KJV: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee;
YLT: and voice of harpers, and musicians, and pipers, and trumpeters, may not be heard at all in thee any more; and any artisan of any art may not be found at all in thee any more; and noise of a millstone may not be heard at all in thee any more;
Darby: and voice of harp-singers and musicians and flute-players and trumpeters shall not be heard any more at all in thee, and no artificer of any art shall be found any more at all in thee, and voice of millstone shall be heard no more at all in thee,
ASV: And the voice of harpers and minstrels and flute-players and trumpeters shall be heard no more at all in thee; and no craftsman, of whatsoever craft, shall be found any more at all in thee; and the voice of a mill shall be heard no more at all in thee;
| φωνὴ | sound |
|
Parse: Noun, Nominative Feminine Singular Root: φωνή Sense: a sound, a tone. |
|
| κιθαρῳδῶν | of harpists |
|
Parse: Noun, Genitive Masculine Plural Root: κιθαρῳδός Sense: a harper, one who plays the harp and accompanies it with his voice. |
|
| μουσικῶν | musicians |
|
Parse: Adjective, Genitive Masculine Plural Root: μουσικός Sense: devoted to and skilled in the arts sacred to the muses. |
|
| αὐλητῶν | flute players |
|
Parse: Noun, Genitive Masculine Plural Root: αὐλητής Sense: a flute player. |
|
| σαλπιστῶν | trumpeters |
|
Parse: Noun, Genitive Masculine Plural Root: σαλπιστής Sense: a trumpeter. |
|
| οὐ | no |
|
Parse: Adverb Root: οὐ Sense: no, not; in direct questions expecting an affirmative answer. |
|
| ἀκουσθῇ | shall be heard |
|
Parse: Verb, Aorist Subjunctive Passive, 3rd Person Singular Root: ἀκουστός Sense: to be endowed with the faculty of hearing, not deaf. |
|
| ἔτι | any longer |
|
Parse: Adverb Root: ἔτι Sense: yet, still. |
|
| πᾶς | any |
|
Parse: Adjective, Nominative Masculine Singular Root: πᾶς Sense: individually. |
|
| τεχνίτης | craftsmen |
|
Parse: Noun, Nominative Masculine Singular Root: τεχνίτης Sense: an artificer, craftsman. |
|
| πάσης | of any |
|
Parse: Adjective, Genitive Feminine Singular Root: πᾶς Sense: individually. |
|
| τέχνης | craft |
|
Parse: Noun, Genitive Feminine Singular Root: τέχνη Sense: of the plastic art. |
|
| εὑρεθῇ | shall be found |
|
Parse: Verb, Aorist Subjunctive Passive, 3rd Person Singular Root: εὑρίσκω Sense: to come upon, hit upon, to meet with. |
|
| φωνὴ | [the] sound |
|
Parse: Noun, Nominative Feminine Singular Root: φωνή Sense: a sound, a tone. |
|
| μύλου | of a millstone |
|
Parse: Noun, Genitive Masculine Singular Root: μύλινος Sense: a mill stone. |
|
Greek Commentary for Revelation 18:22
Cf. Ezekiel 26:13. Or “sound” as in 1 Corinthians 14:8 with σαλπιγχ salpigx (trumpet). For this song of judgment see Jeremiah 25:10. [source]
Old word (from κιταρα kithara harp, and ωιδος ōidos singer) as in Revelation 14:2.Of minstrels (μουσικων mousikōn). Old word (from μουσα mousa music), here only in N.T., one playing on musical instruments.Of flute-players Old word (from αυλεω auleō to play on a flute, Matthew 11:17, αυλος aulos flute, 1 Corinthians 14:7), in N.T. only here and Matthew 9:23.Of trumpeters (σαλπιστων salpistōn). Late form for the earlier σαλπιγκτης salpigktēs (from σαλπιζω salpizō), here only in N.T.Shall be heard no more at all First aorist passive subjunctive of ακουω akouō with the double negative as below, with πωνη μυλου phōnē mulou (sound of the millstone), and as in Revelation 18:21 with ου με ευρετηι ou me heurethēi and again with πας τεχνιτης pās technitēs (craftsman). This old word is from τεχνη technē art, as here in some MSS. (“of whatsoever craft,” πασης τεχνης pasēs technēs). Τεχνιτης Technitēs occurs also in this sense in Acts 19:24, Acts 19:38; and in Hebrews 11:10 of God as the Architect. There is power in this four-fold sonorous repetition of ου μη ou mē and the subjunctive with two more examples in Revelation 18:23. [source]
