11.08.14
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Mike Cope 1 Timothy 2
Dale Pauls Neither Male Nor Female. All must be Silent when God is in His Holy Temple
The.Spirit.of.Divination The spirit of divination is Abaddon or Apollyon. Divina defines a witch, hag or sorcerer. The Biblical LECTIO demands reading the Biblical text as the only purpose of the Church.
THE ABSOLUTE LAW OF CHRIST IN 1 TIMOTHY 2 WHICH MEN FLAUNT WHEN THEY HELP WOMEN USURP THEIR ONLY AUTHORITY TO TEACH THAT WHICH IS WRITTEN
THE COMMAND IS TO PREACH THE WORD BY READING THE WORD. Therefore
First: pray that everyone be QUIET and PEACEABLE.
1Timothy 2:1 I exhort therefore, that, first of all, supplications, prayers, intercessions,
and giving of thanks, be made for all men;
1Timothy 2:2 For kings, and for all that are in ;
that we may lead a quiet and peaceable life in all godliness and honesty.
This is not an ACT of worship as a performance for which women EQUALITY. Paul will command the women to be quiet and sedentary because it was only women and effeminate males who could fall into the wrath or ORGE of performance religion
SOME GREEK AND LATIN DEFINITIONS OF A QUIET AND PEACEABLE LIFE
HOW TO REST
Ana-pauō make to cease, stop or hinder from a thing, 3. bring to a close, “ton logon”
Pauō , Stop Singing, aoid-ē spell, incantantations (arousal songs0
Stop the sorcery Pharmakon A. poisoner, sorcerer, magician, LXXEx.7.11 (masc.), Ma.3.5 (fem.), Apoc.21.8, 22.15. when he stopped playing,
Revelation 18
HOW TO BE QUIET
HOW TO BE PEACABLEQuĭesco 4. to make a pause in speaking: quiescere, id est, hēsukhazein
A. To suffer or allow quietly, to peaceably permit a thing to be done
B. Neutr., to cease, leave off, desist from any thing: “quiesce hanc rem modo petere,
mŏdus 2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: “vocum,” Cic. Div. 2, 3, 9: “musici,” Quint. 1, 10, 14: “lyrici,” Ov. H. 15, 6: “fidibus Latinis Thebanos aptare modos,” Hor. Ep. 1, 3, 12: Bacchico exsultas (i. e. exsultans) modo, Enn. ap. Charis. : “flebilibus modis concinere,” Cic. Tusc. 1, 44, 106: saltare ad tibicinis modos, to the music or sound of the flute, Liv. 7, 2: “nectere canoris Eloquium vocale modis,” Juv. 7, 19.—Fig.:
All of the Muses were female goddesses and dirty adulteresses
Mūsa , ae, f., = Mousa, I. a muse, one of the goddesses of poetry, music
Tranquillus , I. quiet, calm, still, tranquil, Opposite to motion or excitement (syn. serenus).
perturbātĭo, I. confusion, disorder, disturbance. Mental or personal disturbance, disquiet, perturbation:
hēsukh-ios still, quiet, at rest1Timothy 2:9 In like manner also,
that women adorn themselves in modest apparel,
with shamefacedness and sobriety;
not with broided hair, or gold, or pearls, or costly array;
Paul and others leave MARKS by which we can identify the satanic powers in high places. The hair was then and now and the repudiation of Paul a SYMBOL of not only loose women but those who were the MUSES (locusts) of Abaddon or Apollon;
Phoebēum , i, n., = Phoibeion,I.a temple of Phœbus [Apollo, Abaddon, Apollyon] , from which a place near Sparta received its name, Liv. 34, 38.
