Far away or right nearby? by Gary Rose

Are there emotions that stem from other, more deep seated emotions? Also, I wonder what emotion would be at the very center of the chart?  Additionally, could this chart be divided up in an alternative way?

Three questions, and at least one possible answer for all three. First though, read the Psalm below...

Psalm 139 (WEB)

¹ Yahweh, you have searched me, 
and you know me. 
  ² You know my sitting down and my rising up. 
You perceive my thoughts from afar. 

  ³ You search out my path and my lying down, 
and are acquainted with all my ways. 

  ⁴ For there is not a word on my tongue, 
but, behold, Yahweh, you know it altogether. 

  ⁵ You hem me in behind and before. 
You laid your hand on me. 

  ⁶ This knowledge is beyond me. 
It’s lofty. 
I can’t attain it. 

  ⁷ Where could I go from your Spirit? 
Or where could I flee from your presence? 

  ⁸ If I ascend up into heaven, you are there. 
If I make my bed in Sheol, behold, you are there! 

  ⁹ If I take the wings of the dawn, 
and settle in the uttermost parts of the sea, 

  ¹⁰ even there your hand will lead me, 
and your right hand will hold me. 

  ¹¹ If I say, “Surely the darkness will overwhelm me. 
The light around me will be night,” 

  ¹² even the darkness doesn’t hide from you, 
but the night shines as the day. 
The darkness is like light to you. 

  ¹³ For you formed my inmost being. 
You knit me together in my mother’s womb. 

  ¹⁴ I will give thanks to you, 
for I am fearfully and wonderfully made. 
Your works are wonderful. My soul knows that very well. 

  ¹⁵ My frame wasn’t hidden from you, 
when I was made in secret, 
woven together in the depths of the earth. 

  ¹⁶ Your eyes saw my body. 
In your book they were all written, 
the days that were ordained for me, when as yet there were none of them. 

  ¹⁷ How precious to me are your thoughts, God! 
How vast is their sum! 

  ¹⁸ If I would count them, they are more in number than the sand. 
When I wake up, I am still with you. 

  ¹⁹ If only you, God, would kill the wicked. 
Get away from me, you bloodthirsty men! 

  ²⁰ For they speak against you wickedly. 
Your enemies take your name in vain. 

  ²¹ Yahweh, don’t I hate those who hate you? 
Am I not grieved with those who rise up against you? 

  ²² I hate them with perfect hatred. 
They have become my enemies. 

  ²³ Search me, God, and know my heart. 
Try me, and know my thoughts. 

  ²⁴ See if there is any wicked way in me, 
and lead me in the everlasting way.

God created us and it therefore follows that HE would be at the center of our very existence (and this would include emotions).  If HE is at the center of our being, then our emotions could possibly be a reaction to HIS existence in our lives in the intermix with our physical reality. In other words, above an arbitrary horizontal line in the chart would be a negative reaction and below it a positive one. 

The answer to my all my questions is found in yet another question: Is God far away or right near by? 

The prophet has said...

Jeremiah, Chapter 29 (WEB)

¹¹ For I know the thoughts that I think toward you,” says Yahweh, “thoughts of peace, and not of evil, to give you hope and a future.  ¹² You shall call on me, and you shall go and pray to me, and I will listen to you.  ¹³ You shall seek me, and find me, when you search for me with all your heart.

All that remains to be said is this- Where is your heart, Gary?

Bible Reading September 29 by Gary Rose

Bible Reading September 29

 Sept. 29

Psalms 115-117

Psa 115:1 Not to us, Yahweh, not to us, but to your name give glory, for your loving kindness, and for your truth's sake.

Psa 115:2 Why should the nations say, "Where is their God, now?"

Psa 115:3 But our God is in the heavens. He does whatever he pleases.

Psa 115:4 Their idols are silver and gold, the work of men's hands.

Psa 115:5 They have mouths, but they don't speak. They have eyes, but they don't see.

Psa 115:6 They have ears, but they don't hear. They have noses, but they don't smell.

Psa 115:7 They have hands, but they don't feel. They have feet, but they don't walk, neither do they speak through their throat.

Psa 115:8 Those who make them will be like them; yes, everyone who trusts in them.

Psa 115:9 Israel, trust in Yahweh! He is their help and their shield.

Psa 115:10 House of Aaron, trust in Yahweh! He is their help and their shield.