Old word (from μουσα mousa music), here only in N.T., one playing on musical instruments. [source]
Old word (from αυλεω auleō to play on a flute, Matthew 11:17, αυλος aulos flute, 1 Corinthians 14:7), in N.T. only here and Matthew 9:23.Of trumpeters (σαλπιστων salpistōn). Late form for the earlier σαλπιγκτης salpigktēs (from σαλπιζω salpizō), here only in N.T.Shall be heard no more at all First aorist passive subjunctive of ακουω akouō with the double negative as below, with πωνη μυλου phōnē mulou (sound of the millstone), and as in Revelation 18:21 with ου με ευρετηι ou me heurethēi and again with πας τεχνιτης pās technitēs (craftsman). This old word is from τεχνη technē art, as here in some MSS. (“of whatsoever craft,” πασης τεχνης pasēs technēs). Τεχνιτης Technitēs occurs also in this sense in Acts 19:24, Acts 19:38; and in Hebrews 11:10 of God as the Architect. There is power in this four-fold sonorous repetition of ου μη ou mē and the subjunctive with two more examples in Revelation 18:23. [source]
Late form for the earlier σαλπιγκτης salpigktēs (from σαλπιζω salpizō), here only in N.T. [source]
First aorist passive subjunctive of ακουω akouō with the double negative as below, with πωνη μυλου phōnē mulou (sound of the millstone), and as in Revelation 18:21 with ου με ευρετηι ou me heurethēi and again with πας τεχνιτης pās technitēs (craftsman). This old word is from τεχνη technē art, as here in some MSS. (“of whatsoever craft,” πασης τεχνης pasēs technēs). Τεχνιτης Technitēs occurs also in this sense in Acts 19:24, Acts 19:38; and in Hebrews 11:10 of God as the Architect. There is power in this four-fold sonorous repetition of ου μη ou mē and the subjunctive with two more examples in Revelation 18:23. [source]
See on Revelation 14:2. [source]
Only here in the New Testament. There seems to be no special reason for changing the rendering to minstrels, as Rev. The term music had a much wider signification among the Greeks than that which we attach to it. “The primitive education at Athens consisted of two branches: gymnastics for the body, music for the mind. Music comprehended from the beginning everything appertaining to the province of the nine Muses; not merely learning the use of the lyre or how to bear part in a chorus, but also the hearing, learning, and repeating of poetical compositions, as well as the practice of exact and elegant pronunciation - which latter accomplishment, in a language like the Greek, with long words, measured syllables, and great diversity of accentuation between one word and another, must have been far more difficult to acquire than it is in any modern European language. As the range of ideas enlarged, so the words music and musical teachers acquired an expanded meanings so as to comprehend matter of instruction at once ampler and more diversified. During the middle of the fifth century b.c. at Athens, there came thus to be found among the musical teachers men of the most distinguished abilities and eminence, masters of all the learning and accomplishments of the age, teaching what was known of Astronomy, Geography, and Physics, and capable of holding dialectical discussions with their pupils upon all the various problems then afloat among intellectual men” (Grote, “History of Greece,” vi., ch. lxvii.). [source]