SUN God worshipped musically at Mount Sinai and in Jerusalem
Ăpollo , ĭnis (earlier Ăpello , like hemo for homo, Paul. ex Fest. p. 22 Müll.; Apollōn, Apollo, son of Jupiter and Latona, twinbrother of Diana, and god of the sun. On account of his omniscience, god of divination; on account of his lightnings (belē), god of archery (hence represented with quiver and dart), and of the pestilence caused by heat; but, since his priests were the first physicians, also god of the healing art; and since he communicated oracles in verse, god of poetry and music, presiding over the Muses, etc.; In the class. period of the arts, represented with weapons, the cithara, a crown of laurel, etc., with hair commonly flowing down upon his neck, but sometimes collected together and fastened up
The Muses (Revelation 18) were Apollyon's Musical Worship Team: John called them SORCERERS and they were known as dirty adulteresses. That would include CORRUPTING the Word and then selling it which word MEANS adultery.Verg. A. 6.42
A spacious cave, within its farmost part,
Was hew'd and fashion'd by laborious art
Thro' the hill's hollow sides: before the place,
A hundred doors a hundred entries grace;
As many voices issue, and the sound
Of Sybil's words as many times rebound.
Now to the mouth they come. Aloud she cries:
“This is the time; enquire your destinies.
He comes; behold the god!” Thus while she said,
(And shiv'ring at the sacred entry stay'd,)
Her color chang'd; her face was not the same,
And hollow groans from her deep spirit came.
Her hair stood up; convulsive rage possess'd
Her trembling limbs, and heav'd her lab'ring breast.
Greater than humankind she seem'd to look,
And with an accent more than mortal spoke.
Her staring eyes with sparkling fury roll;
When all the god came rushing on her soul.
Swiftly she turn'd, and, foaming as she spoke:
“Why this delay?” she cried, “the pow'rs invoke!
Thy pray'rs alone can open this abode;
Else vain are my demands, and dumb the god.”
She said no more. The trembling Trojans hear,
O'erspread with a damp sweat and holy fear.
The prince himself, with awful dread possess'd,
His vows to great Apollo thus address'd:
“Indulgent god, propitious pow'r to Troy,
Swift to relieve, unwilling to destroy,
Directed by whose hand the Dardan dart
Pierc'd the proud Grecian's only mortal part:
Thus far, by fate's decrees and thy commands,
Thro' ambient seas and thro' devouring sands,
Our exil'd crew has sought th' Ausonian ground;
And now, at length, the flying coast is found.
Thus far the fate of Troy, from place to place,
With fury has pursued her wand'ring race.
Here cease, ye pow'rs, and let your vengeance end:
Troy is no more, and can no more offend.
And thou, O sacred maid, inspir'd to see
Th' event of things in dark futurity;
Give me what Heav'n has promis'd to my fate,
To conquer and command the Latian state;
To fix my wand'ring gods, and find a place
For the long exiles of the Trojan race.
Then shall my grateful hands a temple rear
To the twin gods, with vows and solemn pray'r;
And annual rites, and festivals, and games,
Shall be perform'd to their auspicious names.
Nor shalt thou want thy honors in my land;
For there thy faithful oracles shall stand,
Preserv'd in shrines; and ev'ry sacred lay,
Which, by thy mouth, Apollo shall convey:
All shall be treasur'd by a chosen train
Of holy priests, and ever shall remain.
But O! commit not thy prophetic mind
To flitting leaves, the sport of ev'ry wind,
Lest they disperse in air our empty fate;
Write not, but, what the pow'rs ordain, relate.”
Comptae: Heyne remarks that her hair would be already unbound, as the sacrifice had been made (see on 3. 370), so that Virg. must here mean that the hair stood on end or was tossed about. But we need not press the poet so closely. Unbound or dishevelled hair was usual when a priest or prophet approached the gods: and Virg. has chosen to represent the hair of the Sibyl as becoming disordered at this particular point of the story.
cōmo , I. To bring together, form, frame, construct
Quove modo distracta rediret in ordia prima,” id. 4, 27.—
A. Prop., in the class. per. usu. of the care of the hair, to comb, arrange, braid, dress; a
“sacerdos Fronde super galeam et felici comptus olivā,” wreathed, Verg. A. 7, 751: “Tisiphone serpentibus undique compta,” id. Cul. 218: “pueri praecincti et compti,” Hor. S. 2, 8, 70: “longas compta puella comas,” Ov. Am. 1, 1, 20.—B. In partic., to adorn, deck, ornament: “corpora si quis vulsa atque fucata muliebriter comat,” Quint. 8, prooem. § 19: “ colla genasque,” Stat. S. 1, 2, 110: “vultus,” Claud. in Eutr. 2, 337: “vestes et cingula manu,” id. VI. Cons. Hon. 525.—
II. Trop., to deck, adorn: “Cleopatra simulatum compta dolorem,” Luc. 10, 83.—Esp. freq. of rhet. ornament: “non quia comi expolirique non debeat (oratio),” Quint. 8, 3, 42; cf.: “linguae orationisque comendae gratiā,”
But usu. of discourse, embellished, elegant: “compta et mitis oratio,” Cic. Sen. 9, 28 (al. composita): “comptior sermo,” Tac. H. 1, 19: “
Distractor ,Komos
II. A retailer, Cod. Th. 11, 1, 4: “argenti,” i. e. a money-changer
1Timothy 2:10 But (which becometh women professing godliness) with good works.
1Timothy 2:11 Let the woman learn in silence with all subjection.
1Timothy 2:12 But I suffer not a woman to teach,
nor to usurp over the man, [Aner, Presbyter]
but to be in silence.
Paul did not use a generic person but man is:
Anēr man, opposed to woman (anthrōpos being man as opp. to beast),
IV. man emphatically, man indeed, Od.18.53; but a. alone always means a man in the prime of life, esp. warrior, V. husband, presbutēs” X.Smp.4.17;
Teaching over a man intended to deceive or wholly seduce the patriarchs into a matriarchal goddess worship.
Peter outlawed private interpretation or further expounding in song or sermon. This would repudiate the elders and Jesus who made the prophecies more certain to eye- and ear-witnesses. They left a "memory" to MARK as false teachers anyone who dishonored that record.
di^daskō ,
II. abs., explain, “pōs dē; didaxon” A.Eu. 431; “saphōs d.” Th.2.60, etc.; show by argument, prove, “legōn didasketō” X.An.5.7.11, etc.; d. peri tinos hōs . . Th.3.71; “hēlikon esti to alazoneuma . . peirasomai . . didaxai” Aeschin.3.238; poiētēs d. hoti . . Jul. Or.2.50b.
Xen. Anab. 5.7.11 For my part, however, what I have said on these points seems to me sufficient; but if any one among you imagines either that he could be deceived himself by such tales, or could deceive another by these tales, let him speak and explain.
Paul said that Eve was "whollyseduced" and that Cain (from a musical note) was OF that wicked one. Christ in the prophets calls Babylon and Tyre the "singing and playing prostitute in the garden of Eden."
INCLUDING WHAT WOMEN CANNOT TEACHExa^pa^taō deceive or beguile, deceive thoroughly,
lso “e. epi tois idiois sumbolaiois” Isoc.10.7; peri sauton poieisthai . . eph' hois exapatas eleon surround yourself with compassion for your swindling tricksPoieō
A. make, produce, first of something material, as manufactures, works of art, etc. on works of art, Polumēdēs epoiwēh' (= epoiēse）
4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn Hellēsi” Id.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian, tragōdian, etc., Pl.Smp.223d; “palinōdian” Isoc.10.64, Pl.Phdr.243b, etc.; “poiēmata” Id.Phd.60d: abs., write poetry, write as a poet, “orthōs p.” Hdt.3.38; “en toisi epesi p.” Id.4.16, cf. Pl.Ion534b: folld. by a quotation, “epoēsas pote . .” Ar.Th.193; “eis tina” Pl.Phd.61b; “peri theōn” Id.R.383a, etc.
b. represent in poetry, “Homēron Akhillea pepoiēkenai ameinō Odusseōs” Pl.Hp.Mi.369c, cf. 364c, Smp.174b; poiēsas ton Akhillea legonta having represented Achilles saying,
c. describe in verse, “theon en epesin” Pl.R.379a; epoiēsa muthous tous Aisōpou put them into verse, Id.Phd. 61b; “muthon” Lycurg.100.
