dēlecto , āvi, ātum, 1,
Danny Corbitt and Matt Dabbs Psallo7.01.13 Gender Inclusive and Egalitarian Churches of Christ: Gender-focused churches are not related to the Apostolic teaching nor to the historic Church of Christ. To say that Scripture from Genesis to Revelation and the danger of Mother Goddess worship has always and has now NEUTERED many churches of Christ so that their performance preaching and music calls forth a lot of ridicule. They have to say that all of the Scriptures lie and simply did not understand OUR CULTURE. At the same time they twist the Scriptures to say that what Paul outlawed did not prevent what THEY want to impose. This normally happens after a senior preacher has usurped all authority, intimidated the elders, fired the vocational ministers and HIRED female ministers. Christ in Isaiah 3 defined this time perfectly where the women and BOYS or the effeminate (or worse) rule over you. Men have already violated the direct command to PREACH the Word by READING the Word for Comfort and Doctrine.
1Timothy 2:12 But I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence.
Si_gaō , means silent and not just VOCAL while being ORDERLY. Men have NO AUTHORITY to transmit to women to TEACH in the self-referenced or authentia authority form.keep silence, used by Hom. only in imper. siga, hush! be still! I 2. metaph. of things, “sigōn d' olethros kai mega phōnount' . . amathunei” A.Eu.935 (anap.); “surigges ou sigōsin” Id.Supp.181; “
The Prophetic Type for the BURDEN or ALARM the enemies of Messiah would bring
Psalms 25:2 O my God, I trust in thee: let me not be ashamed, let not mine enemies triumph over me.
Psalms 41:11 By this I know that thou favourest me, because mine enemy doth not triumph over me.
gaudebit carmine (with delectari iambis),”
carmen a tune, song, air, lay, strain, note, sound, both vocal and instrumental “carmine vocali clarus citharāque
Apollinem) concordant carmina nervis, “citharae liquidum carmen,” “lyrae carmen,” “canere miserabile carmen
CantusThe Mark of Apollo (Abaddon, Apolllyon) at Mount Sinai
I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing, music (while carmen is prop. the contents or substance of the song,
B. An incantation, charm, magic song, etc.: cantusque artesque magorum. Ov. M. 7, 195;
dēlecto , āvi, ātum, 1,I.v. intens. a. [delicio].Mousa A.“Olumpiades M., Dios aigiokhoio thugateres
II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308 (anap.); “euphamos” Id.Supp.695 (lyr.); “kanakhan . . theias antiluron mousas” “Aiakō moisan pherein” [Burden]
2. Esp. of sounds.
The command SILENCES: phōn-eō , (phōnē) Anaxarch.1: abs., cry aloud, as in joy, S.Tr.202; of a singer, “aoidos . . aiola phōneōn” Theoc.16.44:—Pass., ta phōnēthenta sounds or words uttered, Pl.Sph. 262c, Ti.72a, cf. Longin.39.4.
4. of a musical instrument, sound, E.Or.146 (lyr.); of sounds, hēdu phōnein sound sweetly, Plu.2.1021b; but brontē ph. it has a voice, is significant, X.Ap.12.
The command SILENCES: surigx , iggos, hē, A.shepherd's pipe, Panspipe, “aulōn suriggōn t' enopē” Il.10.13; “nomēes terpomenoi surigxi” 18.526; “suriggōn enopē” h.Merc.512; “hupo ligurōn suriggōn hiesan audēn” Hes.Sc.278; “ou molpan suriggos ekhōn” S.Ph.213 (lyr.); kalaminē s. Ar.Fr.719; “kat' agrous tois nomeusi surigx an tis eiē” Pl.R.399d.Both Eve and Miriam are the examples FROM THE LAW
Theophilus of Autolycus II. XXVIII4.09.13 See PSALLO as the MARK of everything that is destructive and divisive. It is never used by itself to ever say anything about Instrumental Music.
And Adam having been cast out of Paradise, in this condition knew Eve his wife, whom God had formed into a wife for him out of his rib. And this He did, not as if He were unable to make his wife separately, but God foreknew that man would call upon a number of gods. And having this prescience, and knowing that through the serpent error would introduce a number of gods which had no existence,... This Eve, on account of her having been in the beginning deceived by the serpent, and become the author of sin, the wicked demon, who also is called Satan, who then spoke to her through the serpent, and who works even to this day in those men that are possessed by him, invokes as Eve.58 And he is called "demon" and "dragon," on account of his [apodedrake/nai] revolting from God. For at first he was an angel. And concerning his history there is a great deal to be said; wherefore I at present omit the relation of it, for I have also given an account of him in another place.