Psa 115:11 You who fear Yahweh, trust in Yahweh! He is their help and their shield.

Psa 115:12 Yahweh remembers us. He will bless us. He will bless the house of Israel. He will bless the house of Aaron.

Psa 115:13 He will bless those who fear Yahweh, both small and great.

Psa 115:14 May Yahweh increase you more and more, you and your children.

Psa 115:15 Blessed are you by Yahweh, who made heaven and earth.

Psa 115:16 The heavens are the heavens of Yahweh; but the earth has he given to the children of men.

Psa 115:17 The dead don't praise Yah, neither any who go down into silence;

Psa 115:18 But we will bless Yah, from this time forth and forevermore. Praise Yah!

Psa 116:1 I love Yahweh, because he listens to my voice, and my cries for mercy.

Psa 116:2 Because he has turned his ear to me, therefore I will call on him as long as I live.

Psa 116:3 The cords of death surrounded me, the pains of Sheol got a hold of me. I found trouble and sorrow.

Psa 116:4 Then I called on the name of Yahweh: "Yahweh, I beg you, deliver my soul."

Psa 116:5 Yahweh is Gracious and righteous. Yes, our God is merciful.

Psa 116:6 Yahweh preserves the simple. I was brought low, and he saved me.

Psa 116:7 Return to your rest, my soul, for Yahweh has dealt bountifully with you.

Psa 116:8 For you have delivered my soul from death, my eyes from tears, and my feet from falling.

Psa 116:9 I will walk before Yahweh in the land of the living.

Psa 116:10 I believed, therefore I said, "I was greatly afflicted."

Psa 116:11 I said in my haste, "All men are liars."

Psa 116:12 What will I give to Yahweh for all his benefits toward me?

Psa 116:13 I will take the cup of salvation, and call on the name of Yahweh.

Psa 116:14 I will pay my vows to Yahweh, yes, in the presence of all his people.

Psa 116:15 Precious in the sight of Yahweh is the death of his saints.

Psa 116:16 Yahweh, truly I am your servant. I am your servant, the son of your handmaid. You have freed me from my chains.

Psa 116:17 I will offer to you the sacrifice of thanksgiving, and will call on the name of Yahweh.

Psa 116:18 I will pay my vows to Yahweh, yes, in the presence of all his people,

Psa 116:19 in the courts of Yahweh's house, in the midst of you, Jerusalem. Praise Yah!

Psa 117:1 Praise Yahweh, all you nations! Extol him, all you peoples!

Psa 117:2 For his loving kindness is great toward us. Yahweh's faithfulness endures forever. Praise Yah!

Sept. 29

2 Corinthians 9

2Co 9:1 It is indeed unnecessary for me to write to you concerning the service to the saints,

2Co 9:2 for I know your readiness, of which I boast on your behalf to them of Macedonia, that Achaia has been prepared for a year past. Your zeal has stirred up very many of them.

2Co 9:3 But I have sent the brothers that our boasting on your behalf may not be in vain in this respect, that, just as I said, you may be prepared,

2Co 9:4 so that I won't by any means, if there come with me any of Macedonia and find you unprepared, we (to say nothing of you) should be disappointed in this confident boasting.

2Co 9:5 I thought it necessary therefore to entreat the brothers that they would go before to you, and arrange ahead of time the generous gift that you promised before, that the same might be ready as a matter of generosity, and not of greediness.

2Co 9:6 Remember this: he who sows sparingly will also reap sparingly. He who sows bountifully will also reap bountifully.

2Co 9:7 Let each man give according as he has determined in his heart; not grudgingly, or under compulsion; for God loves a cheerful giver.

2Co 9:8 And God is able to make all grace abound to you, that you, always having all sufficiency in everything, may abound to every good work.

2Co 9:9 As it is written, "He has scattered abroad, he has given to the poor. His righteousness remains forever."

2Co 9:10 Now may he who supplies seed to the sower and bread for food, supply and multiply your seed for sowing, and increase the fruits of your righteousness;

2Co 9:11 you being enriched in everything to all liberality, which works through us thanksgiving to God.

2Co 9:12 For this service of giving that you perform not only makes up for lack among the saints, but abounds also through many givings of thanks to God;

2Co 9:13 seeing that through the proof given by this service, they glorify God for the obedience of your confession to the Good News of Christ, and for the liberality of your contribution to them and to all;

2Co 9:14 while they themselves also, with supplication on your behalf, yearn for you by reason of the exceeding grace of God in you.

