The Seven Deadly Sins, also known as the Capital Vices or Cardinal Sins, is a classification of objectionable vices (part of Christian ethics) that have been used since early Christian times to educate and instruct Christians concerning fallen humanity's tendency to sin. The currently recognized version of the sins are usually given as wrath, greed, sloth, pride, lust, envy, and gluttony.
The Catholic Church divides sin into two categories: venial sins, in which guilt is relatively minor, and the more severe mortal sins. Theologically, a mortal or deadly sin is believed to destroy the life of grace and charity within a person and thus creates the threat of eternal damnation. "Mortal sin, by attacking the vital principle within us - that is, charity - necessitates a new initiative of God's mercy and a conversion of heart which is normally accomplished [for Catholics] within the setting of the sacrament of reconciliation."[1]
To Catholics the seven deadly sins do not belong to an additional category of sin. Rather, they are the sins that are seen as the origin ("capital" comes from the Latin caput, head) of the other sins. A "deadly sin" can be either venial or mortal, depending on the situation; but "they are called 'capital' because they engender other sins, other vices."[2]
Beginning in the early 14th century, the popularity of the seven deadly sins as a theme among European artists of the time eventually helped to ingrain them in many areas of Catholic culture and Catholic consciousness in general throughout the world. One means of such ingraining was the creation of the mnemonic "SALIGIA" based on the first letters in Latin of the seven deadly sins: superbia, avaritia, luxuria, invidia, gula, ira, acedia.[3]
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In the Book of Proverbs (Mishlai), King Solomon stated that the Lord specifically regards "six things the Lord hateth, and the seventh His soul detesteth." namely:[4]
While there are seven of them, this list is considerably different from the traditional one, with only pride clearly being in both lists.
Another list, given this time by the Epistle to the Galatians (Galatians 5:19-21), includes more of the traditional seven sins, although the list is substantially longer: adultery, fornication, uncleanness, lasciviousness, idolatry, sorcery, hatred, variance, emulations, wrath, strife, seditions, heresies, envyings, murders, drunkenness, revellings, "and such like".[5] Since Saint Paul goes on to say that the persons who commit these sins "shall not inherit the Kingdom of God", they are usually listed as (possible) mortal sins rather than Capital Vices.
The modern concept of the Seven Deadly Sins is linked to the works of the 4th century monk Evagrius Ponticus, who listed eight evil thoughts in Greek as follows:[6]
They were translated into the Latin of Western Christianity (largely due to the writings of John Cassian[7]), thus becoming part of the Western tradition's spiritual pietas (or Catholic devotions), as follows:[8]
These "evil thoughts" can be collected into three groups:[8]
In AD 590, a little over two centuries after Evagrius wrote his list, Pope Gregory I revised this list to form the more common Seven Deadly Sins, by folding sorrow/despair/despondency into acedia, vainglory into pride, and adding envy.[9] In the order used by both Pope Gregory and by Dante Alighieri in his epic poem The Divine Comedy, the seven deadly sins are as follows:
The identification and definition of the seven deadly sins over their history has been a fluid process and the idea of what each of the seven actually encompasses has evolved over time. Additionally, as a result of semantic change:
It is this revised list that Dante uses. The process of semantic change has been aided by the fact that the personality traits are not collectively referred to, in either a cohesive or codified manner, by the Bible itself; other literary and ecclesiastical works were instead consulted, as sources from which definitions might be drawn.[citation needed] Part II of Dante's Divine Comedy, Purgatorio, has almost certainly been the best known source since the Renaissance.[citation needed]
The modern Roman Catholic Catechism lists the sins in Latin as "superbia, avaritia, invidia, ira, luxuria, gula, pigritia seu acedia", with an English translation of "pride, avarice, envy, wrath, lust, gluttony, and sloth/acedia".[13] Each of the seven deadly sins now also has an opposite among corresponding seven holy virtues (sometimes also referred to as the contrary virtues). In parallel order to the sins they oppose, the seven holy virtues are humility, charity, kindness, patience, chastity, temperance, and diligence.
Lust or lechery (carnal "luxuria") is usually thought of as excessive thoughts or desires of a sexual nature. In Dante's Purgatorio, the penitent walks within flames to purge himself of lustful/sexual thoughts and feelings. In Dante's Inferno, unforgiven souls of the sin of lust are blown about in restless hurricane-like winds symbolic of their own lack of self control to their lustful passions in earthly life.
Derived from the Latin gluttire, meaning to gulp down or swallow, gluttony (Latin, gula) is the over-indulgence and over-consumption of anything to the point of waste. In the Christian religions, it is considered a sin because of the excessive desire for food for its withholding from the needy.[14]
Depending on the culture, it can be seen as either a vice or a sign of status. Where food is relatively scarce, being able to eat well might be something to take pride in. But in an area where food is routinely plentiful, it may be considered a sign of self-control to resist the temptation to over-indulge.
Medieval church leaders (e.g., Thomas Aquinas) took a more expansive view of gluttony,[14] arguing that it could also include an obsessive anticipation of meals, and the constant eating of delicacies and excessively costly foods.[15] Aquinas went so far as to prepare a list of six ways to commit gluttony, including:
Greed (Latin, avaritia), also known as avarice or covetousness, is, like lust and gluttony, a sin of excess. However, greed (as seen by the church) is applied to a very excessive or rapacious desire and pursuit of wealth, status, and power. St. Thomas Aquinas wrote that greed was "a sin against God, just as all mortal sins, in as much as man condemns things eternal for the sake of temporal things." In Dante's Purgatory, the penitents were bound and laid face down on the ground for having concentrated too much on earthly thoughts. "Avarice" is more of a blanket term that can describe many other examples of greedy behavior. These include disloyalty, deliberate betrayal, or treason,[citation needed] especially for personal gain, for example through bribery. Scavenging[citation needed] and hoarding of materials or objects, theft and robbery, especially by means of violence, trickery, or manipulation of authority are all actions that may be inspired by greed. Such misdeeds can include simony, where one attempts to purchase or sell sacraments, including Holy Orders and, therefore, positions of authority in the Church hierarchy.
As defined outside of Christian writings, greed is an inordinate desire to acquire or possess more than one needs, especially with respect to material wealth.[16]
Over time, the "acedia" in Pope Gregory's order has come to be closer in meaning to sloth (Latin, Socordia). The focus came to be on the consequences of acedia rather than the cause, and so, by the 17th century, the exact deadly sin referred to was believed to be the failure to utilize one's talents and gifts.[citation needed] Even in Dante's time there were signs of this change; in his Purgatorio he had portrayed the penance for acedia as running continuously at top speed.
The modern view goes further, regarding laziness and indifference as the sin at the heart of the matter. Since this contrasts with a more willful failure to, for example, love God and his works, sloth is often seen as being considerably less serious than the other sins, more a sin of omission than of commission.
Wrath (Latin, ira), also known as "rage", may be described as inordinate and uncontrolled feelings of hatred and anger. Wrath, in its purest form, presents with self-destructiveness, violence, and hate that may provoke feuds that can go on for centuries. Wrath may persist long after the person who did another a grievous wrong is dead. Feelings of anger can manifest in different ways, including impatience, revenge, and vigilantism.
Wrath is the only sin not necessarily associated with selfishness or self-interest, although one can of course be wrathful for selfish reasons, such as jealousy, (closely related to the sin of envy). Dante described vengeance as "love of justice perverted to revenge and spite". In its original form, the sin of anger also encompassed anger pointed internally rather than externally. Thus suicide was deemed as the ultimate, albeit tragic, expression of hatred directed inwardly, a final rejection of God's gifts.[citation needed]
Like greed, Envy (Latin, invidia) may be characterized by an insatiable desire; they differ, however, for two main reasons:
Dante defined this as "a desire to deprive other men of theirs." Envy can be directly related to the Ten Commandments, specifically "Neither shall you desire... anything that belongs to your neighbour". In Dante's Purgatory, the punishment for the envious is to have their eyes sewn shut with wire because they have gained sinful pleasure from seeing others brought low. Aquinas described envy as "sorrow for another's good".[17]
In almost every list, pride (Latin, superbia), or hubris (Greek), is considered the original and most serious of the seven deadly sins, and the source of the others. It is identified as a desire to be more important or attractive than others, failing to acknowledge the good work of others, and excessive love of self (especially holding self out of proper position toward God). Dante's definition was "love of self perverted to hatred and contempt for one's neighbour." In Jacob Bidermann's medieval miracle play, Cenodoxus, pride is the deadliest of all the sins and leads directly to the damnation of the titulary famed Parisian doctor. In perhaps the best-known example, the story of Lucifer, pride (his desire to compete with God) was what caused his fall from Heaven, and his resultant transformation into Satan. In Dante's Divine Comedy, the penitents were forced to walk with stone slabs bearing down on their backs to induce feelings of humility.
Acedia (Latin, acedia) (from Greek ακηδία) is the neglect to take care of something that one should do. It is translated to apathetic listlessness; depression without joy. It is similar to melancholy, although acedia describes the behaviour, while melancholy suggests the emotion producing it. In early Christian thought, the lack of joy was regarded as a willful refusal to enjoy the goodness of God and the world God created; by contrast, apathy was considered a refusal to help others in time of need.
When Thomas Aquinas described acedia in his interpretation of the list, he described it as an uneasiness of the mind, being a progenitor for lesser sins such as restlessness and instability. Dante refined this definition further, describing acedia as the failure to love God with all one's heart, all one's mind and all one's soul; to him it was the middle sin, the only one characterised by an absence or insufficiency of love. Some scholars[who?] have said that the ultimate form of acedia was despair which leads to suicide.
Vainglory (Latin, vanagloria) is unjustified boasting. Pope Gregory viewed it as a form of pride, so he folded vainglory into pride for his listing of sins.[citation needed]
The Latin term gloria roughly means boasting, although its English cognate - glory - has come to have an exclusively positive meaning; historically, vain roughly meant futile, but by the 14th century had come to have the strong narcissistic undertones, of irrelevant accuracy, that it retains today.[18] As a result of these semantic changes, vainglory has become a rarely used word in itself, and is now commonly interpreted as referring to vanity (in its modern narcissistic sense).
The Roman Catholic Church also recognizes seven virtues, which correspond inversely to each of the seven deadly sins.
Vice | Latin | Virtue | Latin |
---|---|---|---|
Lust | Luxuria | Chastity | Castitas |
Gluttony | Gula | Temperance | Temperantia |
Greed | Avaritia | Charity | Caritas |
Sloth | Acedia | Diligence | Industria |
Wrath | Ira | Patience | Patientia |
Envy | Invidia | Kindness | Humanitas |
Pride | Superbia | Humility | Humilitas |
In 1589, Peter Binsfeld paired each of the deadly sins with a demon, who tempted people by means of the associated sin. According to Binsfeld's classification of demons, the pairings are as follows:
This contrasts slightly with an earlier series of pairings found in the fifteenth century English Lollard tract Lanterne of Light, which differs in pairing Beelzebub with Envy, Abadon with Sloth, Belphegor with Gluttony and matching Lucifer with Pride, Satan/Amon with Wrath, Asmodeus with Lust and Mammon with Avarice.[19]
According to a 2009 study by a Jesuit scholar, the most common deadly sin confessed by men is lust, and for women, pride.[20] It was unclear whether these differences were due to different rates of commission, or different views on what "counts" or should be confessed.[21]
The seven deadly sins have long been a source of inspiration for writers and artists, from morality tales of the Middle Ages to modern manga series and video games.