58 Referring to the bacchanalian orgies in which " Eva " was shouted, and which the Fathers professed to believe was an unintentional invocation of Eve, the authoress of all sin.
The word "abomination" is also key to understanding the context. In Hebrew, the word "to 'evah," (abomination) is almost invariably linked to idolatry. In the passages from which both verses are taken, God tells Moses to tell the people not to follow the idolatrous practices of the people around them, people who sacrificed their children to Molech, or who masturbated into the fire to offer their semen to Molech, for example. Chapter 20 starts off with the same warning.
"To 'evah" also means "something which is ritually unclean,"
See Matt Dabbs, Kingdom Living for "Ripening Issues in the Church of Christ -- Instrumental Music.
Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma
Danny Corbitt Justin Martyr Instrumental Music
Lynn Anderson The Beginning of Musical Idolatry
John T. Willis 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality. People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.
They are mortally ignorant that Moses was commanded how to subdivide the tribes down to groups of families as small as ten. The leaders were to READ and REHEARSE the written word or as delivered from Moses.
Hab 2:18 What profiteth the graven image that the maker thereof hath graven it; the molten image,
and a teacher of lies,
that the maker of his work trusteth therein, to make dumb idols?
Hab 2: 19 Woe unto him that saith to the wood,Hab 2: 20 But the LORD is in his holy temple let all the earth keep silence before him
Awake; to the dumb stone, Arise, it shall teach!
Behold, it is laid over with gold and silver,
and there is no breath at all in the midst of it.
The command is to SPEAK the ODES
-lexis , eōs, h(, (legō B) A. speech, OPPOSITE. ōdē, Pl.Lg.816d; l. ē praxis speech or action, Id.R.396c; ho tropos tēs l. ib.400d; ta lexei dēloumena orders given by word of mouth,
-ōdē , hē, contr. for aoidē,
“en tais ōdais kai melesin” R.399c, cf. 398c; OPPOSITE. lexis,
Paul said: Speak "that which is written for our learning" or the Word of Christ.
But, as Antithesis: Ode and Psallo in the heart or SILENTLY.
Paul said: 1Corinthians 14:6 Now, brethren, if I come unto you speaking with tongues,
what shall I profit you, except I shall speak to you either by revelation, or by knowledge,
or by prophesying, or by doctrine?
But, as Antithesis:1Corinthians 14:28 But if there be no interpreter,
let him keep silence in the church; and let him speak to himself, and to God.
Men and Women are to be SILENT
1Timothy 2:2 For kings, and for all that are in authority;
that we may lead a quiet and peaceable life in all godliness and honesty.
1Timothy 2:11 Let the woman learn in silence with all subjection.
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;
Women who teach has the same meaning as Men who teach or preach. The pattern was established for the Church of Christ (the Rock) in the wilderness and was exampled by Jesus and commanded by Paul and practiced by the historic Church of Christ.
Acts 15:21 For Moses of old time hath
in every city them that PREACH him,
being READ in the synagogues every sabbath [rest] day.
Neather male nor female have ANYTHING to teach: The elders are to teach that WHICH HAS BEEN TAUGHT.
Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]Plat. Rep. 3.396a and in other ways sinning against themselves and others in word and deed after the fashion of such men. And I take it they must not form the habit of likening themselves to madmen either in words nor yet in deeds. For while knowledge they must have both of mad and bad men and women, they must do and imitate nothing of this kind.” “Most true,” he said. “What of this?” I said, “—are they to imitate smiths and other craftsmen or the rowers of triremes and those who call the time to them or other things
Muthos 2. fiction (OPPOSITE. logos, historic truth) embroidered lies Poikilos 2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōn” Id.N.4.14; “dedaidalmenoi pseudesi poikilois muthoi” Id.O.1.29; of style, “lexis poiētikōtera kai p.” Isoc.15.47 (Comp.); “skhēmatismoi” D.H.Is.3.
Plat. Rep. 3.396b “How could they,” he said, “since it will be forbidden them even to pay any attention to such things?” “Well, then, neighing horses and lowing bulls, and the noise of rivers and the roar of the sea and the thunder and everything of that kind—will they imitate these?”
