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psalm

psalm

psalm Sentence Examples

  • A great darkness shrouded the scene for three hours, and then, in His native Aramaic, Jesus cried in the words of the Psalm, " My God, My God, why has Thou forsaken Me?"

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  • every psalm, except the introductory poems i.

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  • every psalm, except the introductory poems i.

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  • Although there is no psalm which can be shown with any probability to be pre-exilic, it is not impossible that there are some which date from as early a time as the age of Zerubbabel, by whose appointment national hopes were raised to so high a pitch.

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  • In the Western Church the Gloria Patri is repeated at the close of every psalm, in the Eastern Church at the close of the last psalm.

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  • stands at the beginning: not only because it is in praise of Allah, as Psalm i.

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  • at Vespers from the first psalm to the Magnificat, at mass from the end of the Kyrie to the canon.

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  • That Salem is Jerusalem, as in Psalm lxxvi.

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  • Of this word '/ aXµos, " psalm," is a translation, and in the Greek Bible the whole book is called 1'aXpoi or 1liaXT17Pcov.

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  • Of this word '/ aXµos, " psalm," is a translation, and in the Greek Bible the whole book is called 1'aXpoi or 1liaXT17Pcov.

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  • are rightly taken as one psalm, but conversely Ps.

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  • On the other hand, in a collection intended for synagogue use - and the second collection of psalms is as a whole far more suitable to a synagogue than to the Temple - where there would not be a large choir and orchestra of skilled musicians, it would obviously be desirable to state whether the psalm was to be sung to a Davidic, Asaphic or Korahite tone, or to give the name of a melody appropriate to it.

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  • The details of the tradition of authorship show considerable variation; according to the Talmudic view Adam is author of the Sabbath psalm, xcii., and Melchizedek of Ps.

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  • The details of the tradition of authorship show considerable variation; according to the Talmudic view Adam is author of the Sabbath psalm, xcii., and Melchizedek of Ps.

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  • The first verse of Psalm c. (Vulg.

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  • The words "Touch not mine anointed," he declared in the Vindication of Psalm cv.

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  • Similarly Pompey, in the second psalm of Solomon, is obviously represented as the dragon of chaos, and his figure exalted into myth.

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  • 14-23, and the apocryphal Psalm of David, Ps.

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  • He was beheaded on Tower Hill on the 22 nd of June 1535, after saying the Te Deum and the psalm In to Domine speravi.

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  • 5-19); (c) A psalm of post-exilic origin, whose fragments, i.

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  • 2 Psalm 1.10, li.

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  • 2 Psalm 1.10, li.

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  • xc. - c. inclusive, according to a general rule that all anonymous pieces are by the same hand with the nearest preceding psalm whose author is named; and Ps.

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  • (Psalm i.

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  • It begins with a psalm (xc.) ascribed in the title to Moses, and seemingly designed to express feelings appropriate to a situation analogous to that of the Israelites when, after the weary march through the wilderness, they stood on the borders of the promised land.

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  • Round the circlet is the singularly inappropriate text from Psalm li., "Miserere mei Deus secundum magnam misericordiam tuam."

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  • One relates to the psalm in ch.

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    5
  • Once in a while we sat together on the pond, he at one end of the boat, and I at the other; but not many words passed between us, for he had grown deaf in his later years, but he occasionally hummed a psalm, which harmonized well enough with my philosophy.

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  • That this psalm was composed at least as late as the 3rd century B.C. is made probable by the name here given to Egypt, Rahab.

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  • and III.), containing as it does an Elohistic recension of a psalm occurring in book I.

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  • Introit, or as it is always called in the Sarum rite, " Office," a Psalm or part of a Psalm sung at the entry of the priest, or clergy and choir.

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  • And the Greek Psalter, though it contains one apocryphal psalm at the close, is essentially the same as the Hebrew; there is nothing to suggest that the Greek was first translated from a less complete Psalter and afterwards extended to agree with the extant Hebrew.

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  • Cape Ann was too bleak, but Naumkeag was a "pleasant and fruitful neck of land," which they named Salem in June 1629, probably in allusion to Psalm lxxvi.

