Isaiah 50 

Isa 50:6 I gave my back to the smiters, and my cheeks to them that plucked off the hair:
        I hid not my face from shame and spitting.

This defines the musical mocking also prophesied in Psalm 41.
Isaiah 55 clearly defines both inclusively and exclusively of His Words which provide spirit and life.  Peter uses many of the same concepts to dare anyone to teach beyond the written memory of the Apostles who were eye and ear witnesses. This is a quick study for today. If that awas not enough authority He defines the true Rest for the future church to exclude personal pleasure or even speaking your own words.  "Teach that which has been taught" should be warning enough.

Isaiah 58 has Christ urging a restoration and, as in the church in the wilderness, and Paul for the assembly forbidding seeking our own pleasure or even speaking our own words.
See how the harps in Revelation are never PLAYED: all of the sounds-like "up in the air" really point to a sign of judgment. Therefore, the second angel warns that we who are still living must preach the gosepl. The next angel who sounds judgment promises that the Babylon Mother of harlots (Revelation 17) who uses the lusted after fruits (Rev 18) who are the same ones in Amos as speakers, singers and instrument players: John calls them sorcerers and shows that this is where Christ removes the LAMPS or His seven "spirits."

When Israel rose up in musical idolatry at Mount Sinai, God turned them (specificially of Levi) over to worship the starry host. When the elders demanded a king like the nations God understood that they wanted to worship like the nations. The kings therefore were chosen to carry out the captivity and death sentence.

Ephraim Syrus On Our Lord.

6. But Israel crucified our Lord, on the plea that verily He was seducing us from the One God. But they themselves used constantly to wander away from the One God through their many idols. While then they imagine they crucify Him Who seduces them from the One God, they are found to be led away by Him from all idols to the One God;

to the end that because they did not voluntarily learn of Him that He is God, they might by compulsion learn of Him that He is God; when the good which had accrued to them through Him should accuse them concerning the evil which their hands had done.

Thus even though the tongue of the oppressors denied, yet the help with which they were helped convicted them.

For grace loaded them beyond their power, so that they should be ashamed, while laden with Thy blessings, to deny Thy person.

And also Thou didst have mercy on those, whose lives had been made food for dead idols. For the one calf which they made in the desert, [Exod. xxxii. 4.] pastured on their lives as on grass in the desert.

For that idolatry which they had stolen and brought out in their hearts from Egypt, when it was made manifest, slew openly those in whom it was dwelling secretly.

For it was like fire concealed in wood, which when it is gendered from within it, burns it. For Moses ground to powder the calf and caused them to drink it in the water of ordeal; [Exod. xxxii. 20.] that by drinking of the calf all those who were living for its worship might die.

The root of Psallo means to triturate or GRIND INTO A FINE POWDER.

19. But when Moses came down, he saw their heathenism revelling in the wide plain with drums and cymbals.

Speedily, he put their madness to shame by means of the Levites and drawn swords.
So likewise here, our Lord
concealed His knowledge for a little when the sinful woman approached Him, that the Pharisee might form into shape his thought, as his fathers had shaped the pernicious calf.
Christ in the prophets repudiates and clearly defines the nature of the idolatry which was like that of Egypt, Canaan, Babylon, Assyria or Greece.

The Qahal, synagogue or church in the wilderness was to quarantine the godly people on the Sabbath when the Levites were free to profane (musical madnes) the Sabbath. This Holy Convocation specificially outlawed vocal or instrumental rejoicing which would be a MARK in sight and sound of people attacking Jesus Christ. This defines the alarm or triumph over which Judas would try against Jesus.

In prophecy, Christ defines the continuing attack of Satan when He came to free us by dismantling the Law as practiced by the Monarchy and most modern churches.
In Psalm 41 and especially the preserved copy at the Dead Sea defines in agonizing details how Satan would attack.

The War Rules specificially shows how to perform the ALARM along with the HOLOCAUST.
DSS: "The priests shall blow the trumpets of massacre, and
the Levites and all the blowers of the ram's horn
.........shall sound a battle alarm,
.........and the foot soldiers shall stretch out their hands against the host...
and at the sound of the alarm
.........they shall begin to bring down the slain.
All the people shall cease their clamor,
.........but the priests shall continue blow the trumpets of massacre."  - War Scroll
Isa 50:1 Thus saith the LORD, Where is the bill of your mother's divorcement, whom I have put away?
        or which of my creditors is it to whom I have sold you?
        Behold, for your iniquities have ye sold yourselves,
        and for your transgressions is your mother put away.