“Nay, they have been forbidden,” he said, “to be mad or liken themselves to madmen.”
“If, then, I understand your meaning,” said I, “there is a form of diction and narrative in which
For this rejection of violent realism Cf. Laws 669 C-D. Plato describes exactly what Verhaeren's admirers approve: “often in his rhythm can be heard the beat of hammers, the hard, edged, regular whizzing of wheels, the whirring of looms, the hissing of locomotives; often the wild, restless tumult of the streets, the humming and rumbling of dense masses of people.”Because they CHOOSE to be ignorant they thought that silence gave them permission to rise up against God and PLAY. That was vocal and instrumental rejoicing.
mimēteon. See on mimeisthai 395 D. hippous -- brontas. The reference is probably to stage machinery and musical effects etc. in dramatic poetry generally, as well as in the later and degenerate form of the dithyramb (see on 394 C). Cf. (with Nettleship Lect. and Rem. II p. 105) Laws 669 C ff. and Ar. Plut. 290 ff. The bronteion and keraunoskopeion for producing thunder and lightning were familiar enough (Müller Gr. Bühnenalt. p. 157 note 2). It is clear, as Nettleship remarks, that “Plato felt strongly that Greek literature and music were declining” in his days: see Laws 659 A ff., 700 A ff., 797 A ff
For that offense, the Levites jumped at the right to execute 3,000 of their brethren. God slapped them with The book of The law and sentenced to to captivity and death BEYOND BABYLON.
The Spirit OF Christ ordained the Qahal, synagogue, Ekklesia or Church of Christ (the Rock) in the wilderness. This was for reading only an excluded vocal or instrumental rejoicing or what we jokingly call preaching.
See the Synagogue which they YOUTH ministers were deliberately kept ignorant of.
John Calvin as the roots of the Churches of Christ also defined the Synagogue
John Calvin called for a Restoration of the Church of Christ
Matt gave proof texts and I answered and he said I did not answer: here is one
According to the Britannica and other sources, "Melody as tunefulness belongs to the 19th century." Then the melody is sung while the other 3 groups sing 3 different sets of words to 3 different tunes at 3 different times. Certainly seems like a Strong Delusion when the command is to SPEAK: you only sing to a GODDESS and never to a patriarchal god.
You object that psallo never means to make melody, yet it is so translated in Eph 5:19 & Col 3:16. In Psalm 27:6; 57:7; 108:1 & 147:7, the LXX has psallo for zamar. In each of these, the ESV translates zamar as <make melody, while the KJV translates it as sing praise or as give praise. Also in Psalm 98:5-6, the Psalmist uses zamar (psallo in the LXX) to say “sing praises to the Lord with the lyre, with the lyre and the sound of melody” (ESV) – KJV here has “the voice of a psalm” at the end of the verse. The next verse brings in trumpets and horns to “make a joyful noise before the King, the Lord!”
Psallo means to PLUCK but not really play unless you are PLUCKING a stringed instrument (only) with your fingers (only). How can that be transmorgafied into BLOWING a flute or PICKING a guitar. Furthermore, church is A School of Christ and you don't NEED a command to sit down and shut up when Jesus speaks when the elders PREACH the word (only) by READING the Word for Comfort and Doctrine.
Words never MEAN anything in the resources: they show how a word is used in context. All STRIKING an instrument words warn about VIOLENCE and judgment.
H2167 zâmar zaw-mar' A primitive root (perhaps identical
with H2168 through the idea of striking with the fingers);
properly to touch the strings or parts of a musical instrument,
that is, play upon it; to make music,
accompanied by the voice; hence to celebrate in song and music:—
give praise, sing forth praises, psalms.
H2168 zâmar zaw-mar' A primitive root (compare H2167 , H5568 , H6785 ); to trim (a vine):—prune.
This defines HOW the word is used in the literature: it never means touch the STRINGS (only) with your FINGERS (only) unless the text defines WHAT is to be struck.The Zamar words are derived from "Pruning your vines" and there is nothing spiritual when the warriors "praised" god threatening to robe the enemy, rape the enemy and the rapture the enemy. From Egypt onward this "making self vile" was to prove your superiority by sodomizing your enemy. The old Dionysus cult in Jerusalem PIPED hoping that Jews was their expected "messiah" and if so he would BOW to Baal and submit to unnatural lust and lament (sing) and dance while the musicians hid the pains.