Invent new gods
2. procure, “p. adeian te kai kathodon tini” Th.8.76; “ho nomos p. tēn klēronomian tisi” Is.11.1; logos argurion tō legonti p. gets him money, D.10.76:—Med., procure for oneself, gain
3. of sacrifices, festivals, etc., celebrate
III. of dithyrambic and dramatic Poets (cf. “didaskalos” 11), d. dithurambon, drama, produce a piece, Hdt.1.23, 6.21; “Persas” Ar.Ra.1026, cf. Pl.Prt.327d, IG12.770, al.:—Med., didaxasthai khoron train one's own chorus,
Dithurambos
the dithyramb; a kind of lyric poetry, Hdt., Ar., etc.: its proper subject was the birth of Bacchus metaph. of bombastic language, “tosoutoni d. asas” Pl.Hp.Ma. 292c; “ouketi porrō dithurambōn phtheggomai” Id.Phdr.238d.
Plat. Phaedrus 238d the place seems filled with a divine presence; so do not be surprised if I often seem to be in a frenzy as my discourse progresses, for I am already almost uttering dithyrambics.
Numpho-lēptos , on, A. caught by nymphs : hence, raptured, frenzied, IG12.788, Pl.Phdr.238d, Arist.EE1214a23, [the Brides of the hieros Gamos in Revelation 19)
Thaum-azō , 1. [select] abs., wonder, marvel, Il.24.394, Pl.Hp.Ma.282e, etc.
Phtheggomai , 3. of inanimate things, of a door, creak, Ar.Pl.1099; of thunder, X.Cyr. 7.1.3; of trumpets, Id.An.4.2.7, 5.2.14; of the flute, Id.Smp.6.3, Thgn.532; of the lyre, “phormigx ph. hiron melos”
II. a name of Dionysus, E.Ba.526 (lyr.), Philod.Scarph.1:—hence Di^thurambogenēs, AP9.524. (Pi. is said to have written it lu_thirambos (Fr.85）—as if from luthi rhamma, the cry of Bacchus when sewn up in his father's thigh.)Drama II. action represented on the stage, drama, play, Ar.Ra.920, Arist.Po.1448a28, etc.; mē en tō d. not in the action on the stage, ib.1460a31; exō tou d. ib.1453b32; “d. poiein” Ar.Ra.1021; “saturikon d.” Pl.Smp.222d (with play on 1): metaph., stage-effect of any kind, “ta eleina tauta d. eisagein” Id.Ap.35b: also, tragical event, Plb.23.10.12,
THEN AND NOW THE NEED WAS TO TRAIN UP BOYS TO BE MEN
Eur. Heraclid. 575 You are the bravest of all women, the bravest I have ever seen. But, if it is your will, say your last words as a farewell to your brothers and the old man and go.
Maiden
Farewell, old man, farewell! Please train up [575] these boys to be such men as yourself, wise for every occasion, not more wise than that: that will suffice. With all your zeal try to save them from death. We are your children, we have been raised by your handsUSURP over the presbyters includes the elders yielding, permitting, suffing, trusting women with what belongs to men.THE AUTHORITY EXERCISED BY WOMEN WAS TO KILL OFF THE MALES
Epitrep-ō ,
II. give up, yield, “Poseidaōni de nikēn pasan epetrepsas” Il.21.473 ; later e. tini c. inf., permit, suffer, Ar.Pl.1078, Pl.Chrm.171e, etc.
5. Med., entrust oneself, leave one's case to, “tini” Hdt.1.96 ; “diaitētē” Id.5.95, cf. X.An.1.5.8 ; also, to entrust what is one's own to another, Hdt.3.155,157.
Authent-ria , h(, fem. of authentēs,authent-eō ,A. to have full power or over, tinos I Ep.Ti.2.12; “pros tina 42.
authent-ikos , ē, on,A. principal, “anemoi” Gp.1.11.1.2. warranted, authentic, kheirographia, apokhē, diathēkē, POxy.260.20 (i A. D.), Ostr.1010, BGU326ii 23 (ii A. D.); original, “epistolai” PHamb.18ii6 (iii A. D.); “epithumata” PMag.Leid.W.9.15; onoma ib.14.25; authoritative, Ptol.Tetr.182. Adv. -kōs, loqui make an authoritative statement, Cic.Att.9.14.2; au. nuntiabatur ib.10.9.1: Comp. “-ōteron” with higher authority, Ptol. Tetr.177.
