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# Dred, A Tale of the Great Dismal Swamp/Chapter 4

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# Easton's Bible Dictionary (1897)/Darkness

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Darkness
When Jesus hung upon the cross (Matt. 27:45; Luke 23:44), from the "sixth hour there was darkness over all the land unto the ninth hour."
On Mount Sinai, Moses (Ex. 20:21) "drew near unto the thick darkness where God was." This was the "thick cloud upon the mount" in which Jehovah was when he spake unto Moses there. The Lord dwelt in the cloud upon the mercy-seat (1 Kings 8:12), the cloud of glory. When the psalmist (Ps. 97:2) describes the inscrutable nature of God's workings among the sons of men, he says, "Clouds and darkness are round about him." God dwells in thick darkness.
Darkness (Isa. 13:9, 10; Matt. 24:29) also is a symbol of the judgments that attend on the coming of the Lord. It is a symbol of misery and adversity (Job 18:6; Ps. 107:10; Isa. 8:22; Ezek. 30:18). The "day of darkness" in Joel 2:2, caused by clouds of locusts, is a symbol of the obscurity which overhangs all divine proceedings. "Works of darkness" are impure actions (Eph. 5:11). "Outer darkness" refers to the darkness of the streets in the East, which are never lighted up by any public or private lamps after nightfall, in contrast with the blaze of cheerful light in the house. It is also a symbol of ignorance (Isa. 9:2; 60:2; Matt. 6:23) and of death (Job 10:21; 17:13).
# Easton's Bible Dictionary (1897)/Dance

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Dance
In the New Testament it is in like manner the translation of different Greek words, circular motion (Luke 15:25); leaping up and down in concert (Matt. 11:17), and by a single person (Matt. 14:6).
It is spoken of as symbolical of rejoicing (Eccl. 3:4. Comp. Ps. 30:11; Matt. 11: 17). The Hebrews had their sacred dances expressive of joy and thanksgiving, when the performers were usually females (Ex. 15:20; 1 Sam. 18:6).
The ancient dance was very different from that common among Western nations. It was usually the part of the women only (Ex. 15:20; Judg. 11:34; comp. 5:1). Hence the peculiarity of David's conduct in dancing before the ark of the Lord (2 Sam. 6:14). The women took part in it with their timbrels. Michal should, in accordance with the example of Miriam and others, have herself led the female choir, instead of keeping aloof on the occasion and "looking through the window." David led the choir "uncovered", i.e., wearing only the ephod or linen tunic. He thought only of the honour of God, and forgot himself.
From being reserved for occasions of religious worship and festivity, it came gradually to be practised in common life on occasions of rejoicing (Jer. 31:4). The sexes among the Jews always danced separately. The daughter of Herodias danced alone (Matt. 14:6).
# Easton's Bible Dictionary (1897)/Daniel, Book of

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Daniel, Book of Is ranked by the Jews in that division of their Bible called the Hagiographa (Heb. Khethubim). (See [144]BIBLE.) It consists of two distinct parts. The first part, consisting of the first six chapters, is chiefly historical; and the second part, consisting of the remaining six chapters, is chiefly prophetical.
The historical part of the book treats of the period of the Captivity. Daniel is "the historian of the Captivity, the writer who alone furnishes any series of events for that dark and dismal period during which the harp of Israel hung on the trees that grew by the Euphrates. His narrative may be said in general to intervene between Kings and Chronicles on the one hand and |Ezra on the other, or (more strictly) to fill out the sketch which the author of the Chronicles gives in a single verse in his last chapter: `And them that had escaped from the sword carried he [i.e., Nebuchadnezzar] away to Babylon; where they were servants to him and his sons until the reign of the kingdom of Persia'" (2 Chr. 36:20).
The prophetical part consists of three visions and one lengthened prophetical communication.
The genuineness of this book has been much disputed, but the arguments in its favour fully establish its claims. (1.) We have the testimony of Christ (Matt. 24:15; 25:31; 26:64) and his apostles (1 Cor. 6:2; 2 Thess. 2:3) for its authority; and (2) the important testimony of Ezekiel (14:14, 20; 28:3). (3.) The character and records of the book are also entirely in harmony with the times and circumstances in which the author lived. (4.) The linguistic character of the book is, moreover, just such as might be expected. Certain portions (Dan. 2:4; 7) are written in the Chaldee language; and the portions written in Hebrew are in a style and form having a close affinity with the later books of the Old Testament, especially with that of Ezra. The writer is familiar both with the Hebrew and the Chaldee, passing from the one to the other just as his subject required. This is in strict accordance with the position of the author and of the people for whom his book was written. That Daniel is the writer of this book is also testified to in the book itself (7:1, 28; 8:2; 9:2; 10:1, 2; 12:4, 5). (See [145]BELSHAZZAR.)
# Easton's Bible Dictionary (1897)/Dannah