Therefore, the writer translates it as SING. You must ALWAYS name an instrument if you want to go beyond the word being translated as SING only.
Psalms 98:5  Sing  unto the LORD with the  harp; with the harp, and he  voice of a psalm.
Psalms 98:6 With trumpets and sound of cornet make a joyful noise before the LORD, the King.
Psalms 98:7 Let the sea roar, and the fulness thereof; the world, and they that dwell therein.
Psalms 98:8 Let the floods clap their hands: let the hills be joyful together
Melody has never in recorded history meant harmony. God made certain that there is nothing metrical when "melody" might consist of one note: do-do-do-do. With David it might be do-do-re-do. Harmony in Greek means two voices sounding together as in unison. A few psalms (only) had to be radically recomposed and set to a simple melody to be sung in unison (only) by permission of John Calvin.
Psallo has never and can never mean "melody" in a musical sense. Melos or meter means to dismember to cut something like the Word of God into little gobbets such as SOP.
You will notice that singing psalms is quite often a prelude to coming judgment:
Psalms 98:5  Sing [psallite] unto the LORD with the  harp; with the harp, and the voice of a  psalm.
Psalms 98:6 With  trumpets and sound  of cornet make a joyful  noise
before the LORD, the King.
Psalms 98:7 Let the sea roar, and the fulness thereof; the world, and they that dwell therein.
Psalms 98:8 Let the floods clap their hands: let the hills be joyful together
Psalms 98:9 Before the LORD; for he cometh to judge the earth:
with righteousness shall he judge the world, and the people with equity.
None of these instruments nor the Levites who played them for the NOT-commanded sacrificial system could ever be in any holy place. The Levites prophesying with harps means soothsaying with harps and the command from God was that they execute any godly person who came near or inside any "holy" place. The Levites were under the King and Commanders of the Army: they made war and not worship.
This certainly has nothing to do with the ekklesia or Synagogue or Church of Christ which excluded vocal or instrumental rejoicing including any loud speaking. You will notice that psallo does NOT mean to play a harp and sing: you need three words or complex words which the Spirit of Christ would have known if He intended to command something He clearly outlawed for the School of the Word of Christ in the Prophets and Apostles with Christ being the source of both.
The Levites made SOUNDS
Melody in Ephesians 5 is Grace in Colossians 3: both are qualities of speech: Paul commanded SPEAK and you cannot SPEAK and SING externally at the same time: that is why Paul said IN YOUR HEART and TO GOD who only looks at our spirit (John 4)
Matt Dabbs: Your objection does not appear to hold up in the light of the actual use of the word psallo, so I still fail to see what your objective and point is.
We have shown that if you want to STRIKE A lyre psallo means STRIKE-ONLY and lyre tells what to strike. Again: this did mean MUSIC and therefore the Psallo word ABSOLUTELY PROHIBITES anything but a string of a bow or harp or hair.
I might also add that in three of these passages in the Psalms (27:6; 57:7; 108:1), the LXX has “sing and make melody” using ado and psallo, the exact words Paul uses in Eph. 5:19 & Col 3:16 where he instructs us to “sing and make melody.” Do you suspect he may have drawn his language from the Psalms, since he does appear to use the LXX frequently in quoting the Old Testament?
I said that Psallo is never translated as "melody" in the Greek literature. Melody in a MUSICAL sense is the Greek Melos. Melody did not exist in a "metrical" or tuneful sense Paul uses "melody" in Ephesians 5 and 'Grace" in Colossians 3:16: both of these are qualities of SPEAKING and the command IS to SPEAK the Word.
No, Paul was teaching the Antithesis of the SKIA or shadow which means a totally erroneous system: A Covenant with Death. Amos defines the marzeah which was a feast with and for deadancestors. Look at the BUTs in Ephesians 5. SPEAK by definition is the OPPOSITE of poetry or music.
the LXX has “sing and make melody” using ado and psallo,
Keeping it short for the first passage: the word is neither praise or melody.
The text says "the sacrifice of joy; I will sing, even sing psalms to the Lord. LXX" Only as a footnote: "Or, and play on a psaltery." However both psaltery and psalm are derived from the same meaning and there is nothing in the text to indicate "psallo as play and psallo as psaltery."