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  • Cape Ann was too bleak, but Naumkeag was a "pleasant and fruitful neck of land," which they named Salem in June 1629, probably in allusion to Psalm lxxvi.

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  • According to St Ambrose (in Psalm 118, oct.

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  • According to St Ambrose (in Psalm 118, oct.

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  • but this is hardl y probable unless we are to suppose that they never officiated simultaneously, in which case we should certainly have expected that the psalm quoted by the Chronicler (i Chron..

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  • - lxxii., though it contains a few anonymous pieces and one psalm which is either " of," or rather, according to the oldest tradition, " for Solomon," is composed of " Davidic " psalms. It would seem also that the collectors of books I.

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  • Since this last collection includes a psalm (cx.) which can scarcely refer to any one earlier than Simon the Maccabee, and cannot well be later than his time, we are justified in assigning the compilation of this collection to about the year 140 B.C. But by this time a great change had taken place in the aims and aspirations of the Jews.

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  • ii.) describing the hoped-for greatness of Simon's kingdom, and finally Pharisaic sentiment prefaced the whole by a psalm in praise of the law.

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  • - (A) The oldest version, the LXX., follows a text generally closely corresponding to the Massoretic Hebrew, the main variations being in the titles and in the addition (lacking in some MSS.) of an apocryphal psalm ascribed to David when he fought with Goliath.

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  • From this blow the emperor never recovered; and when on the 13th of December 1250 he died Innocent greeted the news by quoting from Psalm xcvi.

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  • Filled with joy at their rescue from this attack, the citizens crowded to their cathedral, where Beza (then 83 years of age) bid them to sing the 124th Psalm which has ever since been sung.

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  • A single compiler is not likely to have introduced double recensions of one and the same psalm (as Ps.

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  • following two verses of the first psalm may exemplify this: MS. British Mus.

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  • ii.) describing the hoped-for greatness of Simon's kingdom, and finally Pharisaic sentiment prefaced the whole by a psalm in praise of the law.

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  • There are such words as joy and sorrow, but they are only the burden of a psalm, sung with a nasal twang, while we believe in the ordinary and mean.

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  • PSALM (from the Gr.

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  • Longfellow wrote "A Psalm of Life" (1839), which was an intimate confession of the religious aspirations of the author.

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  • But it is doubtful whether the psalm, as distinguished from the Hebrew Psalter, can be said to have any independent existence.

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  • xviii., for example, but there is no evidence that in early times David was regarded as the author of any of the psalms. Even the Chronicler, though he regarded David as the great founder of the Temple music, does not quote any psalm as composed by him, and the Chronicler's omission of 2 Sam.

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  • in the Trito-Isaiah during the post-exilian period, and in such psalm literature as Pss.

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  • The division into five books was known to Hippolytus, but a closer examination of the doxologies shows that it does not represent the original scheme of the Psalter; for, while the doxologies to the first three books are no part of the psalms to which they are attached, but really mark the end of a book in a pious fashion not uncommon in Eastern literature, that to book IV., with its rubric addressed to the people, plainly belongs to the psalm, or rather to its liturgical execution, and does not therefore really mark the close of a collection once separate.

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  • Having finished the verse of the 34th Psalm where it is written, "They who seek the Lord shall want no manner of thing that is good," he said, "Here I must stop: - what follows let Baithen write"; indicating, as was believed, his wish that his cousin Baithen should succeed him as abbot.

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  • The date of the manuscript appears to be the middle of the 14th century, and probably in its present form it is only a copy of a much older text; there is also a translation of the fiftieth psalm belonging to the 13th century.'

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  • Aggadath Bereshith, 83 homilies on Genesis, each in three parts connected with a section from the lectionary of the Pentateuch, and one from the Prophets, and a Psalm (ed.

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  • Having finished the verse of the 34th Psalm where it is written, "They who seek the Lord shall want no manner of thing that is good," he said, "Here I must stop: - what follows let Baithen write"; indicating, as was believed, his wish that his cousin Baithen should succeed him as abbot.

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  • But if we remove them we get a continuous body of Levitical Elohim psalms, or rather two collections, the first Korahitic and the second Asaphic, to which there have been added by way of appendix by a non-Elohistic editor a supplementary group of Korahite psalms and one psalm (certainly late) ascribed to David.