Isa 50:2 Wherefore,
        when I came, was there no man?
        when I called, was there none to answer?

        Is my hand shortened at all, that it cannot redeem? or have I no power to deliver?
        behold, at my rebuke I dry up the sea,
        I make the rivers a wilderness:
        their fish stinketh, because there is no water, and dieth for thirst.
See how the Trumpet sounds rebuke below.
Fish in the sense of squirming, vibrating action of the tail
Stinketh is an abomination, morally offensive, loathsome, making a stink
Water figuratively juice; by euphemism urine, semen
H4057 midbβr mid-bawr' From H1696 in the sense of driving; a pasture (that is, open field, whither cattle are driven); by implication a desert; also speech (including its organs):—desert, south, speech, wilderness.

H1696 dβbar daw-bar' A primitive root; perhaps properly to arrange; but used figuratively (of words) to speak; rarely (in a destructive sense) to subdue:—answer, appoint, bid, command, commune, declare, destroy, give, name, promise, pronounce, rehearse, say, speak, be spokesman, subdue, talk, teach, tell, think, use [entreaties], utter, X well, X work.

Is. 5:13 Therefore my people are gone into captivity,
        because they have no knowledge:
        and their honourable men are famished,
        and their multitude dried up with thirst.

Amos 8:11 Behold, the days come, saith the Lord GOD,
        that I will send a famine in the land, not a famine of bread,
        nor a thirst for water, but of hearing the words of the LORD:  [Dabar]
Amos 8:12 And they shall wander from sea to sea,
        and from the north even to the east,
        they shall run to and fro to seek the word of the LORD,
        and shall not find it.

Wander Nua gto waver, stumble, stagger, vagabond
No adyah means convend of Jah
Noadjah and the false prophetess Noadiah.
Amos 8:13 In that day shall the fair virgins and young men faint for thirst.
Amos 8:14 They that swear by the sin of Samaria,
        and say, Thy god, O Dan, liveth;
        and, The manner of Beer-sheba liveth;
        even they shall fall, and never rise up again.
Matt. 5:6 Blessed are they which do hunger and thirst after righteousness:
        for they shall be filled
Isa 50:3 I clothe the heavens with blackness,
        and I make sackcloth their covering.
H3682 kesϋth kes-ooth' From H3680 ; a cover (garment); figuratively a veiling:—covering, raiment, vesture.
Isa 50:4 The Lord GOD hath given me the tongue of the learned, 
        that I should know how to speak a word in season to him that is weary:
        he wakeneth morning by morning,
        he wakeneth mine ear to hear as the learned.

Isa 50:5 The Lord GOD hath opened mine ear,
        and I was not rebellious, neither turned away back.

Isa 50:6 I gave my back to the smiters, 
        and my cheeks to them that plucked off the hair:
        I hid not my face from shame and spitting.

Isaiah 50.6 [6] corpus meum dedi percutientibus et genas meas vellentibus faciem meam non averti ab increpantibus et conspuentibus

I. (With the notion of the per predominating.) To strike through and through, to thrust or pierce through (syn.: percello, transfigo).
II. (With the idea of the verb predominating.) To strike, beat, hit, smite, shoot, etc. (cf.: ico, pulso, ferio). CLAP
2. To strike, shock, make an impression upon, affect deeply, move, astound (class.): “percussisti me de oratione prolatā,
3. To cheat, deceive, impose upon one .

-Pulso.  Of military engines: “ariete muros,” Verg. A. 12, 706: “ariete turres,” Sil. 16, 696: “moenia Romae,” id. 6, 643: “cuspide portas,” id. 12, 565: “pulsabant turrim ariete,” Amm. 20, 11, 21: “moenia Leptitana,” id. 28, 6, 15.—Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62.—Of things: “pulsant arva ligones,” Ov. Am. 3, 10, 31; id. M. 11, 529: “nervo pulsante sagittae,” Verg. G. 4, 313
        Always Violent: A. In gen., to urge or drive on, to impel, to set in violent motion,
        to move
, agitate, disturb, disquiet

-Pello, Always Violent: 1. To drive out or away, to thrust or turn out, expel, banish; esp. milit., to drive back, discomfit, rout the enemy (freq. and class.; syn.: fugo, elimino, deicio)
         4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck,
 Cic. Brut. 54, 199
: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown

In Particular b. To strike, play a musical instrument (poet.): “lyram,” Ov. Am. 3, 12, 40; Val. Fl. 5, 100

-Ov. Am. 3.12 Elegy XII: He complains that the praises he has bestowed on his mistress in his verses, have occasioned him many rivals.