Psalms 27:6 And now shall mine head be lifted up above mine enemies round about me:
therefore will I offer in his tabernacle sacrifices of joy;
I will sing, yea, I will sing praises unto the LORD.
David was not a Levite and he would be executed if he went into the literal tabernacle from which he was exiled. The only exception is going into a holy place and was excused only because he was starving: This exception proves the rule that if a neo- Levite or "praise singer" went into the Holy Place as a type of the church he was to be EXECUTED.
Zamar can be used in text to mean pluck or play but NOT unless the instrument is named. The Translators did not see in instrumentn in this passage.
Psalm 26.6 vulgate in petra exaltavit me et nunc exaltavit caput meum super inimicos meos circuivi et immolavi in tabernaculo eius hostiam vociferationis cantabo et psalmum dicam Domino
vōcĭfĕrātĭo , ōnis, f. vociferor,I. a loud calling, clamor, outcry, vociferation, Cic. Verr. 2, 5, 60, § 156; id. Clu. 10, 30; id. Rosc. Am. 5, 12; Auct. Her. 3, 12, 22; Petr. 14; Quint. 2, 10, 8; Suet. Claud. 36 al.
Isaiah 42:2 He shall not cry, nor lift up, nor cause his voice to be heard in the street.
Canto , Less freq. of instrumental music, and only with abl. of the instrument (cf. cano):
Of an actor: “cantante eo (Nerone) “tibiis,” Nep. Epam. 2, 1; id. ib. praef. § 1; Vulg. Luc. 7, 32: “lituo, tubă,” Gell. 20, 2, 2: “calamo,” Sen. Ben. 4, 6, 5: ad manum histrioni, in comedy, to sing and play while the actor accompanies the song with gestures or dancing, Liv. 7, 2, 10; cf. Val. Max. 2, 4, 4.—Pass. impers.: “in caelo cantatur et psallitur,”
When Jesus and the Apostles 'HYMNED' just one time at the end of the Passover-feast of unleavened bread they SPOKE the hymn. Nothing in the commanded text is metrical and no one sang in a tuneful sense.
dīco dicio, to say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor, verba facio, dicto, dictito, oro, inquam, aio, fabulor, concionor, pronuntio, praedico, recito, declamo, affirmo, assevero, contendo; also, nomino, voco, alloquor, designo, nuncupo; also, decerno, jubeo, statuo
The NIV translates it sing and Make Music which is a bit casual since any one who went into the Tabernacle to sing with or without instruments was to be executed. No Levite could come NEAR any holy thing or place. Further, there was never any music associated with the Tabernacle.
Here is what we do when Jesus gives us REST from the laded burden (songs) and burden laders.
5115. navah, naw-vaw´; a primitive root; to rest (as at home); causatively (through the implied idea of beauty (compare 5116)), to celebrate (with praises):—keept at home, prepare an habitation.
5116. naveh, naw-veh´; or (feminine) navah, naw-vaw´; from 5115; (adjectively) at home; hence (by implication of satisfaction) lovely; also (noun) a home, of God (temple), men (residence), flocks (pasture), or wild animals (den):—comely, dwelling (place), fold, habitation, pleasant place, sheepcote, stable, tarried
5117 is the REST Word which never meant worship. In the KJV two important melody passages are
David NEVER sang and played the harp in or close to any holy place.
7.04.11 Do you suppose that it's true: Paul warned about reading BLACK text on BROWN paper if you have not turned to the lord: looks perfectly obvious to me.
The Progressive Church of Christ is built on the Civil-Military-Clergy Complex when God turned Israel over to worship the starry host. I know of no preacher of any ilk who does not believe that God commanded the Sacrificial System because he wanted or need to be fed, clothed, housed and sexually stimulated. For instance John Mark Hicks .
Others claim you to be insane if you deny that God was mistaken, changed His Mind and decided to come up with a new PATTERN for worship. It is not possible to read the whole story line and fail to grasp what all of the historic church fathers taught:
Coffman's Commentary Speaks for the total Bible view that Israel's rejection of God as King, Judge and Priest set the stage for their later repudiation of Jesus Christ in order to keep the evil Temple-System like all other nations. Remember that the clergy was still seeking a king "like the nations" and had not a hint of looking for a Spiritual King, Prince and Mediator:
The great Cambridge scholar, Henry McKeating, has the following comment on this passage from Hosea:
"Hosea is not only antagonistic to the northern kings but to the monarchy as such. The monarchy is powerless to save the nation. Israel was wrong to ask for a king. Her punishment was that she got what she asked." 7: Henry McKeating, Amos, Hosea, and Micah (Cambridge: University Press, 1971), p. 148.