Rev., flute-players. Only here and Matthew 9:23. The female flute-players, usually dissolute characters, were indispensable attendants at the Greek banquets. Plato makes Eryximachus in “the Symposium,” say: “I move that the flute-girl who has just made her appearance, be told to go away and play to herself, or, if she likes, to the women who are within. Today let us have conversation instead” (“Symposium,” 176). Again, Socrates says: “The talk about the poets seems to me like a commonplace entertainment to which a vulgar company have recourse; who, because they are not able to converse and amuse one another, while they are drinking, with the sound of their own voices and conversation, by reason of their stupidity, raise the price of flute-girls in the market, hiring for a great sum the voice of a flute instead of their own breath, to be the medium of intercourse among them” (“Protagoras,” 347). Compare Isaiah 24:8; Ezekiel 26:13. [source]
Compare Jeremiah 25:10; Matthew 24:41. [source]
Reverse Greek Commentary Search for Revelation 18:22
Τεχνίτης artificerarchitect. Comp. Acts 19:24(note), Acts 19:28; Revelation 18:22, and lxx, 1 Chronicles 29:5; Song of Solomon 7:1; Wisd. 8:6; 14:2; Sirach 9:17 Δημιουργὸς N.T.ooriginally a workman for the public ( δῆμος ); generally, framer, builder. It is used by Xenophon and Plato of the maker of the world (Xen. Mem. i. 4,9; Plato, Tim. 40 C; Repub. 530 A). It was appropriated by the Neo Platonists as the designation of God. To the Gnostics, the Demiurge was a limited, secondary God, who created the world; since there was no possibility of direct contact between the supreme, incommunicable God and the visible world. [source]
For which see Revelation 6:1; Revelation 19:6. For this voice out of heaven see Revelation 10:4; Revelation 14:15; Revelation 18:4 and note accusative with ηκουσα ēkousa the voice of harpers harping with their harps Triple use of κιταρα kithara (Revelation 5:8), κιταρωιδων kitharōidōn (Revelation 18:22), κιταριζοντων kitharizontōn (old verb κιταριζω kitharizō in N.T. only here and 1 Corinthians 14:7). Wonderful melody in this chorus by the angels, not by the 144,000. [source]
Fifth instance in these verses of ου μη ou mē with the aorist subjunctive, here the active of παινω phainō as in Revelation 8:12. It is not known whether Rome had street lights or not.The voice of the bridegroom and of the bride (πωνη νυμπιου και νυμπης phōnē numphiou kai numphēs). See John 3:29; Jeremiah 7:34; Jeremiah 16:9. “Even the occasional flash of the torches carried by bridal processions (Matthew 25:1.) is seen no more” (Swete). The sixth instance of ου μη ou mē in Revelation 18:21-23, occurs with ακουστηι akousthēi (third instance of ακουστηι akousthēi two in Revelation 18:22).Were the princes of the earth For μεγισταν megistān see Revelation 6:15; Mark 6:21. “Thy merchants were the grandees” once, but now these merchant princes are gone.With thy sorcery (εν τηι παρμακιαι σου en tēi pharmakiāi sou). Εν En (instrumental use) and the locative case of παρμακια pharmakia old word (from παρμακευω pharmakeuō to prepare drugs, from παρμακον pharmakon sorcery, Revelation 9:21), in N.T. only here and Galatians 5:20 for sorcery and magical arts. If one is puzzled over the connection between medicine and sorcery as illustrated by this word (our pharmacy), he has only to recall quackery today in medicine (patent medicines and cure-alls), witch-doctors, professional faith-healers, medicine-men in Africa. True medical science has had a hard fight to shake off chicanery and charlatanry.Were deceived First aorist passive indicative of πλαναω planaō These charlatans always find plenty of victims. See Mark 12:24. [source]
See John 3:29; Jeremiah 7:34; Jeremiah 16:9. “Even the occasional flash of the torches carried by bridal processions (Matthew 25:1.) is seen no more” (Swete). The sixth instance of ου μη ou mē in Revelation 18:21-23, occurs with ακουστηι akousthēi (third instance of ακουστηι akousthēi two in Revelation 18:22). [source]