Woe unto them that rise up early in the morning, that they may follow strong drink; that continue until night, till wine inflame them Isa 5:11
And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:
but they regard not the work of the Lord,
neither consider the operation of his hands. Is.5:12
Amos defines the Marzeah which was a musical festival WITH and FOR dead ancestors. This is quite identical to the BAAL EPIC which defines "god" as fall down drunk.
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So the next day they rose early and offered
burnt offerings, and brought peace offerings;
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Woe to you who are complacent in Zion, and to
you who feel secure on Mount Samaria" (Amos 6:1). (The complacent do
not fully observe God's Law).
|
|
and the people sat down to eat and drink, and rose up to play (Exod 32:6). (Play
includes musical instruments)
|
Woe to those who sing idle songs to the viol
and who improvise upon instruments like
David" (Amos 6:1a, 5)
|
|
But he said, 'It is not the sound of the cry of
triumph, nor is it the sound of the cry of defeat; but the sound of singing I hear (Exod. 32:18)
|
they drink wine in bowls (and their
singing was part of the pagan Marzeach- a feast with and for
dead ancestors. See also Isaiah 5)
|
|
They have quickly turned aside from the way
which I commanded them. They have made for themselves a molten calf, and
worshiped it (Exod. 32:8a).
|
You also carried along Sikkuth your king and
Kiyyun, your images, the star of your gods which you made for yourselves (Amos 5:26)
|
|
Now then let Me alone, that My anger may burn
against them, that I may destroy them; and I will make of you a great
nation (Exod. 32:10)
|
Therefore, they will now go into
exile
at the head of the exiles (Amos 6:7a)
|
Exodus 32 Defines the meaning of rising up to play to PROFANE the Sabbath.
THIS DEFINES WHY ISRAEL WAS DESTROYED AND JUDAH WENT INTO BABYLONIAN CAPTIVITY: THAT IS WHY THEY HELD THEIR HARPS. Not in this example or anywhere: not even in the vilest pagan temple did the SINGERS or MUSICIANS ever enter into the holy precincts into the presence of their "god." See this illustrated in Amos
If God approved of being worshipped with what was the secular weapon of the prostitute, why would He compromise this by drawing negative conclusions!
As the Jews went into the first Babylonian captivity as God carrying out His death sentence because of the musical idolatry at Mount Sinai we have Psalm 137 saying:
BY the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
We hanged our harps upon the willows in the midst thereof. Psa 137:2 Psa 137:1
For there they that carried us away captive required of us a song;
and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion. Psa 137:3
The Levitical Warrior Musicians or noise makers served (hard bondage like "abaddon, apollyon or apollo)) the priests in the sacrificial system. This was not a place of public worship but a "like thenation's" temple for the king, clergy and government officials. The "congregation" never included the common people.
"Hebrew music... was used in the luxurious times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and stretched upon their couches of ivory, were wont at their banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and amused themselves with devising musical instruments while their nation was perishing... music was the legitimate expression of mirth and gladness, and the indication of peace and prosperity." (Smith's Bible Dictionary, Music, p. 590).
THESE WERE NOT DEAD VIRGINS!
OUR citizenship is in heaven but we are still in "Babylonian captivity." During this captivity we are at war against principalities and powers in heavenly places. Therefore, as the WILLOW TREE was the symbol of Orpheus who is the inventor of THRESKIA or charismatic (perverted) musical worship, we must HOLD our harps. As we will see you cannot fall on your face and PLAY instruments at the same time. Paul said that our attack is not with CARNAL WEAPONS which means LIFELESS INSTRUMENTS. Our weapon is the Sword of the Spirit, the Word of God where "church" is a school of the Bible and never a pagan worship center.
Satan's sin was giving the mortals of the pleasures of heaven where we have no responsibility but the story of the angel ot the living was to "PREACH THE GOSPEL IN EVERY TONGUE" or native dialect.
"In the Apocalypse, no doubt, we read of " harpers harping with their harps;" but the book where this occurs, is a symbolical book; and it would be absurd to understand it in any other than a symbolical sense.
"If the "harpers" are to be understood literally; the offering of "incense," referred to in that book, must be understood literally too.
"The beast with the seven heads and ten horns, must be a literal beast; and the woman that sits on the back of it, must be a literal woman.
"Who, in his senses, would contend for such a principle of interpretation in regard to these? But this must be contended for, and maintained, before any argument can be drawn from the "harpers" of the Book of Revelation, in favour of the use of instrumental music in the Gospel Church.
We know that HOLDING harps does not mean PLAYING harps: holding means "apprehending" the Word of God. The incense is the "fruit of the lips" and we know that in the pattern in heaven no singer or instrument player could enter or come near any holy place or thing in the Tabernacle or the temple. Making noise in the "holy place" would have Christ violating all of the patterns and direct commands not to make vocal or instrumental noises in the synagogue or church in the wilderness.
See
Brown and the Allegorical language.
See
the Lament of the Fallen Angels
The harps in heaven symbolize the REST of the dead who have triumphed in life. They signify that the person has no more earthly responsibility and can take their ease, rest and relax. This is a common image of the Greek world: the "dead" are cheered by having instruments carved on their tombstones. Or the living who are pictured on tombstones bringing instruments to the dead are never playing them.
And he said, This will I do: I will pull down my barns, and build greater; and there will I bestow all my fruits and my goods. Luke 12:18
And I will say to my soul, Soul, thou hast much goods laid up for many years; take thine ease, eat, drink, and be merry. Luke 12:19
But God said unto him, Thou fool, this night thy soul shall be required of thee: then whose shall those things be, which thou hast provided? Luke 12:20
This is consistent with the book of Revelation: the totally pure dead are pictured as free of responsibility but the living have the duty to teach the Word of God. No living person is pictured playing a harp on the memorials.
Etruscan, 490-470 BC From Chiusi, Tuscany, Italy Music for the after-lifeThis is one side of a limestone cippus, or marker, which would have been placed outside a tomb. They were usually surmounted either by a stone sphere, thought to denote a female burial, or a cone, thought to denote a male. The sides are often decorated in shallow relief with scenes
showing activities which were enjoyed during life, such as hunting and banqueting. Presumably it was hoped the deceased would be able to continue enjoying them in some way.
This cippus is decorated on all four sides with scenes showing music and dancing: here and on another side are a boy playing the double pipes between a man and a woman dancing, while on the remaining sides are a boy with a lyre between two youths dancing and a girl between a man and a woman.
Harps in the Book of Revelation
Now, let's take a look at the use of harps in the bok of Revelation. It should be clear to all that these musical instruments in connection with the secret song from God is a coded warning to the people under overpowering influence from the musical prophetesses speaking in tongues under the influence of something like laughing gas. Furthermore, she got her message from the earth.
Using the word as indicates the language of parable. Nevertheless, the 144,000 Jewish males who are allowed to learn speaking to and for God, must be innocent virgins. The unknown song indicates that they had the power of prophets in a real sense while the pagans of the time pretended to have the power and sold it using pretend or dramatic virgins. These pseudo-virgins literally "spoke in tongues" when they were drugged or gassed by the "breath" (spirit) from the fissure in the earth:
However, Scripture is usually inspired to warn Christians against pagan practices:
Note that the 144,000 are on the Earth:
AND I looked, and, lo, a Lamb stood on the mount Sion, and with him an hundred forty and four thousand, having his Fathers name written in their foreheads. Rev 14:1
What they heard was from heaven--in the atmosphere over Zion.
And I heard a voice from heaven,and I heard the voice of harpers harping with their harps: Rev 14:2
as the voice of many waters, and
as the voice of a great thunder:
And I heard a sound from heaven
..........like the roar of rushing waters and
..........like a loud peal of thunder. The sound I heard was
..........like that of harpists playing their harps. Rev 14:2NIV
And I heard a voice from heaven,
..........like the sound of many waters and
..........like the sound of loud thunder, and the voice which I heard was
..........like the sound of harpists playing on their harps. Rev 14:2NAS
And
I heard a voice from heaven
..........like
the sound of many waters and
..........like
the sound
of loud
thunder; the voice I
heard was
..........like
the sound
of harpers playing on their harps
Revelation 14:2RSV
Keladeo sound as flowing water 2. of persons, shout aloud, atar keladēsan Akhaioi, in applause. keladeonti amphi Kinuran phamai” Pi.P.2.15: c. acc. cogn., “k. humnous” lSound of the grasshopper, ring bells, of the flute, sing of, celebrate loudly.
There is nothing to support the voice "of harpers harping with their harps in either Latin or Greek.
We have noted that when you hear these SOUNDSthe next angel sounds a warning that you should PREACH THE GOSPEL: time is short.
NEW NOTES PARKED IN THIS TABLE.
2 kai ēkousa phōnēn ek tou ouranou “hōs phōnēn hudatōn pollōn” kai hōs phōnēn brontēs megalēs, kai hē phōnē hēn ēkousa hōs kitharōdōn kitharizontōn en tais kitharais autōn.
Sound Latin: Voco to call upon, summon, invoke; to call together, convoke,
1. To cite, summon into court, before a magistrat
3. In gen., to call, invite, exhort, summon, urge, stimulate
b. Of inanimate or abstract subjects, to invite, call, summon, incite, arouse:
This is identical to the direct command for the Qahal, synagogue or Church of Christ in the wilderness.
Commanded by Christ for the Qahal, synagogue or church in the wilderness.
Num. 10:7 But when the congregation is to be gathered together,Sound. Phone A. sound, tone, prop., the sound of the voice, whether of men or animals with lungs and throat
ye shall blow,
but ye shall not sound an alarm.
[7] quando autem congregandus est populus simplex tubarum clangor erit et non concise ululabunt
Congrego “in Academiā congregati,” Academia where Plato taught; whence his scholars were called Academici, and his doctrine Philosophia Academica, in distinction from Stoica, Cynica, etc.
Simplex I. In gen., simple, plain, uncompounded, unmixed, free from complication. direct, guileless, artless,
“Cyrenaica philosophia, quam ille et ejus posteri simpliciter defenderunt,” Cic. de Or. 3, 17, 62:The trumpet could SOUND but not in the anxiety arousing form of going to war or celebrating victory.
Cynĭcus , i, m., = kunikos (doglike).I. Subst., a Cynic philosopher, a Cynic, Cic. de Or. 3, 17, 62; id. Fin. 3, 20, 68; Hor. Ep. 1, 17, 18; Juv. 13, 121: “nudi dolia,” i. e. of Diogenes, id. 14, 309.—Hence, adj.: Cynĭcus , a, um, Cynic: “institutio,” Tac. A. 16, 34: “cena,” Petr. 14; and in * adv.: Cynĭcē , after the manner of the Cynics, Plaut. Stich. 5, 4, 22.—II. Suffering by spasmos kunikos, spasmodic distortion, Plin. 25, 5, 24, § 60; cf. Cels. 4, 2, 2
Cano melodious sounds, like a cock
Canis a. A shameless, vile person, Plaut. Most. 1, 1, 40; Ter. Eun. 4, 7, 33
b. fierce or enraged person, Plaut. Men. 5, 1, 14; 5, 1, 18; Hyg. Fab. 3; cf. Cic. Rosc. Am. 20, 57; S
2. As the regular designation of the hangers-on or parasites of an eminent or rich Roman; a follower, dog, creature
called also viperius,” id. Am. 3, 12, 26: “Tartareus,”
trĭformis , e, adj. ter - forma, I. having three forms, shapes, or natures; threefold, triple, triform (poet.): “Chimaera,” Hor. C. 1, 27, 23: “canis,” i. e. Cerberus, Sen. Herc. Oet. 1202: “Geryon,” id. Agam. 841: diva, i. e. Diana, who was also Luna and Hecate, Hor. C. 3, 22, 4; called also triformis dea, Ov. M. 7, 94: “mundus, because composed of air, earth, and water,”
Chĭmaera , ae, f., = Khimaira (lit. a goat),I. a fabulous monster in Lycia, which vomited fire; in front a lion, in the hinder part a dragon, and in the middle a goat; slain by Bellerophon, Cic. N. D. 1, 38, 108; 2, 2, 5; Lucr. 5, 903; 2, 705; Tib. 3, 4, 86; Verg. A. 6, 288; Hor. C. 1, 27, 24; 2, 17, 13; 4, 2, 16; Ov. Tr. 4, 7, 13; 2, 397; Sen. Ep. 113, 8; Hyg. Fab. 57; Serv. ad Verg. A. 5, 118; 6, 288; its figure, used to adorn a helmet, Verg. A. 7, 785.—
kunikos 1 [kuôn] I. dog-like, Lat. caninus, Xen. II. Kunikos, ou, a Cynic, as the followers of the philosopher Antisthenes were called, Plut.
Tuba I. a trumpet, esp. a war-trumpet (straight, while the cornu was curved,
b. Sonorous, elevated epic poetry,
c. A lofty style of speaking
TO CALL PEOPLE TO ASSEMBLY BUT NOT
Concido I. to cut up, cut through, cut away, cut to pieces, to bring to ruin, destroy, etc. (class. in prose and poetry).
A. Of discourse, to divide minutely, dismember, render feeble
The Greek for melody is Melos limb by limb, dismember especailly a musical member B. esp. musical member, phrase: hence, song, strain, first in h.Hom.19.16Ululo , Howl, Shreik
sing out Cano to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc.
2. Of the faulty delivery of an orator, to speak in a sing-song tone:
“In the lang. of the Pythagoreans, of the heavenly bodies (considered as living beings),” the music of the spheres, Cic. N. D. 3, 11, 27.—
C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,
a. In gen., to sing, to cause to resound, to celebrate in song, to sing of, Lucr. 5, 328
I. mostly of human beings, speech, voice, utterance
of the battle-cry of an army, of the cries of market-people
with one voice, the notes of the voice,
NEVER USED WITH A LYRE OR HARPHom. Il. 15.592 [615] But fain was he to break the ranks of men, making trial of them wheresoever he saw the greatest throng and the goodliest arms. Yet not even so did he avail to break them, for all he was so eager; for they abode firm-fixed as it were a wall, like a crag, sheer and great, hard by the grey sea, [620] that abideth the swift paths of the shrill winds, and the swelling waves that belch forth against it; even so the Danaans withstood the Trojans steadfastly, and fled notTHE SOUNDS ARE THE DEAD VIRGINS WHOSE VOICE COULD BE HEARD ABOVE ZION.
However, the LITERAL sounds in Revelation 18 John calls "sorcerers." The "heaven" are terms used in paganism and the role of Christ is to replace them:Ouranos vault or firmament of heaven, sky
Hesperos, hos kallistos en ouranō histatai astēr” 22.318; “ouranos asteroeis” 6.108,al.
2. heaven, as the seat of the gods, outside or above this skyey vault, the portion of Zeus (v. Olumpos), 15.192, cf.Od.1.67,
Heaven-gate, i. e. a thick cloud, which the Hōrai lifted and put down like a trap-door, 5.749, 8.393; so, later, hoi ex ouranou the gods of heaven,
Opora III. metaph., life's summer, the time of youthful ripeness, Pi.I.2.5 ; tereinan mater' oinanthas opōran (v. oinanthē) Id.N.5.6 ; ripe virginity, A.Supp.998, 1015 ; “o. Kupridos”
Therefore, rather than worship the creature and the heavens, we are commanded worship God Who MADE all of these things:
Rev. 14:6 And I saw another angel fly in the midst of heaven,
having the everlasting gospel to preach unto them that dwell on the earth,
and to every nation, and kindred, and tongue, and people,
Rev. 14:7 Saying with a loud voice, Fear God, and give glory to him;
for the hour of his judgment is come:
and worship him that MADE heaven, and earth, and the sea, and the fountains of waters.
Rev. 14:8 And there followed another angel,
saying, Babylon is fallen, is fallen, that great city,
because she made all nations drink of the wine of the wrath of her fornication.
A musical instrument or organon is a machine for doing hard work in warfare or producing the "shock and awe" to induce fear or panic in the "presence" of the Divine. This can be sold at retail meaning to corrupt the word. The ancients had water organs, machines which performed magic tricks on the state, machines make thunder and the 'rushing waters' at a high technical level.
I COLLECT INFORMATION: THIS PROVIDES BACKGROUND
THESE SOUNDS POINT TO THE UNDERSTANDING OF DIOTREPHES as well as the sounds of judgment.
Cic. Catil. 2.22 [22] There is a fifth class [genus], of parricides, assassins [Sicarius], in short of all infamous characters, whom I do not wish to recall from Catiline, and indeed they cannot be separated from him. Let them perish in their wicked war, since they are so numerous that a prison cannot contain them.
vĕnēfĭcĭum , ii, n. veneficus ac-cūso-ēkheion , to, (ēkhos)
II. The preparation of magic potions, magic, sorcery: subito totam causam oblitus est: “idque veneficiis et cantionibus Titiniae factum esse dicebat,” Cic. Brut. 60, 217;
Cantĭo , ōnis, f. cano, lit. a singing, playing; hence meton. abstr. pro concr..I. A song (rare; “mostly ante-class.),” Plaut. Stich. 5, 4, 25; 5, 5, 19; 5, 6, 8; Suet. Ner. 25; “of birds,” App. Flor. 2, p. 349, 11; Fronto ad Ver. 1 (cf. cantatio).—II. An incantation, charm, spell, Cato, R. R. 160: “subito totam causam oblitus est, idque veneficiis et cantionibus Titiniae factum dicebat,” Cic. Brut. 60, 217; App. M. 1, 10, p. 106, 27.
Vitr. 1.1 8. Music, also, the architect ought to understand so that he may have knowledge of the canonical and mathematical theory, and besides be able to tune ballistae, catapultae, and scorpiones to the proper key.
9. In theatres, likewise, there are the bronze vessels (in Greek ēkheion) which are placed in niches under the seats in accordance with the musical intervals on mathematical principles. These vessels are arranged with a view to musical concords or harmony, and apportioned in the compass of the fourth, the fifth, and the octave, and so on up to the double octave, in such a way that when the voice of an actor falls in unison with any of them its power is increased, and it reaches the ears of the audience with greater clearness and sweetness. Water organs, too, and the other instruments which resemble them cannot be made by one who is without the principles of music.
A. drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2.2. Adj. ēkheion organon sounding instrument,Aristoph. Cl. 292
Soc.
O ye greatly venerable Clouds, ye have clearly heard me when I called.Turning to Strepsiades.
Did you hear the voice, and the thunder which bellowed at the same time, feared as a god?
Strep.
I too worship you, O ye highly honoured, and am inclined to reply to the thundering, so much do I tremble at them and am alarmed. And whether it be lawful, or be not lawful, I have a desire just now to ease myself.Organon , to, (ergon, erdō) A. instrument, implement, tool, for making or doing a thing
3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhorda” Id.R.399c, al.; “met' ōdēs kai tinōn organōn” Phld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2.
Plut. Crass. 23 But when they were near the Romans and the signal was raised by their commander, first of all they filled the plain with the sound of a deep and terrifying roar. [7] For the Parthians do not incite themselves to battle with horns or trumpets, but they have hollow drums of distended hide, covered with bronze bells, and on these they beat all at once in many quarters, and the instruments give forth a low and dismal tone, a blend of wild beast's roar and harsh thunder peal.Medical science now knows that music creates endorphins which create the impulse of fight, flight or sexuality.
They had rightly judged that, of all the senses,
hearing is the one most apt to confound the soul,
soonest rouses its emotions,
and most effectively unseats the judgment.
-Organon,(ergon, erdō) machines for doing hard WORK in making war or creating religious anxity. 3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organôn ekêlei anthrôpous, of Marsyas, Pl.Smp.215c ; aneu organôn psilois logois ibid., cf. Plt.268b ; o. poluchorda Id.R.399c , al.; met' ôidês kai tinôn organôn Phld.Mus.p.98K. ; of the pipe, [Jubal "handled" instruments without authority}
Polu-khordos , on, A. many-stringed, “barbiton” Theoc.16.45; many-toned, of the flute,Plat. Sym. 215c Why, yes, and a far more marvellous one than the satyr. His lips indeed had power to entrance mankind by means of instruments;
KELEO A. charm, bewitch, beguile, esp. by music, “korēn humnoisi” E.Alc.359; “ōdais
a thing still possible today for anyone who can pipe his tunes: for the music of Olympus' flute belonged, I may tell you, to Marsyas his teacher.
So that if anyone, whether a fine flute-player or paltry flute-girl,
can but flute his tunes, they have no equal for exciting a ravishment,
and will indicate by the divinity that is in them
who are apt recipients of the deities and their sanctifications.
You differ from him in one point only—that you produce the same effect with simple prose unaided by instruments. For example, when we hear any other person—-Echetês A. clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., Tettix , ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.
-Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]THE MARK OF THE LOCUSTS
Hes. WD 582 [580] dawn which appears and sets many men on their road, and puts yokes on many oxen. But when the artichoke flowers, [June] and the chirping grass-hopper sits in a tree and pours down his shrill song continually from under his wings in the season of wearisome heat, [585]
then goats are plumpest
and wine sweetest;
women are most wanton,
but men are feeblest, [575] The waxen pipe drones forth in accompaniment a clear-sounding slumberous strain. Alas, alas! Where is my far-roaming wandering course taking me? In what, O son of Cronus, in what have you found offence so that you have bound me [580] to this yoke of misery—aah! are you harassing a wretched maiden to frenzy by this terror of the pursuing gadfly? Consume me with fire, or hide me in the earth, or give me to the monsters of the deep to devour; but do not grudge,
O Lord, the favor that I pray for.
[585] My far-roaming wanderings have taught me enough,
and I cannot discern how to escape my sufferings.
Do you hear the voice of the horned virgin?
Amos 8:10 And I will turn your feasts into mourning, and all your songs into lamentation;
and I will bring up sackcloth upon all loins, and baldness upon every head;
and I will make it as the mourning of an only son,
and the end thereof as a bitter day.
Amos 8:11 Behold, the days come, saith the Lord GOD,
that I will send a famine in the land, not a famine of bread, nor a thirst for water,
but of hearing the words of the LORD:
Amos 8:12 And they shall wander from sea to sea, and from the north even to the east,
they shall run to and fro to seek the word of the LORD, and shall not find it.
1. shaft of an arrow, Il.11.584.2. shepherd's pipe, Pi. P.12.25 (pl.), A.Pr.574 (lyr.), Theoc.20.29.Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?
4. bridge of the lyre, Ar.Ra. 232.
Pythian 12
I beseech you, splendor-loving city, most beautiful on earth, home of Persephone; you who inhabit the hill of well-built dwellings above the banks of sheep-pasturing Acragas: be propitious, and with the goodwill of gods and men, mistress, [5] receive this victory garland from Pytho in honor of renowned Midas, and receive the victor himself, champion of Hellas
For Midas of Acragas Flute-Playing Contest 490 B. C
in that art which once Pallas Athena discovered when she wove into music the dire dirge
of the reckless Gorgons which Perseus heard
[10] pouring in slow anguish from beneath the horrible snakey hair of the maidens,
when he did away with the third sister and brought death to sea-girt Seriphus and its people. Yes, he brought darkness on the monstrous race of Phorcus, and he repaid Polydectes with a deadly wedding-present for the long [15] slavery of his mother and her forced bridal bed; he stripped off the head of beautiful Medusa, Perseus, the son of Danae, who they say was conceived in a spontaneous shower of gold.
But when the virgin goddess had released that beloved man from those labors,
she created the many-voiced song of flutes
[20] so that she could imitate with musical instruments the shrill cry
that reached her ears from the fast-moving jaws of Euryale.
The goddess discovered it; but she discovered it for mortal men to have,
and called it the many-headed strain,
the glorious strain that entices the people to gather at contests,
[25] often sounding through thin plates of brass and through reeds,
which grow beside the city of lovely choruses, the city of the Graces,
in the sacred precinct of the nymph of Cephisus,
reeds that are the faithful witnesses of the dancers.
If there is any prosperity among men, it does not appear without hardship.
A god will indeed grant it in full today . . .
[30] What is fated cannot be escaped. But that time will come, striking unexpectedly,
and give one thing beyond all expectation, and withhold another.
-Don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree
kardian to agitate one's mind, hêmas edonêsen hê mousikê,
II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humnôn rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran [harp] te boai kanachai t' aulôn [flute] doneontai Id.P.10.39 ;
- "Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.
- Hippolytus V
- "Yobal made reed instruments, and harps, and flutes, and whistles,
- and the devils went and dwelt inside them.
When men blew into the pipes, the devils sang inside them,- And Satan had been made ruler (or prince) of that camp
- And when the men and women were stirred up to lascivious frenzy by the devilish playing of the reeds which emitted musical sounds, and by the harps which the men played through the operation of the power of the devils, and by the sounds of the tambourines and of the sistra which were beaten and rattled through the agency of evil spirits, the sounds of their laughter were heard in the air above them, and ascended to that holy mountain.
- Outlawed: Eph. 4:14 That we henceforth be no more children, tossed to and fro, and carried about with every wind of doctrine, by the sleight of men, and cunning craftiness, whereby they lie in wait to deceive;
Sophos A. [select] skilled in any handicraft or art, clever mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238
- Plat. Rep. 409c by the instrument of mere knowledge and not by experience of his own.” “That at any rate,” he said, “appears to be the noblest kind of judge.” “And what is more, a good one,” I said, “which was the gist of your question. For he who has a good soul is good. But that cunning fellow quick to suspect evil, and who has himself done many unjust acts and who thinks himself a smart trickster, when he associates with his like does appear to be clever, being on his guard and fixing his eyes on the patterns within himself. But when the time comes for him to mingle with the good and his elders,
Hupo-kritikos having a good delivery, 3. metaph., acting a part, pretending to
- Commanded, Exampled and necessarily inferenced for an ekklesia.
- Eph. 4:15 But speaking the truth in love, may grow up into him in all things, which is the head, even Christ:
But what went ye out for to see? A man clothed in soft (clothes of a Catamite=male prostitute) raiment? Behold, they which are gorgeously apparelled, and live delicately (effeminate), are in kings courts. Luke 7:25
Zeus was part of the sexual, homosexual and musical abomination of desolation in Jerusalem. First Maccabees makes this very clear. Therefore, while those who impose this music into the assemblies of Christ, they blame those they have offended with being DIOTREPHES.
Diotrephes, dee-ot-ref-ace´; from the alternate of 2203 and 5142; Jove-nourished; Diotrephes, an opponent of Christianity: — Diotrephes2203. Zeus Zeus, dzyooce; of uncertain affinity; in the oblique cases there is used instead of it a (probably cognate) name3John 7 Because that for his name’s sake they went forth,
Dis, deece, which is otherwise obsolete; Zeus or Dis (among the Latins, Jupiter or Jove), the supreme deity of the Greeks: — Jupiter.
Apollo (Abaddon, Apollyon) is the son of Zeus.
taking nothing of the Gentiles.
3John 8 We therefore ought to receive such,
that we might be fellowhelpers to the truth.
3John 9 I wrote unto the church:
but Diotrephes, who loveth to have the preeminence among them, receiveth us not.
3John 10 Wherefore, if I come, I will remember his deeds [works] which he doeth,Ergon , 1. in Il. mostly of works or deeds of war, 2. result of work, profit or interest, ergon [khrēmatōn] interest or profit on money, Is.11.42, cf. D.27.10. a. c. gen. pers., it is his business, his proper work,Poieō A. make, produce, first of something material, as manufactures, works of artprating against us with malicious words:
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,
3. of sacrifices, festivals, etc., celebrate,
and not content therewith, neither doth he himself receive the brethren,
and forbiddeth them that would, and casteth them out of the church.
Prating Phluareo A. talk nonsense, play the fool, to be made a fool of, katakertomeō ,Rail violently
Hdt. 1.129.1 When Astyages was a captive, Harpagus came and exulted over him and taunted him, and besides much other bitter mockery he recalled his banquet, when Astyages had fed Harpagus his son's flesh, and asked Astyages what it was like to be a slave after having been a king.
HOW THOSE LOVED BY ZEUS WORSHIPPED
First Maccabees The Greeks also built one of their gymnasia in Jerusalem, which “attracted the noblest young men of Israel...subduing them under the petaso” (emphasis ours -- 2 Macc. 4:12). In the traditional Latin translation the above phrase is rendered “to put in brothels” (Riley:15). The gymnasia were notorious throughout the ancient world for their association with homosexual practices. In fact, Flaceliere concludes from Plutarch’s writings that from the beginning of its acceptance in Greece, “the development of homosexuality was connected to the rise of gymnasia...[which usually contained] not only a statue or Hermes, but also one of Eros” (Flaceliere:65).