2Co 9:15 Now thanks be to God for his unspeakable gift!

Psallo and the Instrumental Music Controversy by Wayne Jackson

http://www.oldpaths.com/Archive/Jackson/Boyd/Wayne/1937/psallo.html

 

Psallo and the Instrumental Music Controversy

For more than a century the advocates of the use of instrumental music in Christian worship have contended that one of the stronger arguments in defense of that practice is to be found in the Greek word psallo. This term, found only five times in the New Testament, is rendered by the English terms “sing” (Rom. 15:9; 1 Cor. 14:15; Jas. 5:13), and “make melody” (Eph. 5:19).
It has been alleged, however, that psallo embraces the use of a mechanical instrument. In classical Greek the word meant “to strike,” as, for instance, “striking” the strings of a harp. And so, it is claimed, this concept is transferred into the New Testament.

The History of Psallo

Words have histories, and linguistic history often reveals that terms are altered in their meanings as they pass through the centuries. So it was with psallo.
The history of the Greek language extends back about fifteen centuries before Christ. The era called the “classical” period was from around 900 B.C. (the time of Homer) to the conquests of Alexander the Great (c. 330 B.C.). During this time psallo carried the basic sense of “to touch sharply, to move by touching, to pull, twitch” (Liddell, p. 1841).
Aeschylus (525-456 B.C.), the Greek playwright, used the word of “plucking hair” (Persae, p. 1062). Euripides (480-460 B.C.?), another Greek writer, spoke of “twanging” the bowstring (Bacchae, p. 784). Psallo was used of “twitching” the carpenter’s line so as to leave a mark (Anthologia Palatine, 6.103). Finally, in Plutarch the verb also could convey the sense of “plucking” the strings of an instrument (Pericles 1.6).
Surely it is obvious that in these various passages the object of what is “touched” was supplied by the context.
Scholars are aware, however, that languages change with time. In 1952, F.F. Bruce wrote: “Words are not static things. They change their meaning with the passage of time” (Vine, 1997, p. vi). This concept must be understood if one is to arrive at the meaning of psallo as used in the New Testament.
The Septuagint (LXX) is a Greek translation of the Old Testament that dates from the 3rd century B.C. In this production, psallo is used to represent three different Hebrew words. The term may be used to denote simply the playing of an instrument (1 Sam. 16:16). It may bear the sense of singing, accompanied by an instrument (as certain contexts reveal – cf. Psa. 27:6; 98:5 – Eng. versions). Or, the word may refer to vocal music alone (cf. Psa. 135:3; 138:1; 146:2).
After a detailed consideration of the use of psallo in the Greek OT, Ferguson affirms that “what is clear is that an instrument did not inhere in the word psallo in the Septuagint” (p. 7 – emp. orig.). He contends, in fact, that the “preponderance of occurrences” of psallo in the LXX refer simply to “vocal music.”
In a study of the transitional uses of psallo across the years, one thing becomes apparent. The task of the conscientious Bible student must be to determine how the verb is used in the New Testament. This is the only relevant issue.
Incidentally, if one is going to quote the classical usage of psallo, or that conveyed in the LXX (as defenders of instrumental music commonly do), then he could well argue for the playing of instruments as a pure act of worship – with no singing at all – because that sense is clearly employed at times in those bodies of literature.

Language Authorities

J. H. Thayer (1828-1901) was Professor of New Testament Criticism and Interpretation at the Divinity School of Harvard University. He also served on the revision committee that produced the American Standard Version of the New Testament.
In 1885 A Greek-English Lexicon of the New Testament was published, which reflected Thayer’s translation, revision, and enlargement of an earlier work involving the labors of C.G. Wilke and C.L.W. Grimm. In its day, Thayer’s work was the finest lexicon available, and still is of considerable value.
In discussing psallo, after commenting upon the word’s use in classical Greek, and in the Septuagint, he notes that “in the N.T. [psallo signifies] to sing a hymn, to celebrate the praises of God in song” (p. 675).
The first edition of W.E. Vine’s Expository Dictionary of New Testament Words was issued in 1940 in four volumes. In 1952 a one-volume edition was published. F.F. Bruce, Head of the Department of Biblical History and Literature at the University of Sheffield, wrote the Foreword for that production. Therein, Prof. Bruce praised Vine’s work. He stated that the “Greek scholarship was wide, accurate and up-to-date.” He noted that the author had a “thorough mastery of the classical idiom,” a “close acquaintance with the Hellenistic vernacular,” and an awareness of the influence of the Septuagint upon the New Testament.
In his popular work, Vine, in commenting upon psallo (under “Melody”), notes the classical sense, the Septuagint usage, and then says: “in the N.T., to sing a hymn, sing praise” (1997, p. 730).
In another book, Vine explained the matter more fully.