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  • But there is no difficulty in supposing that each division of the Levitical musicians had its own traditional music, certain instruments being peculiar to the one and certain to the other, in which case the assignment of a psalm to the Asaphites or Korahites will merely denote the sort of music to which it is set.

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  • Psalm lxxxiv.

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  • to the vicegerent of Yahweh, seated on the throne of Zion, the king of Israel who is also priest after the order of Melchizedek, and then, after the Gospel had ensured the Messianic interpretation of the Psalm (Matt.

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  • W., 1903, p. 164 seq.) as an independent psalm.

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  • A few verses from the Psalms, the shrunken remainder of a whole Psalm.

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  • Psalm cxix.

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  • Psalm cii.

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  • Psalm ix.

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  • Psalm xi.

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  • the repetition of the acrostic word, far more frequent in Psalm cxix.); and some disappear on revision of the text.

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  • 10; Psalm lxvi.

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  • Psalm lxxxix.

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  • Psalm lxxxviii.

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  • " Psalm cii.

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  • 26 f.; Psalm lxxiv.

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  • At first the president of the local church (bishop) or the leader of the choir chose a particular psalm as he thought appropriate.

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  • The psalms have already been dealt with, but it may be noted again how the multiplication of saints' festivals, with practically the same special psalms, tends in practice to constant repetition of about one-third of the Psalter, and correspondingly rare recital of the remaining two-thirds, whereas the Proprium de Tempore, could it be adhered to, would provide equal opportunities for every psalm.

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  • The antiphons are short liturgical forms, sometimes of biblical, sometimes of patristic origin, used to introduce a psalm, The term originally signified a chant by alternate choirs, but has quite lost this meaning in the Breviary.

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  • The responsories are similar in form to the antiphons, but come at the end of the psalm, being originally the reply of the choir or congregation to the precentor who recited the psalm.

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  • The word was early applied by the Protestants to the Romanists, with an allusion to the "congregation of evil doers" (Vulgate Ecclesiam malignantium) of Psalm xxvi.

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  • " The Psalm of Life" and "Footsteps of Angels."

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  • His mode of treatment is subjective and lyric. No matter what form his works assume, whether the epic, as in Evangeline, The Courtship of Miles Standish and Hiawatha, the dramatic, as in The Spanish Student, The Golden Legend and The Mask of Pandora, or the didactic, as in The Psalm of Life and many of the minor poems; they are all subjective.

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  • 3; Psalm xxxiii.

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  • 5), as healing (Psalm cvii.

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  • I 1; Psalm cxlvii.

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  • Athanasius himself has described the scene for us: " I was seated upon my chair, the deacon was about to read the psalm, the people to answer, ` For his mercy endureth for ever.'

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  • 705 (Otheyda); Bar Hebraeus on Psalm xii.

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  • 21; Psalm cxxxvii.

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  • A knightly celibate, his stainless life, his ardour, caused him to be termed a Yankee Galahad; a pure and simple heart was laid bare to those who loved him in " My Psalm," " My Triumph " and " An Autograph."

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  • (3) Expository and homiletical works, including the Hexaemeron, and several series of discourses On the Workmanship of Man, On the Inscriptions of the Psalms, On the Sixth Psalm, On the first three Chapters of Ecclesiastes, On Canticles, On the Lord's Prayer and On the Eight Beatitudes.

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  • In the 12th century Psalm lxxxix.

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  • As regards the date, Fritzsche, Ball and Ryssel agree in assigning this psalm to the Maccabean period.

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  • 6-25, and has been inserted in a Psalm celebrating the goodness of Jehovah to his people on their entrance into Canaan (vv.

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  • Now it is no mere hypothesis that beginning 1 Enarratio in Psalm civ.

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  • 27-36 (see § 6), but also from the insertion of Hannah's psalm (ii.

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  • The presence of a late hand is also proved by the psalm in xxii.

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  • Psalm >>

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  • (Some scholars think the title "mighty one of Jacob," Psalm cxxxii., 2, 5, et al., as if from 1=1;4, is really "steer" "of Jacob.") But the higher religion of Israel inclined to morality more than to art, and forbade image worship altogether.