WOMEN WHO COMPOSE AND SING THEIR OWN SONGS EXERCISE THE AUTHORITY ALREADY EXERCISED BY JESUS CHRIST.
kheirogra^ph-ia , hē,A. report in writing, PTeb.64（a).54 (ii B.C.).2. declaration attested by oath, written testimony, kh. horkou basilikou ib.27.32 (ii B.C.); “kata nomous kheirographias” PRev.Laws 37.13 (iii B.C.); “parabebēkotos ta tēs kh.
diathēkē , hē, (diatithēmi) A. disposition of property by will, testament, Ar.V.584,589, D.27.13, etc.; kata diathēkēn by will
III. compact, covenant, “ēn mē diathōntai diathēkēn emoi” Ar.Av.440; freq. in LXX, Ge. 6.18, al.; kainē, palaia d., Ev.Luc.22.20, 2 Ep.Cor.3.14; disposition (with allusion to 1), Ep.Gal.3.15, cf. Ep.Hebr.9.15.
"Dionysus is the wine-god, and thus should be a pleasant fellow, a benefactor. But wine has both positive and negative aspects. It makes people drunk, causes them to behave in strange ways. The Greeks were well aware of the dual natures of wine, mirrored by the dual nature of its god.... He betrays a dual nature: being bright, joyous, and vital for life,
while also having a side that is dark, mysterious and deadly.
"The adored wife of the fallen Hector, is taken as a concubine by the authentes, who can command her domestic and sexual services. The word also occurs in a homosexual sense in a speech by Theseus, king of Athens, where love of young boys was considered a virtue rather than a vice." (Charles Trombly, Who Said Women Can't Teach, p. 174)
"dionysus's worship is thus established by the simple means of killing the opposition. It has been suggested that every tragic hero who suffers and dies on stage at the Dionysia, the great dramatic festival at Athens (of the South?), is in fact dionysus himself, being killed."
All "non-sedentary" or silent participation by women exercises the authority condemned by Paul. This sexual authority with the Catholic A Cappella or castrated "musical worship" solved the problem of a male priesthood but with a homosexual, feminine style of worship called "MUSIC."But I suffer not a woman to teach, nor to usurp authority (authenteo) over the man, but to be in silence.1Ti.2:12
Godly women should not want to literally FORCE men to see her as exercising authority over his good or bad nature.
Second: FOLLOWING THE Jesus Pattern: the ONLY purpose of an assembly is as A School of the Word.
1Timothy 2:3 For this is good and acceptable in the sight of God our Saviour;
1Timothy 2:4 Who will have all men to be saved,
and to come unto the knowledge of the truth.
Rom. 10:14 How then shall they call on him
in whom they have not believed?
and how shall they believe in him of whom they have not heard?
and how shall they hear without a preacher?
Rom. 10:15 And how shall they preach, except they be sent?
as it is written, How beautiful are the feet of them
that preach the gospel of peace,
and bring glad tidings of good things!When God put MEN or ANERS in full authority it was to Teach that which had been taught and to refute or silence anyone who opposed that which had been taught. MEN in this case specificially EXCLUDES women. Now, the SAVED men is the Greek Word:
Anthrōpos
A. man, both as a generic term and of individuals, Hom. etc., opp. gods
3. in pl., mankind, “anthrōpōn . . andrōn ēde gunaikōn” Il.9.134;
II. as fem., woman, Pi.P.4.98, Hdt.1.60, Isoc.18.52, Arist.EN1148b20; contemptuously, of female slaves,
Andr-ōn , ōnos, ho, A. men's apartment in a house
Men as Anthropose are men and women inclusively: in the synagogue everyone sat in reverence and silence while a senior male READ the Biblical text. Women past, present and future are subject to the emotional form of music and drama. Music from mystery means "to make the lambs dumb before the slaughter."
As in Corinth Paul was always concerned that women just out of paganism would have been the prophesiers connected to their god by wine, music or drugs. Paul said that if the Corinthians needed to know anything he would write them another letter. Musical performers have always claimed to be mediators between women and the gods.