“The word psallo originally meant to play a stringed instrument with the fingers, or to sing with the accompaniment of a harp. Later, however, and in the New Testament, it came to signify simply to praise without the accompaniment of an instrument” (1951, p. 191 – emp. added).

In 1964. the prestigious Theological Dictionary of the New Testament (edited by Kittel, Friedrich, and Bromiley) issued from the press. The article which dealt with psallo was written by Gerhard Delling. Relative to Ephesians 5:19, Delling contended that the literal use of psallo, as “found in the LXX, is now employed figuratively” (Kittel, et al., p. 499).
In an abridgement of this work, published in 1985, Bromiley expressed it this way: “psallontes does not now denote literally playing on a stringed instrument” (p. 1226).
In the revised edition of the International Standard Bible Encyclopedia, David Howard of Bethel Theological Seminary, commented upon psallo.

“Psallo originally meant to play a stringed instrument; in the LXX it generally translates zimmer and ngn. In the New Testament it refers to singing God’s praises (not necessarily accompanied by strings)” (p. 314).

In the Exegetical Dictionary of the New Testament, Balz and Schneider write: “In the NT psallo always refers to a song of praise to God” (p. 495).
In his popular work, Word Meanings in the New Testament, Ralph Earle comments on psallo in Ephesians 5:19.

“‘Making melody’ is one word in Greek, psallontes. The verb psallo meant first to strike the strings of a harp or lyre. Then it meant to ‘strike up a tune.’ Finally it was used in the sense ‘to sing’” (p. 333).

It is important to remember that these men were affiliated with denominational groups that employ instrumental music in their worship. They have no motive for misrepresenting the facts of this issue. Their testimony, therefore, is compelling indeed.
On the other hand, we must acknowledge that a few scholars have set aside the historical evidence, being swayed by their own theological prejudices. They assert that psallo in the New Testament embodies the idea of “playing” a musical instrument. Liddell & Scott, as well as Edward Robinson, in their respective works, listed the term “play” as the significance of psallo in Ephesians 5:19.
The best example of unwarranted lexical liberty in recent times is the Baur-Arndt-Gingrich production. In the first edition (1957), William Arndt and F.W. Gingrich defined psallo as follows: “in our literature, in accordance with OT usage, sing (to the accompaniment of a harp), sing praise … Rom. 15:9… Eph. 5:19”
What most did not realize at the time, however, was that the phrase “to the accompaniment of a harp” was not in Baur’s original work. It was added by the subsequent editors. Following the death of Arndt, Frederick Danker joined with Gingrich for yet another revision (2nd Ed.). At the time, Danker apparently was unaware of the “tampering” by Arndt & Gingrich. When he learned of it, he admitted that the earlier editors had made a “mistake” in their rendition. He promised to try to remedy the error in a future revision.
Gingrich later acknowledged that the added phrase was only his interpretation. In the 2nd edition (1979), the phrase was deleted. However, this comment was added — obviously to placate someone.

“Although the NT does not voice opposition to instrumental music, in view of Christian resistance to mystery cults, as well as Pharisaic aversion to musical instruments in worship … it is likely that some such sense as make melody is best here [Eph. 5:19]” (p 891; see McCord, pp. 390-96).

One might have hoped for something better in the 3rd edition, over which Danker had control. But such was not to be. The editor initiated a “departure” from earlier formats by offering an “expanded definition” of words. And so the “sing, sing praise” of the 2nd editon becomes “to sing songs of praise, with or without instrumental accompaniment” in this latest edition.
However, both 2nd and 3rd editions suggest that those who render psallo by the word “play” in Ephesians 5:19 “may be relying too much on the earliest meaning of psallo [i.e., the classical meaning].” And yet, this is precisely what Arndt, Gingrich, and Danker have done. They imported the classical sense into the New Testament, when their lexicon was supposed to define words according to the “New Testament and other early Christian literature” usage.
People need to realize that Greek lexicons are not inspired of God; they can be flawed at times. J.H. Thayer summed-up the issue rather candidly.

“The nature and use of the New Testament writings require that the lexicographer should not be hampered by a too rigid adherence to the rules of scientific lexicography. A student often wants to know not so much the inherent meaning of a word as the particular sense it bears in a given context or discussion … [T]he lexicographer often cannot assign a particular New Testament reference to one or another of the acknowledged significations of a word without indicating his exposition of the passage in which the reference occurs. In such a case he is compelled to assume, at least to some extent, the functions of the exegete” (p. VII).

Some scholars have clearly set aside the true significance of certain words and allowed their theological bias to flavor their definitions. This has happened with baptizo (immerse), when some suggest that “sprinkling” is encompassed in the verb’s meaning. Some theologians manipulate the meaning of the preposition eis (for, unto, in order to obtain) in Acts 2:38 in an effort to avoid the conclusion that immersion in water is essential to salvation. This is a sad but tragic reality within the theological community.

Translations

It must be a matter of some consternation, to those who argue that psallo necessarily includes the instrument, that virtually no standard (committee) translation of the English language (e.g., KJV, ASV, RSV, NEB, NIV, NASB, NKJV, ESV) provides a hint of instrumental music in any of the five texts where the verb is found in the New Testament. This should be dramatic testimony to the fact that the cream of the world’s scholarship has not subscribed to the notion that psallo inheres a mechanical instrument of music.

Post-Apostolic Testimony

In a thorough discussion of the topic, Prof. Everett Ferguson has shown dramatically that the writers of the first several centuries of the post-apostolic period employed psallo simply to denote the idea of “singing,” or else they used the term in its classical sense only metaphorically, e.g., in Ephesians 5:19, plucking the strings of one’s heart in praise to God (pp. 18-27). (Note: In his translation, Hugo McCord rendered this passage as “plucking the strings of your heart,” thus giving the “plucking” a figurative thrust.)
At this point we must add this testimony from McClintock & Strong’s celebrated Cyclopedia:

“The Greeks as well as the Jews were wont to use instruments as accompaniments in their sacred songs. The converts to Christianity accordingly must have been familiar with this mode of singing; yet it is generally believed that the primitive Christians failed to adopt the use of instrumental music in their religious worship. The word psallein, which the apostle uses in Eph. 5:19, has been taken by some critics to indicate that they sang with such accompaniments … But if this be the correct inference, it is strange indeed that neither Ambrose … nor … Basil … nor Chrysostom … in the noble encomiums which they severally pronounce upon music, make any mention of instrumental music. Basil, indeed, expressly condemns it as ministering only to the depraved passions of men … and [he] must have been led to this condemnation because some had gone astray and borrowed this practice from the heathen … The general introduction of instrumental music can certainly not be assigned to a date earlier than the 5th or 6th centuries” (p. 759).

An Ad Hominem Observation

An ad hominem (“to the man”) argument is designed to show the fallacy of an illogical position. It appeals to an erroneous proposition being defended, and demonstrates that, if followed to its logical conclusion, the idea manifests an unreasonable viewpoint. That this is a valid method of dealing with error is evidenced by the fact that Jesus himself occasionally employed it to expose false teaching (cf. Mt. 12:27). There is certainly a legitimate usage of this type of argument in the music controversy.
Several writers, who have argued the psallo position, have contended that an instrument of music is unavoidably inherent within the term. O.E. Payne alleged that if the Christian fails to employ the instrument in worship, he “cannot conform to the divine injunction to psallein” (p. 172). Others (e.g., Dwaine Dunning and Tom Burgess) have argued similarly (see Bales, pp. 97ff).
In view of this, let us consider Ephesians 5:19, where the inspired apostle commands the saints in Ephesus to practice “speaking one to another in psalms and hymns and spiritual songs, singing and making melody psallontes with your heart to the Lord.”
If the participle psallontes retains a literal, classical sense (to pluck), and therefore inheres the instrument, then the following conclusions necessarily result.
This command cannot be obeyed without the employment of the instrument.
Since each Christian is under the obligation to psallo, each person must play an instrument.
The instrument must be one capable of being “plucked” (e.g., the harp), which would eliminate organs, pianos, trumpets, etc.
This writer has never encountered an advocate of the use of instruments in worship who will stay with the logical demands of his argument in defense of psallo. That speaks volumes.

Recent History

Perhaps the most telling thing of all in this controversy over instrumental worship is the fact that in the recent history of our exchanges with those of the Independent Christian Church (with whom we’ve had most of our discussions), the psallo argument has been virtually abandoned.
One of the last major debates on instrumental music was between Alan E. Highers (churches of Christ) and Given O. Blakely (Independent Christian Church) in April, 1988. During the course of that encounter, Blakely never attempted to introduce the psallo argument. In fact, he “broke new ground” in that he argued that “authority” for what one does in worship is not even needed; worship is a wholly unregulated activity — a position wholly absurd!
Instrumental music in Christian worship is indefensible.

Interesting Quotations

“Although Josephus tells of the wonderful effects produced in the Temple by the use of instruments of music, the first Christians were of too spiritual a fibre to substitute lifeless instruments for or to use them to accompany the human voice” (The Catholic Encyclopedia, p. 651).
“There is no record in the NT of the use of instruments in the musical worship of the Christian church” (Pfeiffer, p. 1163).
“Whatever evidence is forthcoming, is to the effect that the early Christians did not use musical instruments” (Smith, p. 1365).
“The foregoing argument [of this book] has proceeded principally by two steps. The first is: Whatsoever, in connection with the public worship of the church, is not commanded by Christ, either expressly or by good and necessary consequence, in his Word is forbidden. The second is: Instrumental music, in connection with the public worship of the church is not so commanded by Christ. The conclusion is: Instrumental music, in connection with the public worship of the church, is forbidden” (John J. Girardeau, Professor, Columbia Theological Seminary (Presbyterian), p. 200).

Sources/Footnotes

• Bales, James D. 1987. Instrumental Music and New Testament Worship. Resource Publications: Searcy, AR.
• Balz, Horst & Schneider, Gerhard. 1993. Exegetical Dictionary of the New Testament. Vol. 3. Eerdmans: Grand Rapids, MI.
• Baur, W., Gingrich, F. W., Danker, F. 1979. Greek-English Lexicon of the New Testament. University of Chicago: Chicago, IL.
• Bromiley, G.W., Ed. 1985. Theological Dictionary of the New Testament — Abridged. Eerdmans: Grand Rapids, MI.
• The Catholic Encyclopedia. 1913. The Encyclopedia Press: New York, NY.
• Earle, Ralph. 2000. Word Meanings in the New Testament. Hendrickson: Peabody, MA.
• Ferguson, Everett. 1972. A Cappella Music. Biblical Research Press: Abilene, TX.
• Girardeau, John J. 1888. Instrumental Music in the Public Worship of the Church. Whittet and Shepperson: Richmond, VA.
• Howard, David. 1986. “Melody,” International Standard Bible Encyclopedia – Revised. Vol. 3. G. W. Bromiley, Ed. Eerdmans: Grand Rapids, MI.
• Kittel, Gerhard, et al., Eds. 1964. Theological Dictionary of the New Testament. Vol. VIII. Eerdmans: Grand Rapids, MI.
• Liddell, Henry and Scott, Robert. 1869. A Greek-English Lexicon. Clarendon: Oxford, England.
• McClintock, John & Strong, James Baker: 1969 Reprint. Cyclopedia of Biblical, Theological, and Ecclesiastical Literature. Vol. VI. Grand Rapids, MI.
• McCord, Hugo. n.d. Fifty Years of Lectures. Vol. 2. Church of Christ: Atwood, TN.
• Payne, O. E. 1920. Instrumental Music Is Scriptural. Standard: Cincinnati, OH.
• Pfeiffer, C. F., Vos, Howard and Rea, John. 1998. Wycliffe Bible Dictionary. Hendrickson: Peabody, MA.
• Smith, William and Cheetham, Samuel. 1880. A Dictionary of Christian Antiquities. Vol. II. John Murray: London, England.
• Thayer, J. H. 1958. Greek-English Lexicon. T. and T. Clark: Edinburgh, Scotland.
• Vine, W. E. 1951. First Corinthians. Zondervan: Grand Rapids, MI..
• Vine, W. E. 1997 ed. Expository Dictionary of Old and New Testament Words. Nelson: Nashville, TN.

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