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The Areopagus sermon refers to a sermon delivered by Apostle Paul in Athens, at the Areopagus, and recounted in Acts 17:16–34. [1] [2] The Areopagus sermon is the most dramatic and most fully-reported speech of the missionary career of Saint Paul and followed a shorter address in Lystra recorded in Acts 14:15–17. [3]
Acts 17 is the seventeenth chapter of the Acts of the Apostles in the New Testament of the Christian Bible.It continues the second missionary journey of Paul, together with Silas and Timothy: in this chapter, the Christian gospel is preached in Thessalonica, Berea and Athens.
Sibelius wrote the song based on Viktor Rydberg’s War Song of Tyrtaeus, a poem that describes an Athenian victory over the Persians in 267 A.D. [2] [3]. Finished in 1899, the Song of the Athenians was premiered the same year in Helenski, Finland along with Sibelius' First Symphony.
"Song for Athene", which has a performance time of about seven minutes, is an elegy consisting of the Hebrew word alleluia ("let us praise the Lord") sung monophonically six times as an introduction to texts excerpted and modified from the funeral service of the Eastern Orthodox Church and from Shakespeare's Hamlet (probably 1599–1601). [4]
The epitaphios logos is regarded as an almost exclusive Athenian creation, although some early elements of such speeches exist in the epos of Homer and in the lyric poems of Pindar. " Pericles' Funeral Oration ", delivered for the war dead during the Peloponnesian War of 431-401 BC, is the earlier extant example of the genre.
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Song of Songs 3 (abbreviated [where?] as Song 3) is the third chapter of the Song of Songs in the Hebrew Bible or the Old Testament of the Christian Bible. [1] [2] This book is one of the Five Megillot, a collection of short books, together with Ruth, Lamentations, Ecclesiastes and Esther, within the Ketuvim, the third and the last part of the Hebrew Bible. [3]
Fragments of both hymns in the Delphi Archaeological Museum. The Delphic Hymns are two musical compositions from Ancient Greece, which survive in substantial fragments.They were long regarded as being dated c. 138 BC and 128 BC, respectively, but recent scholarship has shown it likely they were both written for performance at the Athenian Pythaids in 128 BC. [1]