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  • If desired, a psalm or other canticle of praise or a hymn may also be sung by the entire congregation.

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  • Again in Psalm chapter 118, verse 22, " The stone the builders rejected has become the capstone.

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  • In a psalm which has a chiastic structure one would expect also to find a thematic chiasmus.

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  • But one night a young deacon rose and began reading from Psalm 24, " Who shall ascend into the hill of the Lord?

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  • dint of perseverance, some order was at length established, and a psalm given out to sing.

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  • Psalm XXXVII O Lord, rebuke me not in Thy wrath, neither chasten me in Thy hot displeasure.

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  • psalm drummers have also beem part of many large events including Greenbelt, Soul Survivor and New Wine.

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  • PSALM 39 man's frailty seen in the light of divine government.

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  • Laudate Dominum (Psalm 117) Rebelo Laudate Dominum omnes gentes; Laudate eum, omnes populi.

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  • homily on the sixtieth psalm.

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  • The Psalm seems but the little kirk That sings with its own voice.

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  • Parsons, like William Byrd a Roman Catholic, showed the influence of the psalm motet and votive antiphon in his work.

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  • ninetieth psalm, a genuine psalm of the wilderness.

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  • palpitatepitating heart was deeply affected by the sermon which was on the very words of that Psalm.

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  • Verse 2 of the Psalm states: " How long will you judge unjustly, and show partiality to the wicked?

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  • prays a glorious psalm of praise and joy and delight.

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  • Perhaps psalm praying means praying the psalms in short, and praying long prayers like the prayers at the root of the psalms.

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  • While Bright deals only with psalm 137, presumably he would also apply this principle of interpretation to the other imprecatory psalms.

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  • psalm of praise, another sounds like Romans 7. Most days sound like a little of both.

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  • psalm composed about the greater David, the greater Solomon who was to come.

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  • Here was read the third psalm for the day.

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  • As a rule the responsorial psalm should be sung.

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  • The Lord is My Shepherd - there are a number of anthem versions of the 23rd psalm.

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  • psalm Ps 116 r. Mk 16:15 Go out to the world; proclaim the Good News. or Alleluia!

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  • psalm drummers have also beem part of many large events including Greenbelt, Soul Survivor and New Wine.

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  • psalm singing.

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  • psalm accompaniments often had a good measure of old-fashioned word painting.

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  • psalm singers as Elvin Jones.

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  • psalm setting that seemed to go down all right.

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  • We had no Psalters to follow the psalm, sung much more melodically here.

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  • Isa 55:3 35 Wherefore he saith also in another psalm, Thou shalt not suffer thine Holy One to see corruption.

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  • unaccompanied Psalm singing.

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  • verse of the psalm tells us that instruments cannot themselves be a channel of praise.

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  • 22), suggested a figurative or typical application, first in Psalm ex.

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  • to the vicegerent of Yahweh, seated on the throne of Zion, the king of Israel who is also priest after the order of Melchizedek, and then, after the Gospel had ensured the Messianic interpretation of the Psalm (Matt.

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  • That Salem is Jerusalem, as in Psalm lxxvi.

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  • Paul discriminates between the Spirit which during these paroxysms both talks and prays to God and the nous or understanding which informs a believer's psalm, teaching, revelation or prophesy, and renders them intelligible, edifying and profitable to the assembly.

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  • PSALM (from the Gr.

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  • Longfellow wrote "A Psalm of Life" (1839), which was an intimate confession of the religious aspirations of the author.

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  • But it is doubtful whether the psalm, as distinguished from the Hebrew Psalter, can be said to have any independent existence.

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  • in the Trito-Isaiah during the post-exilian period, and in such psalm literature as Pss.

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  • at Vespers from the first psalm to the Magnificat, at mass from the end of the Kyrie to the canon.

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  • 14-23, and the apocryphal Psalm of David, Ps.

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  • He was beheaded on Tower Hill on the 22 nd of June 1535, after saying the Te Deum and the psalm In to Domine speravi.