Ill-omen'd birds, how luckless was the day,
When o'er my love you did your wings display!
What wayward orb, what inauspicious star
Did then rule heav'n ? what gods against me war?
She who so much my fatal passion wrongs,
       Was known and first made famous by my songs.

I lov'd her first, and lov'd her then alone,
But now, I fear, I share her with the town.
Am I deceiv'd or can she be the same,
Who only to my verses owes her fame
My verse a price upon her beauty laid,
      And by my praises she her market made;

Whom but myself can I with reason blame?
Without me she had never had a name.
Did I do this, who knew her soul so well?
Dearly to me she did her favours sell;
And when the wares were to the public known,
       Why should I think she'd sell to me alone ?

'Twas I proclaim'd to all the town her charms,
And tempted cullies to her venal arms;
I made their way, I show'd them where to come,
And there is hardly now a rake in Rome

But knows her rates, and thanks my babbling muse:
Her house is now as common as the stews;
For this I'm to the muse oblig'd, and more
For all the mischiefs envy has in store.
This comes of gallantry, while some employ
Their talents on the fate of Thebes and Troy,
While others Caesar's godlike acts rehearse,
Corinna is the subject of my verse.

Oh, that I ne'er had known the art to please,
But written without genius and success.
Why did the town so readily believe
My verse, and why to songs such credit give ?
Sure poetry s the same it ever was,
And poets ne'er for oracles did pass.
Why is such stress upon my writings laid?
Why such regard to what by me is said ?
I wish the tales I've of Corinna told,
Had been receiv'd as fables were of old;
Of furious Scylla's horrid shape we read,
And how she scalp'd her hoary father's lead:
Of her fair face, and downward how she takes
The wolf's fierce form, the dog's, or curling snake's;
Serpents for hair, in ancient song we meet,
And man and horse with wings instead of feet.
Huge Tityon from the skies the poets flung,
Encelladus's wars with Jove they sung;
How by her spells, and by her voice, to beasts,
The doubtful virgin chang'd her wretched guests;
How Eolus did for Ulysses keep
The winds in bottles while he plough'd the deep:
How Cerberus, three headed, guarded hell;
And from his car the son of Phoebus fell:
How thirsty Tantalus attempts to sip
The stream in vain, that flies his greedy lip:
How Niobe in marble drops a tear,
And a bright nymph was turn'd into a bear:
How Progne, now a swallow, does bemoan
Her sister nightingale, and pheasant son.
In Leda, Danae, and Europa's rapes,
They sing the king of gods in various shapes;
A swan he lies on ravish'd Leda's breast,
And Danae by a golden show'r compress'd;
A bull does o'er the waves Europa bear,
And Proteus any form he pleases wear.
How oft do we the Theban wonders read,
Of serpent's teeth transform'd to human seed!

Of dancing woods, and moving rocks, that throng
To hear sweet Orpheus, and Amphion's song ?
How oft do the Heliades bemoan,
In tears of gum, the fall of Phaeton!
The sun from Atreus' table frightened flies,
And backward drives his chariot in the skies.
Those now are nymphs that lately were a fleet;
Poetic license ever was so great.

But none did credit to these fictions give,
Or for true history such tales receive,
And though Corinna in my songs is fair,
Let none conclude she's like her picture there.
The fable she with hasty faith receiv'd,
And what, so very well she lik'd, believ'd.
But since so ill she does the poet use,
'Tis time her vanity to disabuse.

V. Fl. 5.63
visa viris atra nox protinus abstulit14 umbra.
95ille dolens altum repetit chaos. omina15 Mopsus
dum stupet, in prima tumulum procul aspicit acta,
obnubensque caput cineri dat vina vocato.
carmina quin etiam visos placantia manes
Odrysius dux16 rite movet mixtoque sonantem
100percutit ore17 lyram nomenque relinquit harenis.
B. Trop.
1. To smite, strike, visit with calamity of any kind (class.): “percussus calamitate,” Cic. Mur. 24, 49: “percussus fortunae vulnere,” id. Ac. 1, 3, 11: “ruina,” Vulg. Zach. 14, 18: anathemate. id. Mal. 4, 6: “plaga,” id. 1 Macc. 1, 32: “in stuporem,” id. Zach. 12, 4

2. To strike, shock, make an impression upon, affect deeply, move, astound (class.): “percussisti me de oratione prolatā,” Cic. Att. 3, 12, 3; id. Mil. 29, 79:

Pello 4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown, Tib. 1, 1, 4
In partic. 1. To drive out or away, to banish, expel  Phoebeā morbos arte

Phoebus , i, m., = Phoibos (the radiant),
I. a poetical appellation of Apollo as the god of light: “quae mihi Phoebus Apollo Praedixit,” Verg. A. 3, 251; Hor. C. S. 62; Prop. 1, 2, 27Poet. for the sun: “dum rediens fugat astra Phoebus,” Hor. C. 3, 21, 24: “Phoebi pallidus orbis,” Ov. R. Am. 256; id. M. 2, 110: “tristior iccirco nox est, quam tempora Phoebi,”
C. Phoebas , ădis, f., a priestess of Apollo; hence the inspired one, the prophetess, Ov. Am. 2, 8, 12; id. Tr. 2, 400; Luc. 5, 128; 165.

Ăpollo , ĭnis (earlier Ăpello Apollōn, Apollo, son of Jupiter and Latona, twinbrother of Diana, and god of the sun. On account of his omniscience, god of divination; on account of his lightnings (belē), god of archery (hence represented with quiver and dart), and of the pestilence caused by heat; but, since his priests were the first physicians, also god of the healing art; and since he communicated oracles in verse, god of poetry and music, presiding over the Muses
“longi sermonis initium pepulisti,  [pello]” you have struck the chord of a long discussion, Cic. Brut. 87, 297

THE PLUCKERS including Psallo

-Vello  A. Of animals, to pluck or pull, i. e. to deprive of the hair, feathers, et
II. Trop., to tear, torment A. Lit., shorn, plucked, smooth, beardless, hairless:

A. Lit., shorn, plucked, smooth, beardless, hairless: “istum gallum Glabriorem reddes mihi quam volsus ludiust,” Plaut. Aul. 2, 9, 6

-lūdĭus , ĭi, m. ludus.
I. A stageplayer, pantomimist: “fite caussā meā ludii barbari,” Plaut. Curc. 1, 2, 63: “ipse ille maxime ludius, non solum spectator, sed actor et acroama,” Cic. Sest. 54, 116; id. Har. Resp. 11; Plaut. Aul. 2, 9, 6: “ludius aequatam ter pede pulsat humum,” Ov. A. A. 1, 112: “triviales ex Circo ludios interponebat,” Suet. Aug. 74; cf. ludio.—

-Pl. Cur. 1.2.63 PHΖD.
sings . Bolts, O ye bolts, with pleasure do I salute you. I love you, I court you, I seek you, and you entreat; most kindly lend your aid to me in love; become, for my sake, as though play-actors  from foreign climes; leap upwards pray, and send out of doors this fair one, who drains my blood for me distractedly in love. Addressing PALINURUS. Look at that, how those most accursed bolts sleep on, and none the quicker for my sake do they bestir themselves. Addressing the door. I see quite clearly that you don't value my esteem at all. Hist! hush, hush!

Play-actors: The Lydians, or rather their descendants, the Etrurians, were the earliest actors at Rome; hence the term used here, "barbari," "foreigners." The metaphor is borrowed from the fact that dancing, leaping, and gestures, were the especial features of their performances.

-barbărus2. Phrygian: “tibia,” Cat. 64, 264; cf. Lucr. 4, 546 Forbig.: “sonante mixtum tibiis carmen lyrae, Hac Dorium, illis barbarum,” Hor. Epod. 9, 6; Verg. A. 11, 777; Ov. M. 14, 163
II. A. In mind, uncultivated, ignorant; rude, unpolished: “qui aliis inhumanus ac barbarus, isti uni commodus ac disertus videretur,”
Of character, wild, savage, cruel, barbarous: “neque tam barbari linguā et
Rudely, roughly, barbarously, cruelly: “dulcia barbare Laedentem oscula,”

-Pl. Aul. 2.9

speaking to some within . Dromo, do you scale the fish. Do you, Machζrio, have the conger and the lamprey boned. I'm going to ask the loan of a baking-pan of our neighbour Congrio. You, if you are wise, will have that capon more smoothly picked for me than is a plucked play-actor1. But what's this clamour that's arising here hard by? By my faith, the cooks, I do believe, are at their usual pranks2. I'll run in-doors, lest there may be any disturbance here for me as well. Retreats into the house of MEGADORUS.

1 A plucked play-actor: The actors, having to perform the parts of women and beardless youths, were obliged to remove superfluous hair from the face, which was effected "vellendo," "by plucking it out," whence the term "volsus."

