Everett Ferguson refuted by Danny Corbitt
Danny Corbitt attacks Dr. Everett Ferguson as the father of the EXCLUSIONISTS movement. A cappella singing is defined by instrumentalists Christian Churches as EXCLUSIVE or SECTARIAN. The fact is that most people can enjoy congregational singing (not a cappella) and it would never sow discord or split a church. On the other hand, when duped preachers and elders impose instruments with help from the NACC agents, 1/3 up to 1/2 of the owners are forced to leave and are therefore excluded.
Might it be noted that congregatonal singing excludes no one while instruments exludes up to half of the "owners." Jesus would call them Scribes and Pharisees hypocrites pointing to fperformance speakers, singers and instrument players.
Danny Corbitt has done an attack based on the use of false teachers such as Tom Burgess: poor Tom never grasped that all of his proof texts identified older males plucking the harp to seduce a young male.
Danny selectively takes snippets out of scholarly lexicons to prove his point imagining that IF someone said that psallo was THE PLUCKING in connection with a harp that they MEANT that Psallo meant "singing and playing a harp." In some of the examples in real literature psall USED to mean to PLUCK and could meant pluck a harp or pluck a bow or pluck out hairs of an emasculated priests of Cybele.
If Danny Corbitt lived in the early days of The Church of Christ before singing became an ACT around the year 373, he would be rejected for membership and lumped with the effeminate, enchanter, juggler, montebank, charmer or even sodomite.
Contrary to all of the false statements about the church fathers, they ALL understood the differeence between IN CHURCH and OUT OF CHURCH or ATTENDING meals in private homes. The Apostolic Constitutions c. 205 from an earler document from The Church of Christ understood what ALL of the psallo words meant and excluded the pluckers from membership.
If one belonging to the theatre
(1) come, whether it be man or woman, or charioteer, or dueller, or racer, or player of prizes, or Olympic gamester, or one that plays on the pipe, on the lute, or on the harp at those games, or a dancing-master or an huckster,
(2) either let them leave off their employments, or let them be rejected. If a soldier come, let him be taught to "do no injustice, to accuse no man falsely, and to be content with his allotted wages:"
(3) if he submit to those rules, let him be received; but if he refuse them, let him be rejected. He that is guilty of sins not to be named, a sodomite, an effeminate person, a magician, an enchanter, an astrologer, a diviner, an user of magic verses, a juggler, a mountebank, one that makes amulets, a charmer, a soothsayer, a fortune-teller, an observer of palmistry; he that, when he meets you, observes defects in the eyes or feet of the birds or cats, or noises, or symbolical sounds:
let these be proved for some time, for this sort of wickedness is hard to be washed away; and if they leave off those practices, let them be received; but if they will not agree to that, let them be rejected.
LEGALISTS LOOK FOR LOOPHOLES: CORBITT STRIKES OUT
Danny Corbitt Missing More than Music P 32
In connecton with Corbitt's twisting of the Church Fathers, for nowI will only look at what Corbitt mocks as a loophole as if Everett Ferguson has had to twist history to support NOT using musical instruments. In fact ALL of the church fathers define the church as a WORD OF GOD assembly for learning the Bible and contrast that with all of the pagans who used instruments.
Titus Flavius Clemens (c.150 - 215) The Pedagogue Book III
Going to Church.That is Clement giving you permission to sing to the lyre without blame when you participate in a private meal. There is no loopholing because it is easy to see that Church is SCHOOL OF THE BIBLE and even simple simon doesn't expose himself when Jesus comes to be out Teacher.Woman and man are to go to church 150 decently attired, with natural step, embracing silence, possessing unfeigned love, pure in body, pure in heart, fit to pray to God. Let the woman observe this, further. Let her be entirely covered, unless she happen to be at home.
150 [This early use of the word "church" for the place or house of worship, is to be noted. See Elucidation ii.]
For that style of dress is grave, and protects from being gazed at. And she will never fall, who puts before her eyes modesty, and her shawl;
nor will she invite another to fall into sin by uncovering her face. For this is the wish of the Word, since it is becoming for her to pray veiled. 151
151 1 Cor. xi. 5. [This helps to the due rendering of e0cousi/an e0pi\ th=j kefalh=j in 1 Cor. xi. 10.]
They say that the wife of Aenuas, through excess of propriety, did not, even in her terror at the capture of Troy, uncover herself; but, though fleeing from the conflagration, remained veiled.
Outside of Church
Then, Clement has a chapter entitled
HOW TO CONDUCT OURSELVES AT FEASTS
In the present instance He is a guest with us. For the apostle adds again, "Teaching and admonishing one another in all wisdom, in psalms, and hymns, and spiritual songs, singing with grace in your heart to God." And again, "Whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and His Father." This is our thankful revelry.
And even if you wish to sing and play to the harp or lyre, there is no blame. Note 104
Note [104 [Here instrumental music is allowed, though he turns everything into a type.]
On the other hand, there is nothing DEVIOUS about singing and playing the guitar when you are OUT of church.