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  • 5-19); (c) A psalm of post-exilic origin, whose fragments, i.

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  • Furthermore, the Vulgate rejects 3 and 4 Maccabees and Psalm cli., which generally appear in the Septuagint, while the Septuagint and Luther's Bible reject 4 Ezra, which is found in the Vulgate and the Apocrypha Proper.

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  • But for an individual psalm the usual name is y in??

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  • xc. - c. inclusive, according to a general rule that all anonymous pieces are by the same hand with the nearest preceding psalm whose author is named; and Ps.

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  • The division into five books was known to Hippolytus, but a closer examination of the doxologies shows that it does not represent the original scheme of the Psalter; for, while the doxologies to the first three books are no part of the psalms to which they are attached, but really mark the end of a book in a pious fashion not uncommon in Eastern literature, that to book IV., with its rubric addressed to the people, plainly belongs to the psalm, or rather to its liturgical execution, and does not therefore really mark the close of a collection once separate.

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  • But if we remove them we get a continuous body of Levitical Elohim psalms, or rather two collections, the first Korahitic and the second Asaphic, to which there have been added by way of appendix by a non-Elohistic editor a supplementary group of Korahite psalms and one psalm (certainly late) ascribed to David.

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  • And the Greek Psalter, though it contains one apocryphal psalm at the close, is essentially the same as the Hebrew; there is nothing to suggest that the Greek was first translated from a less complete Psalter and afterwards extended to agree with the extant Hebrew.

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  • We certainly need not suppose that the Davidic, Asaphic and Korahite psalms severally once existed as separate books, for, if this had been the case, it is probable that the ascription would not have been prefixed to each separate psalm, but rather to the head of each collection (cf.

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  • but this is hardl y probable unless we are to suppose that they never officiated simultaneously, in which case we should certainly have expected that the psalm quoted by the Chronicler (i Chron..

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  • But there is no difficulty in supposing that each division of the Levitical musicians had its own traditional music, certain instruments being peculiar to the one and certain to the other, in which case the assignment of a psalm to the Asaphites or Korahites will merely denote the sort of music to which it is set.

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  • That this psalm was composed at least as late as the 3rd century B.C. is made probable by the name here given to Egypt, Rahab.

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  • On the other hand, in a collection intended for synagogue use - and the second collection of psalms is as a whole far more suitable to a synagogue than to the Temple - where there would not be a large choir and orchestra of skilled musicians, it would obviously be desirable to state whether the psalm was to be sung to a Davidic, Asaphic or Korahite tone, or to give the name of a melody appropriate to it.

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  • It begins with a psalm (xc.) ascribed in the title to Moses, and seemingly designed to express feelings appropriate to a situation analogous to that of the Israelites when, after the weary march through the wilderness, they stood on the borders of the promised land.

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  • - lxxii., though it contains a few anonymous pieces and one psalm which is either " of," or rather, according to the oldest tradition, " for Solomon," is composed of " Davidic " psalms. It would seem also that the collectors of books I.

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  • xviii., for example, but there is no evidence that in early times David was regarded as the author of any of the psalms. Even the Chronicler, though he regarded David as the great founder of the Temple music, does not quote any psalm as composed by him, and the Chronicler's omission of 2 Sam.

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  • allude to the Temple (which did not exist in David's time) and the author of the latter psalm desires to live there continually.

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  • Although there is no psalm which can be shown with any probability to be pre-exilic, it is not impossible that there are some which date from as early a time as the age of Zerubbabel, by whose appointment national hopes were raised to so high a pitch.

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  • and III.), containing as it does an Elohistic recension of a psalm occurring in book I.

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  • Since this last collection includes a psalm (cx.) which can scarcely refer to any one earlier than Simon the Maccabee, and cannot well be later than his time, we are justified in assigning the compilation of this collection to about the year 140 B.C. But by this time a great change had taken place in the aims and aspirations of the Jews.

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  • - (A) The oldest version, the LXX., follows a text generally closely corresponding to the Massoretic Hebrew, the main variations being in the titles and in the addition (lacking in some MSS.) of an apocryphal psalm ascribed to David when he fought with Goliath.

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  • are rightly taken as one psalm, but conversely Ps.