Coffman: "We are aware that it is popular among many able commentators today to make apologies for Israel's monarchy and to apply what the Scriptures plainly say about it to some specific monarch, Saul, for example, as did Dummelow, or to the kings of Northern Israel as did Hailey;but it is the conviction of this writer that
Israel was totally and completely wrong in asking a king and that this rejection of God (that is what the text calls it) contained embryonically all of the later sorrows of the Chosen People.
Throughout the whole history of Israel, there were very few monarchs who even tried to serve the Lord. Solomon was to be blamed for the division of the kingdom under his son, because the people simply rejected the excesses of Solomon; and yet, even after God took the monarchy away from them, the nation wanted nothing in heaven or on earth as much as they wanted the restoration of that scandalous Solomonic empire.
It was this, more than anything else, that motivated their rejection of God Himself,
finally and irrevocably,
in their rejection of God's Son, Jesus Christ the Holy One.
Go down the list of Israel's kings, David, the very best of all of them, was an adulterer and a murderer; and he also corrupted the worship of God by two sinful things:
(1) his initiating the events that led to the building of the temple (the den of thieves and robbers in Jesus' times); and
(2) his introduction of instruments of music into the worship of God. We do not have the space here to outline all of the misdeeds of Israel's shameful monarchy,
but it is clear enough that God's disapproval of the monarchy was no late thing, applicable only to the phantom kings of Ephraim's final years, but it rested upon the monarchy from the very beginning of it as outlined in this chapter.
If God had ever approved of it, He would never have taken it away from them!
Nevertheless, God accommodated to the sinful conduct of His people and in many specific instances blessed the kings of Israel,
THIS IS THE DIRECT COMMAND
2Timothy 4:2 Preach the word; be instant in season,
out of season; reprove, rebuke,
exhort with all longsuffering and doctrine.
Logos, verbal noun of lego2Timothy 4:3 For the time will come when they will not endure sound doctrine;
Opposite kata pathos
Opposite music, poetry or rhetoric
Opposite human reasoning
Opposite Epagoge bringint in to one's aid, introduction
Alurement, enticement, incantation, spell
Opposite Pathos A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”
but after their own lusts shall they heap to themselves teachers,
having itching ears; [eager for combat, pleasure, to be wanton]
Sound is opposite to peri-sta^sis crowds standing round the house,HERE IS PROOF THAT YOU WILL NOT ENDURE SOUND DOCTRINE:
3. outward pomp and circumstance, hē tou biou p. Plb.3.98.2, cf. 31.26.3 ; truphē kai p. Antig.Car. ap. Ath.12.547f; huparkhōn en megalē p “paison, truphēson, zēson: apothanein se dei
tru^phaō A. live softly, luxuriously, fare sumptuously
Paison, truphêson, zêson
Paison paizô 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2; “meta tinos” LXX Ge.26.8; of mares, Arist.HA572a30.
ZOE is Lucifer or Eve the daughter of the Sun. She also is called the "beast, the mother of gods and men and the FEMALE instructing principle.
zaō I. to live, Hom., etc.; elegkhiste [cowardly] zōontōn vilest of living men, Od.; zōein kai horan phaos ēelioio Il.; rheia zōontes living at ease, of the gods,
hēlios 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,2. part. truphōn as Adj., effeminate, luxurious,
2. Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c, cf. D.S.2.30,
“hoi truphōntes” spoiled pets, Id.Men.76b; en tais ekklēsiais [church] t. kai kolakeuesthai,
See 2 Peter 2 proof of instrumental music as the corruption.
Epithum-êtês , oi, ho,
2 Peter 2:13 And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you;
Musicians and actors are always called parasites.
Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves.
A. one who longs for or desires, ergôn Hdt.7.6 ; [dogmatôn] sophias, Pl.R.475b, etc.; phusei polemou e. 1 Ep.Cor.10.6
2. . abs., lover, follower, X.Mem.1.2.60.
b. . one who lusts, LXX Nu.11.34.