No one defines instruments as EVIL as no one defines running in place as evil: simple simon knows not to do that IN CHURCH.
Church of Christ people in my area are highly gifted in singing and playing instruments: children cut their teeth on guitar strings.
However, Church of Christ people know that when we CLAIM to come before God we do it in reverence with the sole purpose of filling up with the Word of God. The command is to speak ONE TO ANOTHER not as a legalism but that the goal of early church was that everyone would LEARN that portion of Scripture and take it home with them.
INSTRUMENTALISTS NEED TO GROW UP: IT IS NOT EVIL TO SING AND PLAY AN INSTRUMENT
Because Psallo used by the Greek translators in the Septuagint translate it as SING most of the time, we know that psallo only meant to "sing and play a harp." The word in fact did change undoubtedly because in the Greek world psallo was used almost exclusively in the sense of perverted, pagan musicians where the males were priests of the mother goddess and were emasculated and they even did sex changes.
In Tom Burgess twisting of Kurfees:So says M. C. Kurfees. Here, I have copied directly from Kurfees, page 47--48
2. The Glreek lexicon of Thayer which, by the unanimous testimony of modern scholarship, now occupies the very highest place in the field of New Testament lexicography, although specially devoted to New Testament Glreek, often gives the classical meaning of words. Accordingly, in harmony with the classical lexicons, as we have already seen, he says the word meant to pluck or pull, as the hair; to twang the bowstring; to touch the chords of a musical instrument, and hence to play instrumental music;
but, in citing authorities in confirmation of these meanings, it is a significant fact that he is compelled, with the other lexicographers, to go back to the same periods of the language prior to New Testament times to which they appealed for the same purpose, and he cites some of the same authorities cited by Liddell and Scott;
Corbitt will quote Lucian from Burgess that psallo had not changed its meaning long after the time of Paul. However, Lucian wrote for the upper crust and continued to write in Attic.
Milton Jones missed this and built sowing of discord on a bad foundation.
And Tom Burgess missed it:
Lucian. (A.D. 160) The Parasite, 17
"..for it is impossible to pipe [aulein] without a pipe [auloon] or to strum [psallein] without a lyre [luras], or to ride [ippeuein] without a horse [ippou]..."
This is conceded by Everett Ferguson, A CAPPELLA MUSIC..., p. 3.
"The classical meaning of psallo continued into Hellenistic and post-New Testament times. The satirist Lucian of Samosata in the second century A.D. said 'It is impossible to pipe [aulein] without a pipe or to strum [psallein] without a lyre or to ride without a horse' (Parasite 17). Aristides, the second century orator, could say 'as easy as plucking [pseeleie] a lyre's string' (Orations 26 [14]. 31). The third (?) century treaties De musica by Aristides Quintilianus contains the statement, 'If we wish to play [psallein], stretching the string in accord with the musical intervals which through the prescribed ratios will permit all the meters, some of our sounds will be found to have harmony and some to be discordant" (II.ii).
Liddell and Scott, Preface (pg vi)
It will be understood, however, that the age of a word does not wholly depend on that of its author. For, first, many Greek books have been lost;
secondly, a word of Attic stamp, first occurring in Lucian, Alciphron, or later imitators of Attic Greek, may be considered as virtually older than those found in the vernacular writers of the Alexandrian age.
Further, the language changed differently in different places at the same time; as in the cases of Demosthenes and Aristotle, whom we have been compelled to place in different Epochs.
And even at the same place, as at Athens, there were naturally two parties, one clinging to old usages, the other fond of what was new. The Greek of Thucydides and Lysias may be compared in illustration of this remark.
Attic - The language of Lucian
Attic was the ancient Greek dialect that was the language of ancient Athens. Its closest relative was the Ionic dialect of Euboea. With the ascendance of the Athenian empire in the course of the 5th century BC, Attic became the most prestigious of the Greek dialects and as a result was adopted later as
the standard language by the Macedonian kings. Moreover, it became in Hellenistic times the language of the Macedonian rulers in the Middle East and Egypt.
This later phase of Attic is called Koine, a dialect common to all Greeks.
In literature, Attic is the dialect of Athenian comedy and, interspersed with Doric lyric (from lyre) elements, of tragedy. In the second half of the 5th century BC, it also became the dialect of Greek prose, not only for such Athenian writers as Thucydides, Xenophon, Plato, Lysias, Isocrates, and Demosthenes but also for foreigners such as the orator and Sophist Gorgias of Leontini (Sicily).
During the Roman period, prose writers such as Plutarch and Lucian were Atticists:
they preferred to use the classical Attic dialect of the 5th and 4th centuries BC, rather than the spoken Koine of their own time.