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# Easton's Bible Dictionary (1897)/Darda

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Darda: Pearl of wisdom, one of the four who were noted for their wisdom, but whom Solomon excelled (1 Kings 4:31).
# Easton's Bible Dictionary (1897)/Daric

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# Easton's Bible Dictionary (1897)/Dan-jaan

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# Encyclopædia Britannica, Ninth Edition/Joannes Aurifaber (1.)

See also Joannes Aurifaber (Vimariensis) on Wikipedia; Joannes Aurifaber Vimariensis on Wikipedia, Aurifaber in the 11th edition; and the disclaimer.
​AURIFABER (the Latinised form of the name Goldschmidt), Joannes, a Lutheran divine, celebrated as the ​friend of Luther and as one of the editors of his works, was born in 1519 in the county of Mansfeldt, or, more probably, in the town of Weimar. After completing his education at the university of Wittenberg, where he heard the lectures of Luther, he became tut or to Count Mansfeldt, and in the war of 1544-5 accompanied the army as field-preacher. For some months afterwards he resided with Luther as his famulus or private secretary, and was present at his death in 1546. In the following year he spent six months in prison along with John Frederick, elector of Saxony, who had been captured by the emperor, Charles V. He held for some years the office of court-preacher at Weimar, but, owing to theological disputes, was compelled to resign this office in 1561. In 1566 he was appointed to the Lutheran church at Erfurt, which post he held, though not without serious differences with his fellow-clergymen, till his death in 1575. Besides taking a share in the first collected or Jena edition of Luther s works, Aurifaber sought out and published at Eisleben in 1564-5 several writings not included in that edition. He also published Luther’s Letters (1556, 1565), and Table Talk (1566).
# Encyclopædia Britannica, Ninth Edition/Joannes Aurifaber (2.)

See also Joannes Aurifaber Vratislaviensis on Wikipedia; Joannes Aurifaber Vratislaviensis on Wikipedia, Aurifaber in the 11th edition; and the disclaimer.
​ATJRIFABER, JOANNES, a Lutheran divine, born at Breslau in 1517. He was educated at Wittenberg, and was there specially attracted to Melanchthon, with whom he ever afterwards remained on terms of close friendship. After graduating in 1538 he spent twelve years as docent at the university, and having then received his doctorate of divinity, was appointed professor of divinity and pastor of the church of St Nicholas at Rostock. He distinguished himself by his prudence and conciliatory disposition, took a leading part in the composition of the regulations for the Mecklenburg Church, and was successful in allay ing some religious disputes in the town of Liibeck. Tha Grand-duke Albert of Prussia, who was very desirous of healing the differences in the Prussian Church caused by the discussion of Osiander’s doctrines, was attracted by Aurifaber, invited him to Konigsberg in 1553, and in the following year appointed him to the professorship of divinity in that university, and to the presidency of the Samland diocese. Aurifaber, however, found it impossible to conciliate all parties, and in 1565 returned to Breslau, where, for the three remaining years of his life, he dis charged the joint offices of pastor in the church of St. Elizabeth and director of the Lutheran Church and schools. He died 19th October 1568.
# Encyclopædia Britannica, Ninth Edition/Joannes Tzetzes

See also John Tzetzes on Wikipedia; John Tzetzes in the 11th Edition; and the disclaimer.
TZETZES, JOANNES, a voluminous Byzantine writer of the 12th century. See Greece vol. xi. p. 145 sq.
# Encyclopædia Britannica, Ninth Edition/Johann Baptist Gänsbacher