In his 1973 book, Whatever Became of Sin?, Karl Menninger argued that the traditional list of the seven deadly sins was incomplete; that most modern ethicists would include cruelty and dishonesty and probably would rate these as more serious than some of the more traditional sins such as gluttony or sloth.
In his 1908 book, "How one is not to be," Andrew Culbertson argues that two further vices should be added to the deadly sins: fear and superstition. Fear, in Culbertson's description, amounts to the modern psychiatric condition called Delusional disorder, while superstition is, "Belief in things that one does not understand, to the point of giving money to frauds and spiritual confidence men."
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Traveling Wilburys Vol. 3 is the 1990 follow-up album by the supergroup Traveling Wilburys to their 1988 debut Traveling Wilburys Vol. 1.
Though it was their second release, the album was mischievously titled Vol. 3 by George Harrison. According to Jeff Lynne, "That was George's idea. He said, 'Let's confuse the buggers.'"
As the dynamics within the band had shifted with Orbison's death, the four remaining members all adopted new Wilbury pseudonyms: Spike (George Harrison), Clayton (Jeff Lynne), Muddy (Tom Petty) and Boo (Bob Dylan). With Harrison and Lynne producing again, the sessions were undertaken in the spring of 1990, with an additional track, a cover of "Nobody's Child" being set aside for a charity compilation album.
Released in October, Traveling Wilburys Vol. 3 was less positively received than its predecessor, yet still saw a fair measure of success, with both "She's My Baby" (with Gary Moore) (#2 album rock) and "Inside Out" (#16 album rock) becoming radio hits as the album reached #14 in the UK and #11 in the US where it went platinum.
Deadly Sins is the seventh album by the American heavy metal band Seven Witches.
All tracks by Jack Frost & Alan Tecchio except were noted
The seven deadly sins is a classification of vices used in early Christian teachings
Seven deadly sins may also refer to:
Robin Wasserman (born May 31, 1978) is an American young adult novelist.
Wasserman grew up outside of Philadelphia and graduated from Harvard University and UCLA. Before she was an author she was an associate editor at a children's book publisher. She is currently living in Brooklyn, New York.
The Seven Deadly Sins series from Simon & Schuster features seven morally bankrupt teenagers in a small California town. Each novel revolves around one of the sins and each character's transgressions specific to that sin. They follow the lives of Harper Grace, Beth Manning, Adam Morgan, Kane Geary, Miranda Stevens, Reed Sawyer, Katherine (Kaia) Sellers, and their French teacher, Jack Powell. Novels in the series are Lust, Envy, Pride, Wrath, Sloth, Gluttony, and Greed.
The series was made into a four-hour miniseries, which debuted on the Lifetime Movie Network on May 23 and 24, 2010.
The Seven Deadly Sins (Japanese: 七つの大罪 Hepburn: Nanatsu no Taizai) is a Japanese manga series written and illustrated by Nakaba Suzuki. It has been serialized in Kodansha's Weekly Shōnen Magazine since October 2012, with the chapters collected into eighteen tankōbon volumes as of December 17, 2015. The manga features a setting similar to the European Middle Ages, with its titular group of knights representing the seven deadly sins.
As of January 2015, The Seven Deadly Sins had sold over 10 million copies. It was adapted into a 24-episode television anime by A-1 Pictures that aired from October 2014 to March 2015. The manga has been licensed by Kodansha Comics USA for English publication in North America, while the chapters are released digitally by Crunchyroll in over 170 countries as they are published in Japan. Netflix acquired the exclusive English streaming rights for the anime series.
The Seven Deadly Sins were once an active group of knights in the region of Britannia (ブリタニア Buritania), who disbanded after they supposedly plotted to overthrow the Liones Kingdom (リオネス王国 Rionesu Ōkoku). Their supposed defeat came at the hands of the Holy Knights, but rumors continued to persist that they were still alive. Ten years later, the Holy Knights staged a coup d'état and captured the king, becoming the new, tyrannical rulers of the kingdom. The third princess, Elizabeth, then starts out on a journey to find the Seven Deadly Sins and enlist their help in taking back the kingdom.