DANNY CORBITT MISSING MORE THAN MUSIC PAGE 51
Corbit thinks that he has made a discovery because Thayer does not say that psalmos USED TO MEAN to play with a harp. No, not in so many words but if you just read the quote you will see that thayer is showing how PSALLO was used at different times and places. A word of warning: psallo never at any time in history meant to SING TO A HARP. Psallo does not even include a HARP. Psallo speaks of touching something with your fingers but never with a plectrum. Psallo always spoke of evil, perverted religionists or warriors. Therefore, people simple did not use it in connection with decent society. Paul did say psallo IN THE HEART which is the only place God seeks our attention (John 4)
Now, if you want to psallo a harp then you have to define the harp: otherwise someone may reach out to the lady in the pew in front of her and HANK out a hank of hair. You must define three words to sing and play a harp:
Is. 23:13 Behold the land of the Chaldeans; this people was not, till the Assyrian founded it for them that dwell in the wilderness: they set up the towers thereof, they raised up the palaces thereof; and he brought it to ruin.When Danny Corbitt was looking at Thayer's list of how Psallo WAS USED (never defined) he thinks that Church of Christ people believe that Thayer defined a cappella. But, a cappella was the castrated harmony singers in the Sistine Chapel where instruments were NOT used. In fact, no Catholic engaged in "congregational singing with instrumental accompaniment" until very late. Cappella was the SHE-goat and is the source of singing sad songs. Cappella is a constellation so in fact the harmony teams were "worshiping the starry hosts."
Is. 23:14 Howl, ye ships of Tarshish: for your strength is laid waste.
Is. 23:15 And it shall come to pass in that day,
that Tyre shall be forgotten seventy years, according to the days of one king:
after the end of seventy years shall Tyre sing as an harlot.
How do you sing as a harlot:
Is. 23:16 Take an [1] harp, go about the city,
thou harlot that hast been forgotten;
make sweet [2] melody,
[3]sing many songs, that thou mayest be remembered.
Is. 23:17 And it shall come to pass after the end of seventy years, that the LORD will visit Tyre,
and she shall turn to her hire, and shall commit fornication with all the kingdoms of the world
upon the face of the earth.
Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [1]melody of thy [1] viols.
But, Corbitt missed reading 101. It says "sing to the music of the harp" then a semicolon which Corbitt ignores.
Arndt and Gingrich define psallo as 'in our lit., in accordance with OT usage, sing (to the accompaniment of a harp), sing praise...sing praise in spiritual ecstasy and in full possession of one's mental faculties." (Bales, p. 114)
When the new edition did not make the changes, Gingrich "thought that the comment makes valuable contributory information and he prefers to leave this expression." (Hugo McCord quoted by Bales, p. 115).
"In other words, Gingrich admitted that the harp no more inheres in psallo than it does in the English word sing. Furthermore, the phrase, which was in parenthesis, was not included in their translation of psallo in James 5:13)
"Gingrich told J. W. Roberts in a conversation in St. Louis that the insertion was his private opinion. McCord announced that the change would be made but it was not." (Bales, p. 115)
THAYERS REAL COPY Semicolon. Remember? Corbit translates "sing to the music of the harp in the N.T.
G5567 Psallo takes note of the SEMICOLON.
1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing to the music of the harp;
d) in the NT to sing a hymn, to celebrate the praises of God in song
Of course, Thayer is not DEFINING Psallo but showing how it is used: all of the singing with the harp are in pagan rituals.
The Bacchus Worship with ECSTASY
PENTHEUS
CORBITT ON PSALMOS [the Noun]Already, look you! the presumption of these Bacchantes is upon us, swift as fire, a sad disgrace in the eyes of all Hellas. No time for hesitation now! away to the Electra gate! order a muster of all my men-at-arms, of those that mount fleet steeds, of all who brandish light bucklers,
of archers too that make the bowstring twang; for I will march against the Bacchanals. By Heaven this passes all, if we are to be thus treated by women.
Pentheus
êdê tod' engus hôste pur huphaptetai
hubrisma bakchôn, psogos es Hellênas megas.
all' ouk oknein dei: steich' ep' Êlektras iôn
pulas: keleue pantas aspidêphorous
hippôn t' apantan tachupodôn epembatas
peltas th' hosoi pallousi kai toxôn cheri
psallousi neuras, hôs epistrateusomen
bakchaisin: ou gar all' huperballei tade,
785
ei pros gunaikôn peisomesth' ha paschomen. Psallous to touch sharply, to pluck, pull, twitch
Neura, A.string or cord of sinew, in Ep. usu. bowstring,Bakchê , A.Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, BakchêHaidoufrantic handmaid of Hades, E.Hec.1077; b. nekuônId.Ph.1489 (lyr.).
mainas , ados, hê, ( [mainomai] )
A.raving, frantic, lussa v. l. in S.Fr.941.4; bakchêE.Ba.915 .
2. as Subst., mad woman, esp. Bacchante, Maenad, mainadiisêIl.22.460 , cf. h.Cer.386, A.Fr.382, S.OT212 (lyr.), etc.; of the Furies, A.Eu.500 (lyr.); of Cassandra, E.Tr. 173 (lyr.).
3. = pornê, Poll.7.203 cod. A, Hdn.Epim.83.
II. Act., causing madness, esp. of love, mainasornisPi.P.4.216 .huperballô E.Ba.785 exceed all bounds, excess
Click for: The Twanging Bowstring is the background to external melody or the Greek PSALLO in Paul's writings.
