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Don’t talk too much. Be quick to hear and slow to speak.

There is more hope for a fool than for him.
Do not be eager in your heart to be angry, For anger resides in the bosom of fools.
In those days Peter stood up among the brothers (a gathering of about a hundred and twenty) and said,
Consider it pure joy, my brothers, when you encounter trials of many kinds,
Do not be deceived, my beloved brothers.Why, my beloved brothers, let every man be swift to hear, slow to speak, slow to wrath:let.slow to speak.slow to wrath.

Anger, no doubt, is a wholesome tonic for some minds, and certain weaknesses; but "he that is slow to anger is better than the mighty, and he that ruleth his spirit than he that taketh a city" (). - EXHORTATION TO HEAR RATHER THAN TO SPEAK, NOT ONLY TO HEAR, BUT ALSO TO DO.

But let every one be quick to hear, slow to speak, and slow to be angry

The Importance of Being Quick to Listen and Slow to Speak

Western culture encourages us to be quick to speak and slow to listen …

“Know this, my beloved brothers: let every person be quick to hear, slow to speak, slow to anger; for the anger of man does not produce the righteousness of God.”

But let every man be swift to hear, slow to speak, and slow to anger;
And you, my beloved brethren, everyone of you should be quick to hear, slow to speak and slow to anger.
Remember this, my dear brothers and sisters: Everyone should be quick to listen, slow to speak, and should not get angry easily.
you know, my beloved brethren.

35 best quick to hear & slow to speak images on …

But let everyone be quick to hear, slow to speak slow to anger;
Therefore, my beloved brethren, let every man be quick to hear, slow to speak, slow to wrath;
Therefore, my beloved brethren, let every man be swift to hear, slow to speak, slow to anger:
Why, my beloved brothers, let every man be swift to hear, slow to speak, slow to wrath:
Ye know this , my beloved brethren.

26.06.2017 · But everyone must be quick to hear, slow to speak and slow to ..

But let every one be quick to hear, slow to speak, and slow to be angry.
So, then, my beloved brothers, let every man be swift to hear, slow to speak, and slow to anger;
So then, my brethren beloved, let every man be swift to hear, slow to speak, slow to anger,

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Scripture itself encourages us to be quick to hear and slow to speak.

If we are quick to hear, we will be slow to speak.

Since the Gospel, the word of truth, is the means and instrument which God makes use of in regeneration, and in forming people for himself: let every man be swift to hear; not anything; not idle and unprofitable talk, or filthy and corrupt communication; but wholesome advice, good instructions, and the gracious experiences of the saints, and, above all, the word of God; to the hearing of which men should fly, as doves to their windows; should make haste, and be early in their attendance on it, as well, as constant; and receive it with all readiness, and with a sort of greediness of mind, that their souls may be profited, and God may be glorified: the phrase is Jewish; things easy and smooth, a man is , "swift to hear them (l): slow to speak"; against what is heard, without thoroughly weighing and considering what is said; and this may regard silence under hearing the word, and is also a rule to be observed in private conversation: or the sense may be, be content to be hearers of the word, and not forward to be preachers of it; and if called to that work, think before you speak, meditate on the word, and study to be approved to God and men.

Be quick to hear and slow to speak.

It is the design of the word of God to make us wise to salvation; and those who propose any mean or low ends in attending upon it, dishonour the gospel, and disappoint their own souls.

Alphabetical: and anger angry be become beloved brethren brothers But dear Everyone hear know listen must My note of quick should slow speak take this to you

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But everyone must be quick to hear, slow to speak and slow to anger;
Wherefore, my beloved brethren, let every man be swift to hear, slow to speak, slow to wrath:
My dearly loved brothers, understand this: Everyone must be quick to hear, slow to speak, and slow to anger,
You must understand this, my dear brothers.

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There are a number of recordings of the Fourth by Mahler's friend, assistant and disciple Bruno Walter available but I'm going to deal with the one made in New York in 1946 (Sony 5153012 coupled with the Fifth, or Naxos 8.110876) as broadly speaking his interpretation remained the same and this one is the easiest to obtain as well a being the only official one he ever made. Comparing him with Mengelberg's recording is especially interesting in that it warns us straight away not to be too quick to regard one way of playing Mahler as authentic. Walter knew Mahler even better than Mengelberg did. He also heard Mahler perform this and other of his works. So it's fascinating to hear Walter take a different approach, much less mannered, much less indulgent. One caveat must be made, however. Though this New York recording was made on discs which allowed takes of around sixteen minutes, Walter would have had to take note of the fact that it would be issued on 78rpm sides of around four minutes. This must have had an effect on some of the overall tempi adopted. Indeed, in an interview with Mahler biographer Henry-Louis de La Grange, the recording's soprano in the last movement Desi Halban confirmed this to be the case. That said, Walter's recording also deserves its place in the Fourth's discography, both as historic document and also a recording to be enjoyed on its own merits. I like the lighter, more pastoral approach Walter adopts at the start because this is allied to a definite underlying tread that never seems to leave him. It's a remarkable effect, a tempo that allows for a degree of expression that doesn't weight the music down with unnecessary mannerism. There is some quite tart playing from the woodwinds to which gives him the opportunity to respond to the special sound of this work and balance Deryck Cooke's ghosts with the good humour. There is a price to pay. The climax on the dissonance is not as deep or profound as Mengelberg's, or some of the other conductors we will deal with. Also the symphonic thread is maintained, it seems to me, at some cost to the little amount of conflict there is in the work. But Walter's good sense is very engaging. In the second movement Walter makes his solo violinist sound more sinister than Mengelberg and this is correct as Mahler asks the player to tune his instrument up a tone to sound more diabolical. This, according to Mahler, is "Friend Death" leading a dance rather in the manner of the Pied Piper - Death as friend, a beguiling character. The playing of the New York Philharmonic, another great Mahler orchestra, is full of character and security, fully aware of the idiom in which they are playing.

Metabo BE 75 Quick: цены, отзывы, магазины

Klemperer was capable of confounding critics as the supposed master of slow tempo and this is no more in evidence than here where he gives the quickest account of the slow movement of many I know. It alters the character of the piece and promotes this recording to one of even greater interest than it might have been, offering an alternative to the, under lesser men, often comatose accounts we can encounter. Sometimes Mahler would speak of this movement as an Adagio, sometimes Andante and this used to annoy his friend Natalie Bauer-Lechner so he told her he could just as well call it Moderato, Allegro or Presto "for it includes all of these." Klemperer has his justification. I also want to draw attention to the playing of woodwind against strings in this movement as it's like having the score in front of you, so clear is the balancing. Overall I think Klemperer gives a more unsettled view of the movement than most and for that reason this recording has a special place in the list. Notice too how well he manages the increases in tempo between bars 222 and 282: an acid test for the conductor in this work. Then the moment of climax, when Mahler depicts the flinging open of the gates of heaven, timpani hammering out the bell-like motif hitherto heard quietly on harp and reminiscent of the bells in Wagner's Parsifal, really bursts with joy and is played for everything. It's a fine preparation for the last movement where we come to the most controversial part of this recording, the reason why many people dislike it so much. Singing in the fourth movement is no less than the great Elisabeth Schwarzkopf and it's clear from her first entry her approach is wrong for this music. That she is far too worldly, far too knowing, far too "arch" for what the strange and simple words and music need is obvious. And yet, for all that, she does it all so beautifully, even though I always shake my head when I hear her. And smile too.

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