kh. philoi, i.e. those in the shades below, Id.Ch.833
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Jesus Christ died to REMOVE this burden: Click for Isaiah 28
Because
ye have said, We have
made a covenant with
death,
and with hell
are we at agreement; when the overflowing scourge shall pass through, it shall not come
unto
us: for we have made lies our
refuge, and under falsehood have we
hid ourselves: Is.28:15
A
vital focus of
questioning was the world of the dead. The recently deceased might exert influence
on the living for good or for
bad. Offerings to the dead, which were required by custom, were
intended, among other purposes, to make them well disposed. People occasionally
deposited with
their offerings a letter telling the deceased of their problems and
asking for assistance. A few of these letters are complaints to the
deceased person, alleging that he or she is afflicting the writer. This written
communication with the
dead was confined to the very few literate members of the population,
but it was probably part of a more widespread oral practice. Some tombs of
prominent people acquired minor cults
that may have originated in frequent successful recourse to them for
assistance. Britannica Online
See The Feast of Tabernacles
in Jerusalem
The Marzeah in
Amos 5
"The
marzeah had an extremely
long history extending at least from the 14th century B.C. through
the Roman period. In the 14th century B.C., it was prominently
associated with the ancient Canaanite city of Ugarit (modern Ras
Shamra), on the coast of Syria...
The
marzeah was a pagan ritual that took the
form of a social
and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the
Bible for the inhabitants of Sheol)." (King, Biblical
Archaeological
Review, Aug, 1988, p. 35, 35)
"These
five elements are: (1)
reclining or relaxing, (2) eating a meat meal, (3) singing with harp
or other musical accompaniment, (4) drinking wine and (5) anointing
oneself with oil." (King, p. 37).
"we
recognize the same
elements: the sacrifices and libation, the cultic feast in which the
congregation gets a share of food and drink after it has been blessed
by the king, and the merry-making, now in the form of instrumental
and vocal music. But the central act of the ritual, which was
performed by the king, is called literally 'drinking' the god
(Gurney, O. R. Some Aspects of Hittite Religion, p. 33-34, Oxford
University Press, 1977)
"The
normal order of events was
a meal, followed by a drinking party. Entertainment might include
anything from a rhetorcian or philosopher discoursing on some topic,
to musical entertainment, to sexual dalliance."
"Plutarch
implicitly contrasts
a serious dinner featuring a sage as the after-dinner speaker with
the other sorts of dinners--where sexual play with the girl
flute-players or hetairae was common." (Witherington, Ben, Why Not
Idol Meat, Bible Review, June 1994, p. 41-42).
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2.
of authors, elaborate a work, Ar.Nu.526; of a science, work out, “ha thelei”
4.
simply, write, treat, “poiētēs ōn pepragmateutai peri to hieron” IG11(4).544.5 (Delos, iii B. C.); ta pepragmateumena hup' autō his works, composilions,
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Gal. 1:8 But though we, or an angel from heaven,
preach any other
gospel unto you than
that which we have preached unto you,
let him
be
accursed.
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331. anathema, an-ath´-em-ah;
from 394; a
(religious) ban or (concretely) excommunicated (thing or person): —
accused, anathema, curse, x great.
1 Cor 16:22 If any man love not the
Lord Jesus
Christ, let him be Anathema Maranatha.
The Levites cursed by Jacob were abandoned
to carry out the work of the "lord" in the worship of the starry host
for a nation sentenced to be returned to "beyond Babylon." They were
dedicated to the Lord and "had no inheritance in Israel."
-Anathêma
, /, (anatithēmi) A.
that which is set up: hence, like agalma, votive offering set up in a temple, Hdt.1.14,92, S.Ant.286, etc.; “a. ek leitourgiōn” Lys.26.4. 2.
used by Hom. only in first sense of agalma, delight, ornament, “molpē t' orkhēstus te: ta gar t' anathēmata daitos” Od.1.152, cf. 21.430, IG14.1390; tois tekousin anathēma biotou, of children, E.Fr.518, cf. Pl.Hp.Mi.364b; to help deserving poverty is “basilikou ploutou a. kai kataskeuasma lamprotaton” D.H.19.14.