Click For: Of the song to Deborah:
This was a warrior's song which was a boasting song. Here, the NIV supports the "musical" position without authority:
the voice of the singers [e] at the watering places. They recite the righteous acts of the LORD, the righteous acts of his warriors [f] in Israel. "Then the people of the LORD went down to the city gates. Judges 5:11NIV
- e11 Or 'archers'; the meaning of the Hebrew
- for this word is uncertain. f11 Or 'villagers'
Corbitt still builds a divisive foundation in not being able to find a cappella only in the Bible. That is because a cappella spoke of the Ala Castrated musical worship team the Pope imported from the French opra. Before that, as in the case of the Jews, the singers sang falsetto. Wow! When the Pope heard those castrated fellas singing ORGANUM or after the pipe organ, he decided that he had to have some of those. That is because as late as the 1911 Catholic Encyclopedia it was unlawful to play an organ in the Pope's presence in the only official mass or worship service. They assuredly would not plan an organ and beat on cymbals in the presence of the real Jesus.
Here are some other stolen fruits also deceptive. P56
One of the first things we grasp in defining Psalmos is that you can touch or pluck only a string and only with your fingers and not with a plectrum. Paul commanded internal melody or grace because external melody WITH a harp always identified a perverted male seducing a young man (In Tom Burgess examples).
FIRST: The song as PSAMS were connected with MAKING WAR under David.Psalmos , ho, twitching or twanging with the fingers, psalmoi toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).
Now, the Greek always had a COMPOUND WORD if they intended you to sing AND play at the same time. There would be a different word for each instrument.Psalmoi toxôn does not mean "sing and play a harp" WITH a bow. Psalmoi just means pluck or twang a bow.
Euripides, Ion But I will cease from labor [145] with the laurel branch and I wil hurl from golden vases Gaia's fountain, which Castalia's eddies pour out, casting out the moist drops, [150] since I am chaste. May I never cease to serve Phoebus in this manner; or, if I do, may it be with good fortune. Ah, ah! Already the birds of Parnassus have left their nests, [155] and come here. I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer I will reach you with my bow, herald of Zeus, though you conquer
[160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' [Abaddon, Apollyon] lyre, that sings with you,[165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood.[170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing bow will keep you off. Will you not obey?[175] Go away and bring up your offspring by the eddies of Alpheus, or go to the Isthmian grove, so that the offerings, and the temple of Phoebus, are not harmed. . . . and yet I am ashamed to kill you,[180] for to mortals you bear the messages of the gods; but I will be subject to Phoebus in my appointed tasks, and I will never cease my service to those who nourish me.
Phoebus' lyre, that sings with you,
[165] would not protect you from my bow.
ouden s' ha phorminx ha Phoibou 165
summolpos toxôn rhusait' an.
parage pterugas:
phorm-inx A. lyre, freq. in Hom., esp. as the instrument of Apollo. 2. ph. achordos, metaph. for a bow, Arist.Rh.1413a1.
Psalmoi s' eirxousin toxôn. ou peisêi; chôrôn dinais
Here psalmoi means just SINGING. Melody is aoide meaning "the act of singing."Eirxousin is ERGO meaning hard work or to BAR.
to bar one's way either by shutting in or shutting out: Here the singing is something the BOW does which is not tuneful.
Homer, Iliad 1
So he spoke, and the goddess, white-armed Hera, smiled,[595] and smiling took in her hand the cup from her son. Then he poured wine for all the other gods from left to right, drawing forth sweet nectar from the bowl. And unquenchable laughter arose among the blessed gods, as they saw Hephaestus puffing through the palace.[600] Thus the whole day long till the setting of the sun they feasted, nor did their heart lack anything of the equal feast, nor of the beauteous lyre, that Apollo held, nor yet of the Muses, who sang, replying one to the other with sweet voices. But when the light of the sun was set,[605] they went each to his own house to take their rest, where for each one a palace had been built with cunning skill by the famed Hephaestus, the limping god; and Zeus, the Olympian, lord of the lightning, went to his couch, where of old he took his rest, whenever sweet sleep came upon him.[610] There went he up and slept, and beside him lay Hera of the golden throne.
SINGING WITH A HARP AS ONE WORD NEVER IN THE BIBLEAnti-psallô ,SECOND PSALMOSA.play a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Ar.Av.218 .Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.
Chase off drowsy sleep, dear companion.
[210] Let the sacred hymn gush from thy divine throat in melodious strains; roll forth in soft cadence your refreshing melodies to bewail the fate of Itys, which has been the cause of so many tears to us both.[215] Your pure notes rise through the thick leaves of the yew-tree right up to the throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre responds to your plaintive accents;[220] he gathers the choir of the gods and from their immortal lips pours forth a sacred chant of blessed voices.PsalmOidia singing TO th eharp
Psaltos sung to the harp, sung [Greek Zamir but NOT translated WITH an instrument]
Psalm 119WEB.[52] I remember your ordinances of old, Yahweh, And have comforted myself.[53] Indignation has taken hold on me, Because of the wicked who forsake your law.[54] Your statutes have been my songs, In the house where I liveBarbitOidos singing to the barbiton
HupAuleo to play on the flute in accompaniment, melody (melos never psallo)
HupoKitharizo play an accompaniment on the harp
Lusioidos one who played women's characters in male attire, Auloi flutes that accompany such songs.