1Corinthians 10:6 Now these things were our examples, [pattern]SOPHIA A.cleverness or skill in handicraft and art, Hephaestus , in music and singing, in poetry
to the intent we should not lust after evil things, as they also lusted.
1Corinthians 10:7 Neither be ye idolaters, as were some of them;
as it is written, The people sat down to eat and drink, and rose up to play.
Acts 7:41 And they made a calf in those days,
and offered sacrifice unto the idol,
and rejoiced in the works of their own hands.
Euphrainō , Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3
Pind. I. 6 Just as we mix the second bowl of wine when the men's symposium is flourishing, here is the second song of the Muses for Lampon's children and their athletic victories: first in Nemea, Zeus, in your honor they received the choicest of garlands,
Sophistês , 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 (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with mo
2. sophist (in bad sense), quibbler, cheat, goeta one who howls out enchantments, a sorcerer, enchanter. Goes
A. sorcerer, wizard, Phoronis 2, Hdt.2.33 ,4.105 , Pl.R. 380d , Phld.Ir.p.29 W.; g. epôidos Ludias apo chthonos E.Ba.234 , cf. Hipp.1038 ; prob. f.l. for boêisi Hdt.7.191 .ENCHANTMENTS
Epôid-os , on, epaidô b. Subst., enchanter, e. kai goês E.Hipp. 1038 (but goês e. Ba.234 ): c. gen., a charm for or against, 2. Pass., sung to music, phônai Plu.2.622d ; fit for singing, poiêtikên e. parechein M.6.16 . 1. epôidos , hê , Sch.metr. Pi.O.4 ( ho , Gal.UP17.3, dub. in D.H.Comp.19), epode, part of a lyric ode sung after the strophe and antistrophe, ib.26, Gal. l.c., Sch.metr. Pi.l.c., etc. 2. epôidos , ho , verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, burden, refrain, Ph. 1.312 : metaph., ho koinos hapasês adoleschias e. the 'old story',
2Timothy 4:4 And they shall turn away their ears from the truth,
and shall be turned unto fables.
FABLES TO FOOL: Fābŭla , ae, f. fari,2Timothy 4:5 But watch thou in all things, endure afflictions,
Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo
FABLES TO FOOL: Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: “fit etiam saepe vocum gravitate et cantibus ut pellantur animi, etc.,
2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae, “lyrae,” Plin. 34, 8, 19, § 72: “tibicine
FABLES TO FOOL: Scaenĭcus (scen- ), a, um, adj., = skēnikos, I. of or belonging to the stage, scenic, dramatic, theatrical (class.).
stage-plays, theatrical representations, “fabula,” a drama, Amm. 28, 1, 4: “organa,” Suet. Ner. 44: “coronae,” id. ib. 53: “habitus,” id. ib. 38: “gestus,” Cic. de Or. 3, 59, 220: “modulatio,” Quint. 11, 3, 57:
1. scaē-nĭcus , i, m., a player, actor, Cic. Off. 1, 31, 114: “orator plurimum aberit a scaenico 2. scaenĭca , ae, f., a female player, an actress,
THE MOST POWERFUL WEAPON TO FOOL:Orgănum , i, n., = organon,Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,” Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.— B. Transf.: organum oris, the tongue of a man, Prud. steph
do the work of an evangelist, make full proof of thy ministry.
Humn-eō , Ep. humneiō Hes.Op.2; Ep.3pl. II. Tell over and over again, harp upon, repeat, recite,; humnousi ; ton nomon humnein recite the form of the law, Id.Lg.871a:
The pagan Hymn derives from the Hymen: it was sung at "marrying and giving in marriage." That is why Paul commanded the word SPEAK and defined the hymns of the Book of Psalms.Besides, Jesus didn't "sang" a hymn in the modern church sense.
John T. Willis 22. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality. People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.
Church is Ekklesia or Synagogue: both for instruction only: both exclusive of any performing arts: you don't do music when God's Word is taught. I submit that you cannot be a Christian if you do not understand the meaning of "teach them what I have commanded to be taught."
SEE THE MOCKED NADAB AND ABIHU STORY.
The terminal sin was for a Levite to go into the Holy Place to burn incense. The Holy Place was a type of the body or Church of Christ: anyone who enters into this fulfilment would be worthy of death. The day of Atonement was imposed along with the scapegoat: this was to appease Azazel or Satan who taught the youth how to take away the Word of God using choirs and instruments.
Danny Corbitt says: