Acts 19:25

Act 19:25. Ἐργάτας, workmen) The τεχνῖται, the artificers of a nobler class, were distinct from the ἐργάται, workmen.—ἡ εὐπορία, gain, wealth) It is upon the plea of this that the faith is often crushed.

Bengel's Gnomon of the New Testament — English translation (T&T Clark, Edinburgh, 1860) — public domain. Text from a community e-Sword module.

Act_19:25-26. Demetrius assembled not only the artisans (οὕς) who worked for him, but also the other workmen who were occupied in similar industrial occupations (τὰ τοιαῦτα). Bengel correctly remarks: Alii erant τεχνῖται, artifices nobiliores, alii ἐργάται operarii.

οὐ μόνον … ἀλλά] without καί, like the Latin non modo … sed, contains a climax; see Maetzn. ad Antiph. p. 129; Bremi, ad Isocr. Exc. IX.; Buttmann, neut. Gr. p. 317 [E. T. 369].

μετέστ.] namely, from the worship of the gods.

ὅτι οὐκ εἰσὶ θεοί] The people identified the statues of the gods with the gods themselves, or at least believed that the numen of the divinity filled them. See Elsner, Obss. p. 453 ff.; Wolf, Cur.; Hermann, gottesd. Alterth. § xviii. 19.

Observe the order of the words, accordant with their emphasis, marked also by dislocation in Act_19:26, and the scornful and bitter ὁ Παῦλος οὗτος: that Paul there!

θεοί is predicate. How Paul looked on the heathen gods, may be seen at 1Co_8:4; 1Co_10:20. The gods = images, were to him of course only the work of men, without any reality of that which they were intended to represent. Comp. Act_17:29.

Meyer — Critical and Exegetical Commentary on the New Testament — English translation by Peter Christie, edited by Frederick Crombie (T&T Clark, 1880) — public domain. Text from a community e-Sword module.

Act 19:25 . περὶ τὰ τοιαῦτα , cf. Luk 10:40-41 , for a similar use of περί with accusative, but see W. H., l. c. , and 2Ma 12:1 . εὐπορία : wealth, or gain, only here in N.T., in classical Greek “in different senses in different authorities,” Grimm-Thayer; in LXX, 2Ki 25:10 , but in a different sense (see Hatch and Redpath’s references to its use by Aquila, Symm., and others). Rendall takes it of comfort and well-being, in the old English sense weal .

The Expositor's Greek Testament, edited by W. Robertson Nicoll (1897–1910) — public domain. Text from a community e-Sword module.

Whom he called together with the workmen of like occupation--rather, "with the workmen (or fabricators) of such articles," meaning the artisans employed by the master-artificers, all who manufactured any kind of memorial of the temple and its worship for sale.

Jamieson, Fausset & Brown — Commentary Critical and Explanatory on the Whole Bible (1871) — public domain (CC PDM 1.0). Text via the HelloAO Bible API.

Verse 25. By this craft we have our wealth.] The word ευπορια not only signifies wealth, but also abundance. It was a most lucrative trade; and he plainly saw that, if the apostles were permitted to go on thus preaching, the worship of Diana itself would be destroyed; and, consequently, all the gain that he and his fellows derived from it would be brought to nought.

Adam Clarke's Commentary on the Bible (1810–1826) — public domain. Text from a community e-Sword/MySword module.

25. By this craft. Demetrius doth in this place filthily betray his malice. It is lawful for a man, in some measure, to provide for his private profit; but to trouble common [the public] peace for a man’s own gain, to overthrow equity and right, to give over a man’s self to do violence and commit murder, to extinguish that of set purpose which is just and right; that is too great wickedness. Demetrius confesseth that this is the state of the cause, because, [viz. that] Paul denieth that those are gods which are made with men’s hands. He doth not inquire whether this be true or no; but being blinded with a desire to get gain, he is carried headlong to oppress true doctrine. The same blindness doth drive him headlong to seek violent remedies. Also the craftsmen, because they be afraid of poverty and hunger, run headlong as violently; for the belly is blind and deaf, so that it can admit no equity. For which cause, every one of us ought more to suspect himself, when the question is touching our own gain and profit, lest the same covetous desire which made these men so mad take away all difference of justice and injustice, of that which is filthy and that which is honest.

John Calvin's Commentaries (1540-1563) — public domain. Text from the Calvin Translation Society English edition (1840s-50s) via the Christian Classics Ethereal Library (ccel.org). Calvin's coverage is partial (roughly two-thirds of the Bible); uncommented books and verses are honest gaps, never fabricated. The 19th-century editor's footnotes and remarks are omitted so the notes are faithfully Calvin's own voice.

(25) The workmen of like occupation.—The “craftsmen” of the previous verse represent the higher class of what we call skilled labour. Here we have the unskilled labourers whom they employed. The former were, in a sense, artists, these were artisans.

Sirs, ye know that by this craft we have our wealth.—Literally, Men, the word used being different from that in Act_16:30. The word for “craft” is the same as that translated “gain” in Act_16:19, where see Note. The opening words of Demetrius bring before us, with an almost naive simplicity, the element of vested interests which has at all times played so prominent a part in the resistance to religious and political reforms, and entered largely into the persecutions against which the early preachers of the gospel had to contend. Every city had its temples and priests, its flamens, its oracles or sanctuaries. Sacrifices and feasts created a market for industry which would otherwise have been wanting. In its later development, the Christian Church, employing the services of art, encouraging pilgrimages, organising conventual and collegiate institutions, created a market of another kind, and thus gave rise to new vested interests, which in their turn were obstacles to the work of reformation. At first, however, the absence of the aesthetic element in the aims and life of the Church seemed to threaten those who were occupied in such arts with an entire loss of livelihood, and roused them to a fierce antagonism.

A Bible Commentary for English Readers, edited by Charles John Ellicott (1878–1897) — public domain. Text from a community e-Sword module.

25. whom he called [Better, gathered] together with the workmen of like occupation] His own special craft was the carving and engraving of these shrines, as we learn from the word rendered silversmith. But before the work reached that higher stage, the materials had to pass through many hands in preparation, and from the smelter of the metal up to him who added the final touches of adornment and polishing, all were concerned in the threatened loss of trade.

and said … our wealth] He appeals to them at once because they are enriched and make gain by their craft.

The Cambridge Bible for Schools and Colleges (gen. ed. J. J. S. Perowne; Cambridge University Press, 1878–1918) — public domain. Text from a community e-Sword module.

And the whole city was filled with confusion,.... For the workmen that made the silver shrines very likely ran up and down in the city, crying out, great is Diana of the Ephesians, which brought the people out of their houses to inquire what was the matter; and the mob gathering and increasing, as they went along, threw the whole city into confusion and disorder:

and having caught Gaius and Aristarchus, men of Macedonia; the latter of these was of Thessalonica in Macedonia, as appears from Act 20:4 but of what place the former was, is not certain; however, being a Macedonian, he could not be the Gaius of Derbe, mentioned in the same place, nor the Gaius of Corinth, Co1 1:14 but some third person. They are both Greek names; Aristarchus signifies the chief of princes, or the prince of chiefs; and Gaius is a name taken from the joy of parents, and is the same with the Roman name, Caius; they are both reckoned among the seventy disciples; the former is said to be bishop of Apamea in Phrygia, and the latter Bishop of Ephesus; See Gill on Luk 10:1.

Paul's companions in travel; whom he brought with him out of Macedonia, and who had been with him to Jerusalem and Antioch, and were now returned with him to Ephesus, where they had been with him for the space of two years, or more: it is very much that this mob had not seized on Paul himself: it may be Paul was within doors, and these were without in the streets, and so were laid hold upon and carried away in a most forcible and violent manner by them: who having got them,

they rushed with one accord into the theatre; where the public plays were acted in honour of the goddess Diana, and where, among other things, men were set to fight with wild beasts; and very likely the intention of the mob, in hurrying Paul's companions thither, was to throw them to the wild beasts. A theatre is a spectacle or show, so called, because in them fights were shown, plays were acted, games exercised, and battles fought between men and men, and between men and beasts, and between beasts and beasts; concerning which, take the following account (x):

"Theatre, among the ancients, is a public edifice for the exhibiting of scenic spectacles, or shows to the people--under the word theatre was comprehended not only the eminence, whereon the actors appeared, and the action passed, but also the whole area, or extent of the place common to the actors and spectators: in this sense the theatre was a building encompassed with porticos, and furnished with seats of stone, disposed in semicircles, and ascending gradually over one another, which encompassed a space called the "orchestra"; in the front whereof was the "proscenium" or "pulpitum", whereon the actors performed the "scena", a large front adorned with orders of architecture; behind which was "postscenium", or the place where the actors made themselves ready, retired, &c. so that the "scena", in its full extent, comprehended all the part belonging to the actors. In the Greek theatres, the "orchestra" made a part of the "scena"; but in the Roman theatres, none of the actors ever descended into the "orchestra", which was taken up by the seats of the senators.''

For the better understanding the terms used, and the several parts of the theatre, let it be observed, that the "scena", according to others (y) was the place from whence the actors first went out; and it reached from one corner of the theatre to the other, and was threefold; "tragical", which was adorned in a royal manner with pillars and signs; "comical", which represented private buildings; and "satirical", which exhibited trees, caves, mountains, &c. Likewise, the "scena" was either "versile", when on a sudden the whole scene was turned by some machines; or "ductile", when by drawing away the boards the inward face of the scene appeared, or by drawing curtains. The "proscenium" was a place lower than the scene, in which the actors chiefly spoke and acted: the "postscenium" was a place in which these things were done, which could not be done fitly, and with decorum in the scenes: the "pulpitum" was a higher place in the "proscenium", in which those that recited stood: the "orchestra" was the last place, in which they danced, and near which the senators sat. Tarquinius Priscus was the first who introduced plays among the Romans; and the temple of Bacchus at Athens was the first theatre in the world, the remains of which are still to be seen. Of this theatre at Ephesus I have not met with any account; whether it was in the temple, or without, is not certain; very likely it might be a part of it, or adjoin unto it.

(x) Chamber's Cyclopaedia in the word "Theatre". (y) Nieupoort. Compend. Antiqu. Roman. p. 285, 286. Yid. Alex. ab Alex. Genial. Diet. l. 5. c. 16.

John Gill's Exposition of the Whole Bible (1746–1763) — public domain (CC PDM 1.0). Text via the HelloAO Bible API.

25 Whom he called together with the workmen of like occupation, and said, Sirs, ye know that by this craft we have our wealth.

Ver. 25. By this craft we have our wealth] And wealth is the wordling’s god, which he prizeth, as Micah did his idol; and can as hardly forego it. What a cursing made Micah’s mother in the loss of her eleven hundred shekels of silver, Jdg 17:2, and what a hubbub raised Micah all the country over, when the Danites had despoiled him of his dunghill deity, Jdg 18:22-27. So did the silversmiths here, and they thought they had reason to be thus mad when their trade was taken away.

John Trapp, A Commentary or Exposition upon All the Books of the Old and New Testament (1647–1656) — public domain. Text from a community e-Sword module.

With the workmen of like occupation - Those who were in his employ, and all others engaged in the same business. As they would be all affected in the same way, it was easy to produce an excitement among them all.

Sirs - Greek: Men.

By this craft - By this business or occupation. This is our trade.

Our wealth - Greek: our acquisition; our property. We are dependent on it for a living. It does not mean that they were rich, but that they relied on this for a subsistence. That it was a lucrative business is apparent, but it is not affirmed that they were in fact rich.

Albert Barnes' Notes on the Bible (1834–1885) — public domain. Text from a community e-Sword/MySword module.

Gain, getting or keeping a livelihood, are great temptations, and, a little pretext of piety with them, keep up the superstition and false worship that abound in the world.

Matthew Poole's English Annotations on the Holy Bible (1683–1685) — public domain. Text from a community e-Sword/MySword module.

Gathered for called, A.V.; bust. ness for craft, A.V., but "craft" is the better rendering. Workmen; ejrgatai, different from the tecnitai skilled laborers or artisans. Demetrius called together all who were in any way interested in the shrine trade. His true reason came out first.

The Pulpit Commentary (1880–1919), ed. H.D.M. Spence-Jones & Joseph S. Exell — public domain. Text from a community e-Sword module.

The workmen - Employed by him and them.

John Wesley, Explanatory Notes Upon the Whole Bible (1754–1765) — public domain. Text via the GEBible commentary corpus.

See notes on verse 23

J. W. McGarvey (with Philip Y. Pendleton), Commentaries on the New Testament (The Fourfold Gospel, 1914; Acts; and the epistles) — public domain. Text from a community e-Sword/MySword module.

25. οὓς συναθροίσας καὶ τοὺς περὶ τὰ τοιαῦτα ἑργάτας, whom having gathered together along with the workmen of like occupation. His own special branch of the craft was the carving and engraving of these shrines, as we learn from the word ἀργυροκόπος. But before the work reached the higher stage, the materials had to pass through many hands in preparation, and from the smelter of the metal up to him who added the final touches of adornment and polishing all were concerned in the threatened loss of trade.

ἐκ ταύτης τῆς ἐργασίας ἡ εὐπορία ἡμῖν ἐστιν, from this craft we have our wealth. Such an appeal would go home at once. Their income and prosperity were assailed by the new teaching.

Cambridge Greek Testament for Schools and Colleges (Cambridge University Press, 1896; 21 vols, various authors incl. Carr, Maclear, Plummer, Farrar, Lumby, Moule, M. R. James, Simcox) — public domain. Text from a community e-Sword module.

25. τὰ τοιαῦτα] All sorts of memorials or amulets connected with the worship of Artemis.

Dean Howson (ii. p. 98) suggests that possibly Alexander the coppersmith may have been one of these craftsmen: see 2Ti 4:14.

Henry Alford, The Greek Testament (1849–1861) — public domain. Text from a community e-Sword module.

Wealth [ευπορια] . See on ability, ch. 11 29. Lit., welfare. Wealth is used by the A. V. in the older and more general sense of weal, or well - being generally. Compare the Litany of the English Church : "In all time of our tribulation, in all time of our wealth."

Marvin R. Vincent, Word Studies in the New Testament (1887–1900) — public domain. Text from a community e-Sword/MySword module.