In the second major use of musical stringsBut, the definition of PSALLO demands using only the fingers and NOT a plectrum. So this definition is rulled out and the quiver is void.
You will notice that all of these have destructive or even meanings of sorcery as John proves in Rev 18.
And you WILL notice that psalmos does not define PLAYING a musical instrument
The Phrase: [1] pêktidôn [2] psalmois [3] krekon [4] humnonPêktidôn Pêktis
I. an ancient harp used by the Lydians, Hdt., etc.
II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx ), Anth.
3. cage or net for catching birds,
plêk-tron 1.instrument for striking the lyre, plectrum, 2.spear-point,
THIRD: 2. the SOUND of the cithara or harp, ; psalmos d'alalazei
Alal-azô (formed from the cry alalai): -->Lucian. (A.D. 160) The Parasite, 17
"..for it is impossible to pipe [aulein] without a pipe [auloon] or to strum [psallein] without a lyre [luras], or to ride [ippeuein] without a horse [ippou]..."
This is conceded by Everett Ferguson, A CAPPELLA MUSIC..., p. 3.
"The classical meaning of psallo continued into Hellenistic and post-New Testament times. The satirist Lucian of Samosata in the second century A.D. said 'It is impossible to pipe [aulein] without a pipe or to strum [psallein] without a lyre or to ride without a horse' (Parasite 17). Aristides, the second century orator, could say 'as easy as plucking [pseeleie] a lyre's string' (Orations 26 [14]. 31). The third (?) century treaties De musica by Aristides Quintilianus contains the statement, 'If we wish to play [psallein], stretching the string in accord with the musical intervals which through the prescribed ratios will permit all the meters, some of our sounds will be found to have harmony and some to be discordant" (II.ii).
Liddell and Scott, Preface (pg vi)
It will be understood, however, that the age of a word does not wholly depend on that of its author. For, first, many Greek books have been lost;
secondly, a word of Attic stamp, first occurring in Lucian, Alciphron, or later imitators of Attic Greek, may be considered as virtually older than those found in the vernacular writers of the Alexandrian age.
Further, the language changed differently in different places at the same time; as in the cases of Demosthenes and Aristotle, whom we have been compelled to place in different Epochs.
And even at the same place, as at Athens, there were naturally two parties, one clinging to old usages, the other fond of what was new. The Greek of Thucydides and Lysias may be compared in illustration of this remark.
Attic - The language of Lucian
Attic was the ancient Greek dialect that was the language of ancient Athens. Its closest relative was the Ionic dialect of Euboea. With the ascendance of the Athenian empire in the course of the 5th century BC, Attic became the most prestigious of the Greek dialects and as a result was adopted later as
the standard language by the Macedonian kings. Moreover, it became in Hellenistic times the language of the Macedonian rulers in the Middle East and Egypt.
This later phase of Attic is called Koine, a dialect common to all Greeks.
In literature, Attic is the dialect of Athenian comedy and, interspersed with Doric lyric (from lyre) elements, of tragedy. In the second half of the 5th century BC, it also became the dialect of Greek prose, not only for such Athenian writers as Thucydides, Xenophon, Plato, Lysias, Isocrates, and Demosthenes but also for foreigners such as the orator and Sophist Gorgias of Leontini (Sicily).
During the Roman period, prose writers such as Plutarch and Lucian were Atticists:
they preferred to use the classical Attic dialect of the 5th and 4th centuries BC, rather than the spoken Koine of their own time.
DANNY CORBITT MISSING MORE THAN MUSIC PAGE 51
Corbit thinks that he has made a discovery because Thayer does not say that psalmos USED TO MEAN to play with a harp. No, not in so many words but if you just read the quote you will see that thayer is showing how PSALLO was used at different times and places. A word of warning: psallo never at any time in history meant to SING TO A HARP. Psallo does not even include a HARP. Psallo speaks of touching something with your fingers but never with a plectrum. Psallo always spoke of evil, perverted religionists or warriors. Therefore, people simple did not use it in connection with decent society. Paul did say psallo IN THE HEART which is the only place God seeks our attention (John 4)
Now, if you want to psallo a harp then you have to define the harp: otherwise someone may reach out to the lady in the pew in front of her and HANK out a hank of hair. You must define three words to sing and play a harp:
Is. 23:13 Behold the land of the Chaldeans; this people was not, till the Assyrian founded it for them that dwell in the wilderness: they set up the towers thereof, they raised up the palaces thereof; and he brought it to ruin.When Danny Corbitt was looking at Thayer's list of how Psallo WAS USED (never defined) he thinks that Church of Christ people believe that Thayer defined a cappella. But, a cappella was the castrated harmony singers in the Sistine Chapel where instruments were NOT used. In fact, no Catholic engaged in "congregational singing with instrumental accompaniment" until very late. Cappella was the SHE-goat and is the source of singing sad songs. Cappella is a constellation so in fact the harmony teams were "worshiping the starry hosts."