The Seven Deadly Sins was a two-part play written c. 1585, attributed to Richard Tarlton, and most likely premiered by his company, Queen Elizabeth's Men. The play drew upon the medieval tradition of the morality play; though it was very popular in its time, no copy of either part has survived.
The play is significant, however, because the "plot" of Part 2 still exists; it was discovered in the cover of a 17th-century manuscript play, The Tell Tale, in the collection of Edward Alleyn's papers at Dulwich College. As the term was used in English Renaissance theatre, the "plot" of a play was a chart that summarized its action; it was posted in the "tiring house" or backstage area of a theatre. The plot of S.D.S. 2 has a square hole punched in its middle, where it was hung on a board for all to read. The cast members of an Elizabethan dramatic production had their own parts written out for them, with relevant entrances and cues — but they did not have their own individual copies of the play text as a whole. So the posted plot was an important resource in keeping the production organized. Surviving Elizabethan plots are extremely rare — only half a dozen exist.
* I got this mother fucker staring at me
Should i hit him up with the heat?
And leave him dead in the streets
I think bout to be desised
But they's a mother fucking want to be fool
I seen'em crying when my homie put a got to his face
Somebody lieing,Everybody dieing, trying to get slick
I put the clip in and sqweezed to my shit don't kick
Reload and trip some more
Lord forgive me cause i love the way the gun blow
kissing on my automatic clicking where the trigger go
Blow your mother fucking head off
I bout to set it off
20 hollow points of your brain
I'm bout to let 'em off
You mother fuckers ain't shit trying to be hard core
You think you're bad cuase you let your bullets rip
through my front door
I think you tried try to disrespect me
I leave that ass leaking come on and test me
I rest in peace any enamys
And leave 'em blind
That's what you get for try to fuck with mine
[one man talking]
We can do this anyway you want doc
One on one from the chest
Or we can all get down
Yeah? we can all fuck this place up
I trust no man but my solo fucking crime partner
You just got to know who's real and the one's who are
rata
You know them liltle rats that got your back but they
start to run
You know them liltle lives that shit their pants when
shit pops off
Ask yourself is everyone down to with your team?
He might look real mean but they look they decive
The biggest baddest locos get their head bashed in
See some of the best of 'em
Get tossed in trash cans
See is not what you say, It's what you prove
It's not what you got, Cause it's what you can loose
A puto dies a thounsands times, A solider dies once
It's hard to show love
When the push comes to shove
You might be binded by blood
But your bound by your honor
If you can't hold your ground
Then your ass is a gonner
It's just the envy in mind
That's when evil occurs
But from what he procives
Then i guess he desurves
[one man talking]
That punk got you kick back in the hole
they say is all back
Now he's running around and talking mad shit
His numbers up holmes
I said I'm taking it off ese
Its gonna happen? Its gonna happen?
Don't try to stop it
You understand me?
I'm asking you carnal
Conosi a un tal huero que tenia mucho dinero
Cocaina de Colombia, Sinturon echo de cuero
Le decian el mero mero con sus botas de culebra
Cuerno de chivo en el dedo para protejer su yerva
Trato echo con respeto, Coca,Chiva,Mariguana
Nos esperan en Nevada si cruzamos la Tijuana
20 Kilos de la buena 15 metros pa' llegar
Ponte listo Jalisqueno no te vallas a rajar
Le ensene mi mika chueka no nos dejaro pasar
Pero chingen a su madre a mi me tienen que matar
Le apunte y dispare
Yo no lo pude creer cayo muerto en el suelo lo patie
como pele cuando pense
Que por seguro estabamos torzidos
Salio el huero bien prendido disparo el cueno de chivo
El huero no los dejes vivos
Si no maman me la pelan