-Agalma , atos, to/, acc. to Hsch. pan eph' hō tis agalletai,
A.
glory, delight, honour, Il.4.144, etc.; kephalaisin andrōn agalmata (sc. lophoi) Alc.15; khōras a., of an ode, Pi.N.3.13, cf. 8.16;
2.
pleasing gift, esp. for the gods, “a. theōn” Od.8.509, of a bull adorned for sacrifice, ib.3.438; of a tripod, Hdt.5.60, al.; generally, = anathēma, IG1.37312a, etc.; “Kharēs eimi . . a. tou Apollōnos” GDI5507 (Miletus); “anthēken a.” Simon.155; so, Hekatēs a . . . kuōn, because sacred to her, E.Fr.968, = Ar.Fr.594a; a. Aida, of a tombstone, Pi.N.10.67.
Hekatēs a . . . kuōn, because sacred to her, E.Fr.968, = Ar.Fr.594a; a. Aida, of a tombstone, Pi.N.10.67.
-Molp-ē , h(, (melpō)
A.
dance or rhythmic movement with song, Od. 6.101, Il.18.606.
2.
more freq. song, 1.472; “ molpēs te glukerēs kai amumonos orkhēthmoio” 13.637; “ molpē t' orkhēstus te” Od.1.152, cf. Hes.Th.69, Sapph.Supp.25.5, Pi.O.10.84, 6.97 (pl.), A.Ag.106 (lyr.), etc.: Com. in lyr., “ molpa klagga” Mnesim.4.57 (anap.): metaph., ou m. suriggos ekhōn the note, S.Ph.212 (lyr.): also in late Prose, as Luc.Salt.23.
Apollo in Revelation is Abaddon or Apollyon and the muses are the Locusts in John's coded message.
-Hom. Od. 1.125 Heralds poured water over their hands, and maid-servants heaped by them
bread in baskets, and youths filled the bowls brim full of drink; and
they put forth their hands to the good cheer lying ready before them.
[150] Now after the wooers had put from them the desire of food and
drink, their hearts turned to other things, to song and to dance; for
these things are the crown of a feast. And a herald put the beautiful
lyre in the hands of Phemius, who sang perforce among the wooers; [155]
and he struck the chords in prelude 2
to his sweet lay.
But Telemachus spoke to flashing-eyed Athena, holding his head close,
that the others might not hear: “Dear stranger, wilt thou be wroth with
me for the word that I shall say? These men care for things like these,
the lyre and song, [160] full easily, seeing that without atonement
they devour the livelihood of another, of a man whose white bones, it
may be, rot in the rain as they lie upon the mainland, or the wave
rolls them in the sea.
-Hom. Od. 21.401
A Levite musician who entered into a
holy place would be sacrificed: modern musicians claim that they are
dedicated to the Lord. There are several Biblical examples which prove
that they will be cast alive into the lake of fire.
3.
of a slave in a temple, a. poleōs devoted to this service by the city, E.Ion310.—Cf. anathema.
Any object so sacrificed or devoted
to the Lord
could not be redeemed (Num. 18:14; Lev. 27:28, 29); and hence the idea
of exterminating was connected with the word. The Hebrew verb (haram)
is frequently used of the extermination of idolatrous nations. It had a
wide range of application. The anathema or herem was a person or thing
irrevocably devoted to God (Lev. 27:21, 28); and "none devoted shall be
ransomed. He shall surely be put to death" (27:29). The Hebrew word
therefore carried the idea of devoted to destruction (Num. 21:2, 3;
Josh. 6:17); and hence a majority of scholars have treated the word
anathema similarly, generally as meaning a thing accursed. For example,
in Deut. 7:26 an idol is called a herem = anathema, understood to mean
a thing accursed
Sorry bout that but you will not be able to believe it: Time is short
and that is why the Church of Christ thread tries to silence just
quoting the Bible: music means to silence the voice of the victim.
Hebrews 12:25 See that ye refuse not him that speaketh.
For if they
escaped not who refused him that spake on earth,
much more shall not we
escape, if we turn away from him that speaketh from heaven:
Hebrews 12:26 Whose voice then shook the earth: (the trumpet sound)
but now he hath promised, saying,
Yet once more I shake not the earth only, but also heaven.