Is. 23:14 Howl, ye ships of Tarshish: for your strength is laid waste.
Is. 23:15 And it shall come to pass in that day,
that Tyre shall be forgotten seventy years, according to the days of one king:
after the end of seventy years shall Tyre sing as an harlot.
How do you sing as a harlot:
Is. 23:16 Take an [1] harp, go about the city,
thou harlot that hast been forgotten;
make sweet [2] melody,
[3]sing many songs, that thou mayest be remembered.
Is. 23:17 And it shall come to pass after the end of seventy years, that the LORD will visit Tyre,
and she shall turn to her hire, and shall commit fornication with all the kingdoms of the world
upon the face of the earth.
Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [1]melody of thy [1] viols.
But, Corbitt missed reading 101. It says "sing to the music of the harp" then a semicolon which Corbitt ignores.
Arndt and Gingrich define psallo as 'in our lit., in accordance with OT usage, sing (to the accompaniment of a harp), sing praise...sing praise in spiritual ecstasy and in full possession of one's mental faculties." (Bales, p. 114)
When the new edition did not make the changes, Gingrich "thought that the comment makes valuable contributory information and he prefers to leave this expression." (Hugo McCord quoted by Bales, p. 115).
"In other words, Gingrich admitted that the harp no more inheres in psallo than it does in the English word sing. Furthermore, the phrase, which was in parenthesis, was not included in their translation of psallo in James 5:13)
"Gingrich told J. W. Roberts in a conversation in St. Louis that the insertion was his private opinion. McCord announced that the change would be made but it was not." (Bales, p. 115)
THAYERS REAL COPY Semicolon. Remember? Corbit translates "sing to the music of the harp in the N.T.
G5567 Psallo takes note of the SEMICOLON.
1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing to the music of the harp;
d) in the NT to sing a hymn, to celebrate the praises of God in song
Of course, Thayer is not DEFINING Psallo but showing how it is used: all of the singing with the harp are in pagan rituals.
PENTHEUS
CORBITT ON PSALMOS [the Noun]Already, look you! the presumption of these Bacchantes is upon us, swift as fire, a sad disgrace in the eyes of all Hellas. No time for hesitation now! away to the Electra gate! order a muster of all my men-at-arms, of those that mount fleet steeds, of all who brandish light bucklers,
of archers too that make the bowstring twang; for I will march against the Bacchanals. By Heaven this passes all, if we are to be thus treated by women.
Pentheus
êdê tod' engus hôste pur huphaptetai
hubrisma bakchôn, psogos es Hellênas megas.
all' ouk oknein dei: steich' ep' Êlektras iôn
pulas: keleue pantas aspidêphorous
hippôn t' apantan tachupodôn epembatas
peltas th' hosoi pallousi kai toxôn cheri
psallousi neuras, hôs epistrateusomen
bakchaisin: ou gar all' huperballei tade,
785
ei pros gunaikôn peisomesth' ha paschomen. Psallous to touch sharply, to pluck, pull, twitch
Neura, A.string or cord of sinew, in Ep. usu. bowstring,Bakchê , A.Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, BakchêHaidoufrantic handmaid of Hades, E.Hec.1077; b. nekuônId.Ph.1489 (lyr.).
mainas , ados, hê, ( [mainomai] )
A.raving, frantic, lussa v. l. in S.Fr.941.4; bakchêE.Ba.915 .
2. as Subst., mad woman, esp. Bacchante, Maenad, mainadiisêIl.22.460 , cf. h.Cer.386, A.Fr.382, S.OT212 (lyr.), etc.; of the Furies, A.Eu.500 (lyr.); of Cassandra, E.Tr. 173 (lyr.).
3. = pornê, Poll.7.203 cod. A, Hdn.Epim.83.
II. Act., causing madness, esp. of love, mainasornisPi.P.4.216 .huperballô E.Ba.785 exceed all bounds, excess
Click for: The Twanging Bowstring is the background to external melody or the Greek PSALLO in Paul's writings.
Click For: Of the song to Deborah:
This was a warrior's song which was a boasting song. Here, the NIV supports the "musical" position without authority:
the voice of the singers [e] at the watering places. They recite the righteous acts of the LORD, the righteous acts of his warriors [f] in Israel. "Then the people of the LORD went down to the city gates. Judges 5:11NIV
- e11 Or 'archers'; the meaning of the Hebrew
- for this word is uncertain. f11 Or 'villagers'
Corbitt still builds a divisive foundation in not being able to find a cappella only in the Bible. That is because a cappella spoke of the Ala Castrated musical worship team the Pope imported from the French opra. Before that, as in the case of the Jews, the singers sang falsetto. Wow! When the Pope heard those castrated fellas singing ORGANUM or after the pipe organ, he decided that he had to have some of those. That is because as late as the 1911 Catholic Encyclopedia it was unlawful to play an organ in the Pope's presence in the only official mass or worship service. They assuredly would not plan an organ and beat on cymbals in the presence of the real Jesus.