See also Johann Baptist Gänsbacher on Wikipedia; Johann Baptist Gänsbacher on Wikipedia; Johann Baptist Gänsbacher in the 11th Edition; and the disclaimer.
GÄNSBACHER, Johann Baptist (1778–1844), a musical composer of repute, was born in 1778 at Sterzing in Tyrol. His father, a schoolmaster and teacher of music, undertook his son’s early education, which the boy continued under various masters till 1802, when he became the pupil of the celebrated Abbate Vogler. To his connexion with this artist and with his fellow pupils, more perhaps than to his own merits, Gansbacher’s permanent place in the history of music is due; for it was during his second stay with Vogler, then (1810) living at Darmstadt, that he became acquainted with Weber and Meyerbeer, who had also been attracted by the abbate’s reputation, and the close friendship which sprang up among the three young musicians, and was dissolved by death only, has become celebrated in the history of their art. But although Gansbacher owes the greater part of his reputation to this circumstance, he was himself by no means without merit. He creditably ﬁlled the responsible and difﬁcult post of director of the music at St Stephen’s Cathedral, Vienna, from 1823 till his death (July 13, 1844); and his compositions betray the musician of high gift and accomplishment. They consist chiefly of church music, not less than 17 masses, besides litanies, motets, offertories, &c., being amongst the number. He also wrote several sonatas, a symphony, and one or two minor compositions of a dramatic kind.
# Encyclopædia Britannica, Ninth Edition/Johann Ernst Grabe

See also John Ernest Grabe on Wikipedia; John Ernest Grabe on Wikipedia, Grabe in the 11th edition; and the disclaimer.
​GRABE, Johann Ernst (1666-1711), a learned divine of the Anglican Church, was born July 10, 1666, at Kbnigs- berg, where his father, the author of some treatises now forgotten, was professor of theology and history. In the course of his theological studies Grabe succeeded in per suading himself of the schismatical character of the Refor mation of the 16th century, and accordingly presented to the consistory at Samland a memorial in which he compared the position of the evangelical Protestant churches with that of the Simonians, Novatians, and other ancient schis matics. Hardly, however, had he resolved to join the Church of Rome, when his peace was again disturbed by Spener and others, who had pointed out some flaws in his written argument, and called his attention to the English Church as apparently possessing that apostolic succession, and manifesting that fidelity to ancient institutions, which he desired. In 1697, accordingly, he removed to London, and received priest s orders, attaching himself to the non- juring party. The learned labours to which the remainder of his life was devoted were rewarded with an Oxford de gree and a royal pension. He died on the 3d of November 1711, and in 1726 a monument was erected to him by Lord Oxford in Westminster Abbey.
Some account of Grahe s life is given by Dr Hiekes in a discourse prefixed to the pamphlet against Winston s Collection of Testimonies against the True Deity of the Son and of the Holy Ghost. His works, which show him to have been learned and laborious but somewhat deficient in critical acumen, include a Spicilcgium SS. Palrum &, Hccrdicorum (1698-99), which was designed to cover the first three centuries of the Christian church, but never was continued beyond the close of the second ; editions of Justin s Apologia friina (1700), of IreiiBeus, Adversus omnes Hcercses (1702), and of the Septuagint (Vet. Test, juxta LXX. interprets ,_ 4 vols. fol., 1707-1720); also some polemical pieces now of little importance.
# Encyclopædia Britannica, Ninth Edition/Johan Jakob Ankarström

See also Jacob Johan Anckarström on Wikipedia; Jacob Johan Anckarström on Wikipedia; and the disclaimer.
​ANKARSTRÖM, Johan Jakob, the assassin of Gustavus III., king of Sweden, was descended from an honourable family, and was born in 1759. After having been for some time at court as a page, he entered the army, but left after a few years with the honorary rank of captain. He is said to have been concerned in some treasonable projects, and to have been pardoned by the king, but the story has not sufficient authority. The Swedish nobles were about this time violently opposed to the king, who, by the aid of the other orders of the state, had wrested their power from them, and was now ruling despotically. This dislike was increased by the coup d'état of 1789, and by the king's known desire to interfere in favour of Louis XVIII. of France. Ankarstrom, a man of strong passions and violent temper, resolved upon the assassination of Gustavus, and communicated his intention to the disaffected nobles, and among others, to Counts Horn and Ribbing, who would willingly have undertaken the deed themselves. After some ineffectual attempts to seize the king's person, a favourable opportunity offered itself. A masked ball was held at Stockholm on the 16th March 1792, which the king attended, though he had been warned against doing so by an anonymous letter. By a preconcerted signal, Count Horn indicated his victim to Ankarstrom, who fired and inflicted a mortal wound. The murderer was identified by the discharged pistol, thrown down in the ball-room, and was arrested. He did not attempt to deny his crime, but declared that he had no accomplices. After a long trial he was condemned, was publicly beaten on three successive days, had his right hand cut off, and was finally beheaded and quartered. He endured his sufferings with the greatest fortitude, and seemed to rejoice in having rid his country of a tyrant. His principal accomplices were imprisoned for life.
# Encyclopædia Britannica, Ninth Edition/Johann Christoph Gottsched