Hebrews 12:27 And this word, Yet once more,
signifieth the removing of
those things that are shaken, as of things that are made, t
hat those
things which cannot be shaken may remain.
Hebrews 12:28 Wherefore we receiving a kingdom which cannot be moved,
let us have grace, whereby we may serve God acceptably with reverence
and godly fear:
Hebrews 12:29 For our God is a consuming fire.
Christ in Isaiah 30 says that hell is prepared for God to drive His
enemies into: the MARKS are wind, string and percussion instruments.
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Api-sēmos , Dor. epi-sa_mos , on, ( sēma
II.
. having a mark, inscription or device on it, esp. of money, stamped, coined, khrusos e., opp. asēmos, Hdt.9.41; “ argurion” Th.2.13; “ khrusion” X.Cyr.4.5.40, cf. IG12.301, al.; so anathēmata ouk e. offerings with no inscription on them, Hdt.1.51; aspides e., opp. leiai, IG12.280, cf. Men.526.
Hdt. 1.51
When these offerings were ready, Croesus sent them to Delphi,
with other gifts besides: namely, two very large bowls, one of gold and
one of silver. The golden bowl stood to the right, the silver to the
left of the temple entrance. [2] These too were removed about
the time of the temple's burning, and now the golden bowl, which weighs
eight and a half talents and twelve minae,
[mna= about 15 oz. Troy weight.] is in the treasury of the Clazomenians, and the silver bowl at the
corner of the forecourt of the temple. This bowl holds six hundred
nine-gallon measures: for the Delphians use it for a mixing-bowl at the
feast of the Divine Appearance.
[The Theophania was a festival at Delphi, at which the statues of gods were shown.]
[3]
It is said by the Delphians to be the work of Theodorus of Samos,
and I agree with them, for it seems to me to be of no common
workmanship. Moreover, Croesus sent four silver casks, which stand in
the treasury of the Corinthians, and dedicated two sprinkling-vessels,
one of gold, one of silver. The golden vessel bears the inscription
“Given by the Lacedaemonians,” who claim it as their offering. But they
are wrong, [4] for this, too, is Croesus'
gift. The inscription was made by a certain Delphian, whose name I know
but do not mention, out of his desire to please the Lacedaemonians. The
figure of a boy, through whose hand the water runs, is indeed a
Lacedaemonian gift; but they did not give either of the
sprinkling-vessels. [5] Along with these Croesus sent,
besides many other offerings of no great distinction, certain round
basins of silver, and a female figure five feet high, which the
Delphians assert to be the statue of the woman who was Croesus' baker.
Moreover, he dedicated his own wife's necklaces and girdles.
3.
. notable, remarkable, mnēm' e. a speaking remembrance, S.Ant.1258(anap.); “ xumphorai” E.Or.543; eunē, lekhos, Id.HF68, Or.21; “ tukhē” Id.Med.544; “ kharaktēr” Id.Hec.379; taphos “ episēmotatos” Th.2.43; “ timōria” Lycurg.129; “ topoi” IG12(3).326.42 (Thera, Sup.); of garments, fine, SIG695.39 ( Magn. Mae., ii B.C.); and of persons, e. sophiēn notable for wisdom, Hdt.2.20; “ e. en brotois” E.Hipp.103; “ e. xenoi” Ar.Fr.543: in bad sense, conspicuous, notorious, “ es ton psogon” E.Or.249; desmios e. Ev.Matt.27.16; “ dia dēmokopian” Plu.Fab.14; “ epi tē mokhthēria” Luc.Rh.Pr.25.
4.
. significant, ouk e. Artem.1.59, 3.32.
III.
. Adv. “ -mōs” Plb.6.39.9, Sm.Ps.73(74).4, J.BJ6.1.8: Comp. “ -oteron” Gal.9.762; “ -oterōs” Artem.2.9: Sup. “ -otata” Luc.Hist.Conscr.43.
Sophia , Ion. -iē, h(, prop. A.
cleverness or skill in handicraft and art,
in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8, etc.; in driving, Pl. Thg.123c; in medicine or surgery, Pi.P.3.54; in divination, S.OT 502 “ou sophia alla phusei poiein” Id.Ap.22b
to sophon ou sophia (v. “sophos” 1.3) Ba.395
Soph-izō ,
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