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  • xxi., xxvii.), to whom David fled, is called Abimelech in the superscription to Psalm xxxiv.

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  • The words "Touch not mine anointed," he declared in the Vindication of Psalm cv.

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  • From this blow the emperor never recovered; and when on the 13th of December 1250 he died Innocent greeted the news by quoting from Psalm xcvi.

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  • W., 1903, p. 164 seq.) as an independent psalm.

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  • Introit, or as it is always called in the Sarum rite, " Office," a Psalm or part of a Psalm sung at the entry of the priest, or clergy and choir.

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  • A few verses from the Psalms, the shrunken remainder of a whole Psalm.

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  • Round the circlet is the singularly inappropriate text from Psalm li., "Miserere mei Deus secundum magnam misericordiam tuam."

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  • In the Western Church the Gloria Patri is repeated at the close of every psalm, in the Eastern Church at the close of the last psalm.

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  • Filled with joy at their rescue from this attack, the citizens crowded to their cathedral, where Beza (then 83 years of age) bid them to sing the 124th Psalm which has ever since been sung.

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  • The date of the manuscript appears to be the middle of the 14th century, and probably in its present form it is only a copy of a much older text; there is also a translation of the fiftieth psalm belonging to the 13th century.'

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  • A single compiler is not likely to have introduced double recensions of one and the same psalm (as Ps.

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  • Aggadath Bereshith, 83 homilies on Genesis, each in three parts connected with a section from the lectionary of the Pentateuch, and one from the Prophets, and a Psalm (ed.

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  • The first verse of Psalm c. (Vulg.

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  • following two verses of the first psalm may exemplify this: MS. British Mus.

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  • (Psalm i.

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  • stands at the beginning: not only because it is in praise of Allah, as Psalm i.

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  • Similarly Pompey, in the second psalm of Solomon, is obviously represented as the dragon of chaos, and his figure exalted into myth.

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  • A great darkness shrouded the scene for three hours, and then, in His native Aramaic, Jesus cried in the words of the Psalm, " My God, My God, why has Thou forsaken Me?"

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  • One relates to the psalm in ch.

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  • found in the Psalm (lxxxix.

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  • The compositions belonging to the period of his residence at Weimar comprise two pianoforte concertos, in E flat and in A, the " Todtentanz," the " Concerto pathetique " for two pianos, the solo sonata " An Robert Schumann," sundry " Etudes," fifteen " Rhapsodies Hongroises," twelve orchestral " Poemes symphoniques, " " Eine Faust Symphonie," and " Eine Symphonie zu Dante's ` Divina Commedia,' " the " 13th Psalm " for tenor solo, chorus and orchestra, the choruses to Herder's dramatic scenes " Prometheus," and the " Missa solennis " known as the " Graner Fest' Messe."

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  • Psalm cxix.

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  • Both kinds of acrostic occur side by side in the Psalms. Psalm ex., an acrostic of the same kind as David's elegy, is followed by Psalms cxi.

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  • Psalm cii.

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  • Psalm ix.

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  • Psalm xi.

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  • Psalm lxxxiv.

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  • the repetition of the acrostic word, far more frequent in Psalm cxix.); and some disappear on revision of the text.

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  • Verse 17a should be: Hari 'rata 051y5 " And He cast off my soul for ever:" see verse 31; Psalm lxxxviii.

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  • 10; Psalm lxvi.

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  • Psalm lxxxix.

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  • Psalm lxxxviii.

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  • Perhaps: " Wherewith they dogged my steps: " 'n:py Psalm lxxxix.

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  • 15; Obad.; Psalm cxxxvii.

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  • For they " (Septuagint om.), " they passed away " (»Si Septuagint; Psalm xxxix.

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  • " Psalm cii.

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  • 26 f.; Psalm lxxiv.

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  • At first the president of the local church (bishop) or the leader of the choir chose a particular psalm as he thought appropriate.

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  • The psalms have already been dealt with, but it may be noted again how the multiplication of saints' festivals, with practically the same special psalms, tends in practice to constant repetition of about one-third of the Psalter, and correspondingly rare recital of the remaining two-thirds, whereas the Proprium de Tempore, could it be adhered to, would provide equal opportunities for every psalm.