See also Johann Christoph and Luise Gottsched on Wikipedia; Johann Christoph Gottsched in the 11th Edition; and the disclaimer.
GOTTSCHED, Johann Christoph (1700–1766), a German author and critic of considerable influence in his own time, was born, 2d February 1700, at Judithenkirch, near Königsberg. He studied philosophy and literature at Königsberg, was appointed professor, first of poetry (1730), afterwards of logic and metaphysics (1734), at Leipsic, filled various other important offices in connexion with the university, and died 12th December 1766. His chief works were a tragedy entitled Der sterbende Cato (Leipsic, 1732)—poor enough rubbish, though it had great but short-lived popularity; Deutsche Schaubühne (1740–45), a collection of plays, some of which were written by himself, his wife, J. C. Schlegel, and their friends, whilst others were translated from the French classical dramatists; Nöthiger Vorrath zur Gesichte der deutschen dramatischen Dichtkunst (1757–1765), intended to contain an account of all previous German plays. Though not complete, the last is a very valuable and important work. Besides these, Gottsched wrote a number of educational works, and edited several journals devoted to literary criticism. He was a pedant, but there is no doubt that he did good and lasting service to German literature. When he began to write, the stage was occupied by plays in which extravagant rant did duty for eloquence, coarse vulgarity for wit, and the wildest improbabilities for inventive incident. In the writings of the second Silesian school the utmost extent of absurdity was reached. Gottsched set his face against such productions. He enunciated rules by which the playwright must be bound; he insisted on the observance of the dramatic unities, and pointed to the French drama as the best possible model for the German stage; moreover, his criticism did much to regulate and purify the German language. Unfortunately he went too far. He placed himself in opposition to the Swiss writers Bodmer and Breitinger, who were bringing before the German public several of the great English writers, more especially Milton; he refused to recognize the rising genius of Klopstock and Lessing, and still went on enunciating rules when the time for that was past, and praising mediocre writers as if they had been great geniuses. So it came to pass that his influence speedily declined, and that before his death his name became almost proverbial for pedantic folly. Of all lots his was the hardest, for he outlived his own reputation. His wife, Luise Adelgunde Victorie Kulmus (1713–1762), was his faithful helper in his literary labours, and herself an authoress of reputation. Among other works she translated the Spectator (9 vols., 1739–43) and Pope’s Rape of the Lock (1744, new ed. 1772). After her death her husband edited her Gedichte, with a memoir (1763). See Danzel’s Gottsched und seine Zeit, Leipsic, 1848.
# Encyclopædia Britannica, Ninth Edition/Joannes Aurifaber

See also Joannes Aurifaber (disambiguation) on Wikipedia; and the disclaimer.
In the 9th edition of the Encyclopædia Britannica, Joannes or Johannes Aurifaber may refer to:
* Joannes Aurifaber of Weimar, the friend of Luther, or
* Joannes Aurifaber of Breslau, the theologian.
# Egyptian Literature/The Book of the Dead/Of Bringing the Makhent Boat

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# Egyptian Literature/The Book of the Dead/Of Coming Forth from Heaven

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OF COMING FORTH FROM HEAVEN
[From the Papyrus of Nu (British Museum No. 10,477, sheet 18).]
The Chapter of coming forth from Heaven, and of making a way through the Ammehet, and of knowing the Souls of Annu (Heliopolis). The chancellor-in-chief, Nu, triumphant, saith:
“I have passed the day since yesterday among the great divine beings, and I have come into being along with the god Khepera. [My] face is uncovered before the Eye, the only One, and the orbit of the night hath been opened. I am a divine being among you. I know the Souls of Annu. ​Shall not the god Ur-ma pass over it as [he] journeyeth forward with vigor? Have I not overcome(?), and have I not spoken to the gods? Behold, he that is the heir of Annu hath been destroyed. I, even I, know for what reason was made the lock of hair of the Man. Rā spake unto the god Ami-haf, and an injury was done unto his mouth, that is to say, he was wounded in [that] mouth. And Ra spake unto the god Ami-haf, saying, ‘O heir of men, receive [thy] harpoon;’ and the harpoon-house came into being. Behold, O god Ami-haf, two divine brethren have come into being, [that is to say], Senti-Rā came into being, and Setem-ansi-f came into being. And his hand stayed not, and he made his form into that of a woman with a lock of hair which became the divine lock in Annu, and which became the strong and mighty one in this temple; and it became the strong one of Annu, and it became the heir of the heir of Ur-maat-f (i.e., the mighty one of the two eyes), and it became before him the god Urma of Annu. I know the Souls of Annu, namely, Rā, Shu, and Tefnut.”