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Romans 8 is the eighth chapter of the Epistle to the Romans in the New Testament of the Christian Bible. It was authored by Paul the Apostle, while he was in Corinth in the mid-50s AD, [1] with the help of an amanuensis (secretary), Tertius, who added his own greeting in Romans 16:22. [2] Chapter 8 concerns "the Christian's spiritual life".
Textual variants in the Epistle to the Romans are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced.
Celsus' principal work was his libri digestorum 39, of which books 1-27 discussed Hadrian's edicts -- books 1-12 and 24–27 on the order of the edicts, and books 13-23 concerned legacies and wills -- while books 28-39 discussed the laws the Senate promulgated and numerous senatus consulta.
Fenton Hort gave eight examples from Mark (6:33; 8:26; 9:38, 39) and Luke (9:10; 11:54; 12:18; 24:53) in which the Byzantine text-type had combined Alexandrian and Western readings. It was one of the three Hort's arguments that the Byzantine text is the youngest.
An abbreviated history of the passage is that the conclusion of the Epistle to the Romans was known in several different versions: about the year 144, Marcion made radical changes in the ending of the Epistle to the Romans, breaking it off with chapter 14. At about the same time someone else made in other manuscripts the addition of verses 16: ...
The text of Romans 16:25-27 is following 14:23, as in Codex Angelicus Codex Athous Lavrensis, 0209, Minuscule 181 330 451 460 614 1241 1877 1881 1984 1985 2492 2495. [ 11 ] In 1 Corinthians 2:1 it reads μαρτυριον along with B D G P Ψ 33 81 104 181 330 451 614 629 630 1241 1739 1877 1881 1962 1984 2127 2492 2495 Byz Lect it vg syr h ...
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Sei Lob und Preis mit Ehren, originally BWV 231, later renumbered to BWV 28/2a, is the second movement of the motet Jauchzet dem Herrn alle Welt, presented as a separate motet. Whether Bach extracted this motet (which is based on the second movement of the cantata BWV 28 ) from the three-movement motet or the cantata, and/or used it as a ...