-Gallus   A. Galli , ōrum, m., the priests of Cybele, so called because of their raving, Ov. F. 4, 361 sq.; Plin. 5, 32, 42, § 146; 11, 49, 109, § 261; 35, 12, 46, § 165; Paul. ex Fest. p. 95 Mόll.; Hor. S. 1, 2, 121.—In sing.: Gallus , i, m., a priest of Cybele, Mart. 3, 81; 11, 74; cf. Quint. 7, 9, 2: “resupinati cessantia tympana Galli,” Juv. 8, 176.—And satirically (on account of their emasculated condition), in the fem.: Gallae , ārum, Cat. 63, 12, and 34.—

2. (Acc. to II. A., of or belonging to the priests of Cybele; hence, transf.) Of or belonging to the priests of Isis, Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18.

2. Trop., effeminate: “mens,” 

-Mens the mind, disposition; the heart, soul

E. Personified: Mens , the goddess of thought, whose festival was held on the eighth of June, Cic. Leg. 2, 8, 19: “Menti aedem T. Octacilius praetor vovit,” Liv. 22, 10

Cicero check here.


increpantibus Always Violent: I. “increpatus,” Just. 11, 4, 5; Prud. 7, 195; Liv. 24, 17, 7 Cod.), 1, v. n. and a., to make a noise, sound, resound, to rush, rustle, patter, rattle, whiz (class.).

B. Act., to utter aloud, produce, give forth (poet.): “saevas increpat aura minas,” Prop. 1, 17, 6: tuba terribilem sonitum. Verg. A. 9, 504

Verg. A. 9, 504 

But now the brazen trumpet's fearsome song
blares loud, and startled shouts of soldiery
spread through the roaring sky. The Volscian band
press to the siege, and, locking shield with shield,
fill the great trenches, tear the palisades,
or seek approach by ladders up the walls,
where'er the line of the defenders thins, and light
through their black circle shines. 

Isa 50:7 For the Lord GOD will help me;  [Adonay Jehovah]
        therefore shall I not be confounded:
        therefore have I set my face like a flint,
        and I know that I shall not be ashamed.
H3637 kβlam kaw-lawm' A primitive root; properly to wound; but only figuratively, to taunt or insult:—be (make) ashamed, blush, be confounded, be put to confusion, hurt, reproach, (do, put to) shame.

H2496 challβmı̂ysh khal-law-meesh' Probably from H2492 (in the sense of hardness); flint:—flint (-y), rock.

bϋsh boosh A primitive root; properly to pale, that is, by implication to be ashamed; also (by implication) to be disappointed, or delayed:—(be, make, bring to, cause, put to, with, a-) shame (-d), be (put to) confounded (-fusion), become dry, delay, be long.

Confundo 2. Esp., with the idea of confounding, disarranging, to confound, confuse, jumble together, bring into disorder
b. Trop., of intellectual confusion, to disturb, disconcert, confound, perplex
Isa 50:8 He is near that justifieth me; who will contend with me? let us stand together: who is mine adversary? let him come near to me.

Isa 50:9 Behold, the Lord GOD will help me; who is he that shall condemn me? lo, they all shall wax old as a garment; the moth shall eat them up.

Isa 50:10 Who is among you that feareth the LORD,
        that obeyeth the voice of his servant,
        that walketh in darkness, and hath no light?
        let him trust in the name of the LORD, and stay upon his God.

Isa 50:11 Behold, all ye that kindle a fire,
        that compass yourselves about with sparks: walk in the light of your fire,
        and in the sparks that ye have kindled.
        This shall ye have of mine hand; ye shall lie down in sorrow.

Aphrahat 4th century who introduced singing as an ACT

19. Now thus is faith; when a man believes in God the Lord of all, Who made the heavens and the earth and the seas and all that is in them; and He made Adam in His image; and He gave the Law to Moses; He sent of His Spirit upon the prophets; He sent moreover His Christ into the world.

Furthermore that a man should believe in the resurrection of the dead; and should furthermore also believe in the sacrament of baptism.

This is the faith of the Church of God. And (it is necessary) that a man should separate himself from the observance of hours and Sabbaths and moons and seasons, and divinations and sorceries and Chaldaean arts and magic, from fornication and from festive music, from vain doctrines, which are instruments of the Evil One, from the blandishment of honeyed words, from blasphemy and from adultery.

And that a man should not bear false witness, and that a man should not speak with double tongue. These then are the works of the faith which is based on the true Stone which is Christ, on Whom the whole building is reared up.

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