Here are some other stolen fruits also deceptive. P56
One of the first things we grasp in defining Psalmos is that you can touch or pluck only a string and only with your fingers and not with a plectrum. Paul commanded internal melody or grace because external melody WITH a harp always identified a perverted male seducing a young man (In Tom Burgess examples).
FIRST:Psalmos , ho, twitching or twanging with the fingers, psalmoi toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).
Now, the Greek always had a COMPOUND WORD if they intended you to sing AND play at the same time. There would be a different word for each instrument.Psalmoi toxôn does not mean "sing and play a harp" WITH a bow. Psalmoi just means pluck or twang a bow.
Euripides, Ion But I will cease from labor [145] with the laurel branch and I wil hurl from golden vases Gaia's fountain, which Castalia's eddies pour out, casting out the moist drops, [150] since I am chaste. May I never cease to serve Phoebus in this manner; or, if I do, may it be with good fortune. Ah, ah! Already the birds of Parnassus have left their nests, [155] and come here. I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer I will reach you with my bow, herald of Zeus, though you conquer
[160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' [Abaddon, Apollyon] lyre, that sings with you,[165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood.[170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing bow will keep you off. Will you not obey?[175] Go away and bring up your offspring by the eddies of Alpheus, or go to the Isthmian grove, so that the offerings, and the temple of Phoebus, are not harmed. . . . and yet I am ashamed to kill you,[180] for to mortals you bear the messages of the gods; but I will be subject to Phoebus in my appointed tasks, and I will never cease my service to those who nourish me.
Phoebus' lyre, that sings with you,
[165] would not protect you from my bow.
ouden s' ha phorminx ha Phoibou 165
summolpos toxôn rhusait' an.
parage pterugas:
phorm-inx A. lyre, freq. in Hom., esp. as the instrument of Apollo. 2. ph. achordos, metaph. for a bow, Arist.Rh.1413a1.
Psalmoi s' eirxousin toxôn. ou peisêi; chôrôn dinais
Here psalmoi means just SINGING. Melody is aoide meaning "the act of singing."Eirxousin is ERGO meaning hard work or to BAR.
to bar one's way either by shutting in or shutting out: Here the singing is something the BOW does which is not tuneful.
Homer, Iliad 1
So he spoke, and the goddess, white-armed Hera, smiled,[595] and smiling took in her hand the cup from her son. Then he poured wine for all the other gods from left to right, drawing forth sweet nectar from the bowl. And unquenchable laughter arose among the blessed gods, as they saw Hephaestus puffing through the palace.[600] Thus the whole day long till the setting of the sun they feasted, nor did their heart lack anything of the equal feast, nor of the beauteous lyre, that Apollo held, nor yet of the Muses, who sang, replying one to the other with sweet voices. But when the light of the sun was set,[605] they went each to his own house to take their rest, where for each one a palace had been built with cunning skill by the famed Hephaestus, the limping god; and Zeus, the Olympian, lord of the lightning, went to his couch, where of old he took his rest, whenever sweet sleep came upon him.[610] There went he up and slept, and beside him lay Hera of the golden throne.
SPECIFIC COMPOUND WORDS ALWAYS USED WHEN SINGING TO A INSTRUMENT.Anti-psallô ,A.play a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Ar.Av.218 .Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.
Chase off drowsy sleep, dear companion.
[210] Let the sacred hymn gush from thy divine throat in melodious strains; roll forth in soft cadence your refreshing melodies to bewail the fate of Itys, which has been the cause of so many tears to us both.[215] Your pure notes rise through the thick leaves of the yew-tree right up to the throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre responds to your plaintive accents;[220] he gathers the choir of the gods and from their immortal lips pours forth a sacred chant of blessed voices.PsalmOidia singing TO a harp.
PsaltOideo sing to the harp 2 Chron 5:[13] it happened, when the trumpeters and singers were as one, to make one sound to be heard
Psaltos sung to the harp, sung OF Translated sing in Psalm 119:54
KitharOidesis singing to the cithra
NONE OF THESE ARE USED IN THE NEW TESTAMENT: simple! Church is a School of the Bible
SECOND PSALMOS
In the second major use of musical stringsBut, the definition of PSALLO demands using only the fingers and NOT a plectrum. So this definition is rulled out and the quiver is void.
You will notice that all of these have destructive or even meanings of sorcery as John proves in Rev 18.Pêktidôn Pêktis
And you WILL notice that psalmos does not define PLAYING a musical instrument
The Phrase: [1] pêktidôn [2] psalmois [3] krekon [4] humnon
I. an ancient harp used by the Lydians, Hdt., etc.
II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx ), Anth.
3. cage or net for catching birds,
plêk-tron 1.instrument for striking the lyre, plectrum, 2.spear-point,
THIRD: 2. the sound of the cithara or harp, ; psalmos d'alalazei
Alal-azô (formed from the cry alalai): --raise the war-cry shout the shout of victory, nikên alalazein2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; ôloluxan hai gunaikes, êlalaxan de hoi andres Hld.3.5 .
II. rarely also of other sounds than the voice, sound loudly, psalmos d' alalazei A.Fr.57 ; kumbalon alalazon 1 Ep.Cor.13.1 .--Poet. word, used by X. and in late Prose.
1 Cor 13:1 THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.
EVEN if Paul could speak with the tongues of angels as some Corinthians believed as uncovered women prophesiers and known as the MAD WOMEN OF CORINTH, the worst example of such a TONGUE SPEAK without LOVE would be like a PSALMUS word.
FOURTH: 3. later,1 Cor 13:1 THOUGH I speak with the tongues of men and of angels, and have not charity,
I am become as sounding brass, or a tinkling cymbal.To show that this is what Thayer intended with the SEMICOLON I again quote:a. song sung to the harp, [Psalmus does not INCLUDE the harp unless NAMED]
b. psalm, LXX 2 Ki.23.1, XXIII. Now these are the last words of David. David the son of Jesse says, The man who was raised on high says, The anointed of the God of Jacob, The sweet psalmist of Israel: [2] The Spirit of Yahweh spoke by me, His word was on my tongue
c Eph 5:19,
d. biblos psalmon
psal-mizô ,
A.sing psalms, and
psal-mistês , ou, ho, psalmist, Gloss.
THE LATIN WORD Psalmus , i, m., = psalmos, i. q. psalma,G5567 Psallo takes note of the SEMICOLON.
1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing to the music of the harp;
d) in the NT to sing a hymn, to celebrate the praises of God in song
I. a psalm (eccl. Lat.; cf.: carmen, hymnus), Vulg. Isa. 38, 20.--Esp., the Psalms of David
The burdens or carmen:
Carmen declaim, praise; cf.: camilla, censeo], a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation
1. In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental (mostly poet.; in prose, instead of it, cantus; Also the sound of waves,4. A response of an oracle, a prophecy, prediction
5. A magic formula, an incantation used by Circe (church)CHURCH: Circus , i, m., = kirkos [kindr. with krikos; Dor. kirkos, and korônê; cf.: kulindeô, kullos, cirrus, curvus]. In or around the Circus many jugglers and soothsayers, etc., stationed themselves;
6. On account of the very ancient practice of composing forms of religion and law in Saturnian verse, also a formula in religion or law, a form:
The only definition of LEGALISM is the NOMOS used to teach the laws of Apollo using the muses--dirty adulterers.
IS THIS SOMETHING YOU WANT TO DO IN CHURCH:
A. psalmoi toxôn E.Ion173 (lyr.);
I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer [160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' lyre, that sings with you, [165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing bow will keep you off.
Toxon Bow implicatesgalliambus , i, m. [3. Gallus, II. A.] ,I.a song of the priests of Cybele,
Paul warned about the women who might induce WRATH which is ORGY and Paul hoped that their castrating knife slipped. Homosexual or Emasculated men are said never to fall into singing and playing unless they were perverted, drunk or just having fun.
B. toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).
Toxeuo A.shoot with the bow,t inosat a mark
2. metaph., Erôs e toxeus'auton E.Tr.255 ; hê turannis pantothen toxeuetaiis aimed at,[255] The dart of love has pierced his heart, love for the frenzied maid. .
Erôs mostly sexual passion, goddess of love, Aphrodites,
Hecuba What! Phoebus' virgin-priestess, to whom the god with golden locks granted the gift of maidenhood?2. Metaphor Shoot out or send forth a hymn
Talthybius[255] The dart of love has pierced his heart, love for the frenzied maid.
Pindar, Isthmian 2.[1] The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite on her lovely throne. [6] For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore. But as things are now, she bids us heed [10] the saying of the Argive man, which comes closest to actual truth: [11] “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time
Humnos A. hymn, ode, in praise of gods or heroes.
If you want to combine singing and playing the word is:The HYMNS commanded for the believer consists os the HALLEL PSALMS and does NOT include singing them for entertainment and excludes that which is NOT "that which is written" (Rom 15)
Paul wants you to keep the melody IN THE HEART and keep the dogs out as the only way to let the dogs in (Phil 3) with the outbreak of Cnyic singing and the danger of someone shoothing love arrows rather than SHOOTING FORTH HYMNS.Psalma , ătis, n., = psalma,I.a song sung to the accompaniment of stringed instruments,
The word psallo DOES NOT include either playing or singing.
There are many words Paul and the Spirit WOULD have used ifthey wanted you to play a secific instrument to accompany singing.
There are NONE of these complex words in the Bible and the MARKS as we have noted above of the singing and playing is of Apollo, Abaddon or Apollyon and the Muses who were always dirty, smelly adulteresses. Menstrual blood wat the magic and that is why God outlaws having it wafted about.
The Babylon mother of harlots in Revelation 17 uses "lusted after fruits" (same as in Amos) as rhetoricials, singers and instrument players John in Revelation 18 called sorceresses.
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