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  • The antiphons are short liturgical forms, sometimes of biblical, sometimes of patristic origin, used to introduce a psalm, The term originally signified a chant by alternate choirs, but has quite lost this meaning in the Breviary.

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  • The responsories are similar in form to the antiphons, but come at the end of the psalm, being originally the reply of the choir or congregation to the precentor who recited the psalm.

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  • a Mishnic derivative from 55, hillel, " to praise"), a term in synagogal liturgy for (a) Psalms cxiii.-cxviii., often called "the Egyptian Hallel" because of its recitation during the paschal meal on the night of the Passover, (b) Psalm cxxxvi.

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  • The word was early applied by the Protestants to the Romanists, with an allusion to the "congregation of evil doers" (Vulgate Ecclesiam malignantium) of Psalm xxvi.

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  • " The Psalm of Life" and "Footsteps of Angels."

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  • His mode of treatment is subjective and lyric. No matter what form his works assume, whether the epic, as in Evangeline, The Courtship of Miles Standish and Hiawatha, the dramatic, as in The Spanish Student, The Golden Legend and The Mask of Pandora, or the didactic, as in The Psalm of Life and many of the minor poems; they are all subjective.

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  • 3; Psalm xxxiii.

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  • 5), as healing (Psalm cvii.

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  • I 1; Psalm cxlvii.

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  • Athanasius himself has described the scene for us: " I was seated upon my chair, the deacon was about to read the psalm, the people to answer, ` For his mercy endureth for ever.'

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  • 705 (Otheyda); Bar Hebraeus on Psalm xii.

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  • 21; Psalm cxxxvii.

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  • A knightly celibate, his stainless life, his ardour, caused him to be termed a Yankee Galahad; a pure and simple heart was laid bare to those who loved him in " My Psalm," " My Triumph " and " An Autograph."

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  • (3) Expository and homiletical works, including the Hexaemeron, and several series of discourses On the Workmanship of Man, On the Inscriptions of the Psalms, On the Sixth Psalm, On the first three Chapters of Ecclesiastes, On Canticles, On the Lord's Prayer and On the Eight Beatitudes.

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  • (See Absolution.) As confession is now administered in the Roman Church, the disciplinary penance is often little more than nominal, the recitation of a psalm or the like - stress being laid rather on the fulness of the confession and on the words of authoritative absolution.

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  • In the 12th century Psalm lxxxix.

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  • As regards the date, Fritzsche, Ball and Ryssel agree in assigning this psalm to the Maccabean period.

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  • 6-25, and has been inserted in a Psalm celebrating the goodness of Jehovah to his people on their entrance into Canaan (vv.

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  • Now it is no mere hypothesis that beginning 1 Enarratio in Psalm civ.

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  • 27-36 (see § 6), but also from the insertion of Hannah's psalm (ii.

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  • The presence of a late hand is also proved by the psalm in xxii.

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  • (Some scholars think the title "mighty one of Jacob," Psalm cxxxii., 2, 5, et al., as if from 1=1;4, is really "steer" "of Jacob.") But the higher religion of Israel inclined to morality more than to art, and forbade image worship altogether.

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  • Psalm 22:6 But I am a worm, and no man; a reproach of men, and despised of the people.

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  • Thus, in Psalm 93 the psalmist proclaims: [p.137] The Lord is king, he is robed in majesty....

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  • Isa 55:3 35 Wherefore he saith also in another psalm, Thou shalt not suffer thine Holy One to see corruption.

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  • The sixth verse of the psalm tells us that instruments cannot themselves be a channel of praise.

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  • Another phrased is from Psalm 37:21, which states, "The wicked borrow and do not repay, but the righteous give generously."

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  • Reform Jews will recite the Psalm 23 as the body is removed from the funeral home.

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  • Psalm 91 is read and the body is lowered into the grave.

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  • The rabbi will then recite Psalm 91 again, as well as the El Maleh Rachamim.

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  • After the coffin is closed, the chevra kadisha may read a psalm and asks the departed for forgiveness if they have done anything to offend him.

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