NO HUMAN CAN BE WORSHIP LEADER
"Worship Leaders" (perhaps a blasphemous title) claim to be mediators by leading you into the presence of God. They also claim to bring God INTO the presence by their roles as WORSHIP LEADERS. However, they repudiate Jesus Christ when they try it.
1Timothy 2:5 For there is one God,
and one mediator between God and men,
the MAN Christ Jesus;
Jesus earned His role as SOLE teacher when the elders teach that which has been taught.
1Timothy 2:6 Who gave himself a ransom for all, to be testified in due time.
1Timothy 2:7 Whereunto I am ordained a preacher, and an apostle,
(I speak the truth in Christ, and lie not;) a teacher of the Gentiles in faith and verity.
At His baptism God pronounced Jesus as the Son of a Father: the pagans then and now believed that Sophia, Zoe etc. were DAUGHTERS of the MOTHER GODDESS. Lifting holy hands is not the same as waving unholy arms and clapping hands which signaled "I am available" in pagan assemblies.
1Timothy 2:8 I will therefore that men pray every where,
lifting up holy hands, without wrath and doubting.
Paul did not use a generic person but man is:
Anēr man, opposed to woman (anthrōpos being man
IV. man emphatically, man indeed, Od.18.53; but
a. alone always means a man in the prime of life, esp. warrior,
V. husband, presbutēs” X.Smp.4.17;
Without Wrath:
diagō a^], “khronon” Plu.Tim.10 (but khronos diēge me, = khronon diēgon, S.El.782); d. heortēn celebrate it, Ath.8.363f:
heort-ē , 2. generally, holiday-making, amusement, pastime, “paidias kai heortēs kharin” Pl.Phdr.276b,
4. assembled multitude at a festival, “okhlos kai he. kai stratos kai plēthos
Plat. Phaedrus 276b Socratesor Orge.
Exactly. Now tell me this. Would a sensible husbandman, who has seeds which he cares for and which he wishes to bear fruit, plant them with serious purpose in the heat of summer in some garden of Adonis, [short-lived pleasure] and delight in seeing them appear in beauty in eight days, or would he do that sort of thing, when he did it at all, only in play and for amusement?
Would he not, when he was in earnest, follow the rules of husbandry,
plant his seeds in fitting ground,
and be pleased when those which he had sowed
reached their perfection in the eighth month?
mŏvĕo A. Lit.: “movit et ad certos nescia membra modos,” Tib. 1, 7, 38: “ut festis matrona moveri jussa diebus,” to dance, Hor. A. P. 232: moveri Cyclopa, to represent a Cyclop by dancing (gesticulating), id. Ep. 2, 2, 125: “et fila sonantia movit,” struck, Ov. M. 10, 89: “citharam cum voce,” id. ib. 5, 112: “tympana,” id. H. 4, 48; to disturb: “novis Helicona cantibus,” Manil. Astron. 1, 4: “signum movere loco,” to move from the place,
struck, Ov. M. 10, 89: “citharam cum voce,” id. ib. 5, 112: “tympana,” id. H. 4, 48; to disturb: “novis Helicona cantibus,” Manil. Astron. 1, 4: “signum movere loco,” to move from the place,
a. to excite, occasion, cause, promote, produce; to begin, commence, undertake: “
SŏnoI. Neutr., to make a noise, to sound, resound: aes sonit, the trumpet sounds, Enn. ap. Non. 504, 33 (Trag. v. 213 Vahl.): “plectra,” Prop. 4 (5), 7, 62. tympana, * Caes. B. C. 3, 105, 4 et saep
“Pythius in longā carmina veste sonat,” sings, pours forth, accompanies on the lyre, id. 2, 31 (3, 29), 16; cf.: “sonante mixtum tibiis carmen lyra,
Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing
1. With the voice, a singing, song; in full, cantus vocum,
2. With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,
B. An incantation, charm, magic song, etc.: cantusque artesque magorum
1Timothy 2:13 For Adam was first formed, then Eve.
That does not meant that women will be SAVED by having children. She will be SAFE in childbearing. The usurped AUTHORITY or AUTHENTIA identified the women who had infants and under the arousal of Molech worship GAVE UP their children to be BURNED (1 Corinthians 13). The Assembly was to gather and READ the text as it was written: this was to guard against people inserting their own opinions in song and sermon. The object from the synagogue in the wilderness onward was to read and rehearse or make certain that everyone understood The Book of the Covenant of Grace. Discussion was limited to that portion of the text.
1Timothy 2:14 And Adam was not deceived,
but the woman being deceived was in the transgression.
1Timothy 2:15 Notwithstanding she shall be saved in childbearing,
if they continue in faith and charity and holiness with sobriety.
1Corinthians 14:33 For God is not the author of confusion,
but of peace, as in all churches of the saints.
Let your women keep silence in the churches:
for it is not permitted unto them to speak;
but they are commanded to be under obedience,
as also saith the law. 1Corinthians 14:34
The ONLY ordained task was to PREACH the Word (only) by READING the Word only. Everyone else was to be SILENT. For some reason it was women and effeminate males who violated this rule in paganism
1Corinthians 14:35 And if they will learn any thing,
Let them ask their husbands at home:
for it is a shame for women to speak in the church.
Proving the problem of "uncovered" female prophesiers (singing, music) in 1 cor 11:5
1Corinthians 14:36 What? came the word of God out from you? or came it unto you onlyGenesis 3:13 And the LORD God said unto the woman,
What is this that thou hast done? And the woman said,
The serpent (musical enchanter)
beguiled [seduced] me, and I did eat.
Genesis 3:14 And the LORD God said unto the serpent,
Because thou hast done this,
thou art cursed above all cattle,
and above every beast of the field;
upon thy belly shalt thou go,
and dust shalt thou eat all the days of thy life:
Genesis 3:15 And I will put enmity
between thee and the woman,
and between THEY seed and HER seed;
it shall bruise thy head, and thou shalt bruise his heel.
Genesis 3:16 Unto the woman he said,
I will greatly multiply thy sorrow and thy conception;
in sorrow thou shalt bring forth children;
and thy desire shall be to thy husband,
and he shall rule over thee.And again Paul COMMANDED that the women be SILENT. Mike Cope can say that no longer applies in HIS culture. However, you cannot USE women in ruling over roles (preaching with a tune etc) without declaring that PAUL WAS JUST FLAT WRONG.
Speak is self-speak:
- That is to warn against speaking in tongues real or gibberish which upsets the teaching role.
- That is to warn against musical instruments which is an exclusive role of women in religions which opposed the Word..
- And it is the MARK of the Locusts: In John's coded message Abaddon unleashes the MUSES as his musical worship team. Their role is to SEPARATE people as threshing the grain.
la^l-eō , A. talk, chat, prattle, b. metaph., zōgraphia lalousa (of poetry)
II. chatter, opp. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix
III. of musical sounds, “aulō laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.” Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin lalein sound the magadis,
Eve in Greek is Zoe called "the Beast and female instructing principle."
Beastia 2. As a term of reproach (cf. belua and our beast): “mala tu es bestia,” Plaut. Bacch. 1, 1, 21; id. Poen. 5, 5, 13.—And, humorously, of the odor of the armpits (cf. ala and caper), Cat. 69, 8.— constellation, the wotf, Vitr. 9, 4
Pl. Bac. 1.1 PISTOCLERUS
Bacchis, it is, because I dread you Bacchantes, and your Bacchanalian den5.
Your allurements6, more than your couch, do I dread. You're a mischievous serpent7. But, madam, a lurking-place does not befit this youthful age.
5 Your Bacchanalian den: "Bacchanal" was properly the place where the Bacchanalia, or orgies, were celebrated. He styles them "Bacchantes," and their house a "Bacchanal," in allusion both to their names and their habits.
7 Mischievous serpent: "Mala tu's bestia." Literally, "you are an evil beast;" which sounds harsh to an English ear, even when applied to such an animal as Bacchis.
Baccha I. a Bacchanet, a female attendant of Bacchus, who, in company with Silenus and the Satyrs, celebrated the festival of that deity with a raving madness carried even to insensibility,
This is the WRATH or ORGY which would result if the women were not silenced and sedentary to prevent the deliberate AROUSAL to attract more butterflies.
11.08.14
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