The tensions which led to the Jewish revolt were exacerbated when the Jewish high priest, a Hellenist himself, offered a sacrifice to Heracles (Hercules), who was a Greek symbol of homosexuality. Riley adds, “The Jewish temple itself became the scene of pagan sacrificial meals and sexual orgies [including homosexuality].” The final insult (for which Antiochus is identified in the Bible as the archetype of the antichrist) “was the installation in the temple of a pagan symbol, possibly a representation of Zeus [Baal], called by a sardonic pun ‘the abomination of desolation’” (Riley.:16(Armstrong, Karen, A History of God, p. 67f)
The Jews of Palestine and the diaspora were surrounded by a Hellenic culture which some found disturbing,but others were excited by Greek theater, philosophy, sport and poetry. They learned Greek, exercised at the gymnasium and took Greek names. Some fought as mercinaries in the Greek armies."Thus some Greeks came to know the God of Israel and decided to worship Yahweh (Iao) alongside Zeus and Dionysus.Some were attracted to the synagogue... There they read scriptures, prayed and listened to sermons (explanations). The synagogue was unlike anything else in the rest of the ancient religous world.
Since there was no ritual or sacrifice, it must have seemed more like a school of philosophy, and many flocked in the synagogue if a well-known Jewish preacher came to town..."By the second century BC this hostility was entrenched: in Palestine there had even been a revolt when Antiochus Epiphanes, the Selucid governor, had attempted to Hellenize Jerusalem and introduce the cult of Zeus into the temple....This paganizing involved MUSIC and the GYMNASIUM: both directed to the body and senses.Pseudo-Apollodorus Shows how Zeus was worshipped
[1.9.7] Salmoneus at first dwelt in Thessaly, but afterwards he came to Elis and there founded a city. And being arrogant and wishful to put himself on an equality with Zeus, he was punished for his impiety; for he said that he was himself Zeus, and
- he took away the sacrifices of the god and
- ordered them to be offered to himself;
- and by dragging dried hides, with bronze kettles, at his chariot,
- he said that he thundered,
- and by flinging lighted torches at the sky
- he said that he lightened.
But Zeus struck him with a thunderbolt, and wiped out the city he had founded with all its inhabitants.
2 Compare Verg. A. 6.585ff.Note: In the traditions concerning Salmoneus we may perhaps trace the reminiscence of a line of kings who personated the Skygod Zeus and attempted to make rain, thunder and lightning by means of imitative magic. See The Magic Art and the Evolution of Kings, i.310, ii.177, 180ff. Sophocles composed a Satyric play on the subject (The Fragments of Sophocles, ed. A. C. Pearson, vol. ii. pp. 177ff. ). 19) Pseudo-Apollodorus Library 1.9.7 (Loeb
Strabo 13.4 Antioch is a city of moderate size situated on the banks of the Mæander, at the side towards Phrygia. There is a bridge over the river. A large tract of country, all of which is fertile, on each side of the river, belongs to the city. It produces in the greatest abundance the fig of Antioch, as it is called, which is dried. It is also called Triphyllus. This place also is subject to shocks of earthquakes.
A native of this city was Diotrephes, a celebrated sophist; his disciple was Hybreas, the greatest orator of our times. [16]
Antiocheia-geo 02 The consul Cn. Manlius encamped at Antiocheia (B.C. 189) on his march against the Galatae (Liv. 38.13). This city was the birthplace of Diotrephes, a distinguished sophist, whose pupil Hybreas was the greatest rhetorician of Strabo's time. There are numerous medals of this town of the imperial period.
Liv. 38 13 There was at this place a venerable shrine of Apollo and an oracle; the priests, it is said, give the responses in verses not without polish.
Apollo 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.;
Belos , 2. used of any weapon, as a sword, Ar.Ach.345, cf. S.Aj.658; an axe, E.El.1159; the sting of a scorpion, A.Fr.169; of the gad-fly, Id.Supp.556.
himerou b. the shaft of love,
denote sudden, easy death of men and women respectively
The Bolts of Zeus
Phthonos envyings, jealousies, heartburnings, II. refusal from feelings of ill-will or envy, grudgingPolish Dico 3. In rhetor. and jurid. lang., to pronounce, deliver, rehearse, speak any thing.4. To describe, relate, sing, celebrate in writing (mostly poet.): “tibi dicere laudes,”
b. Of prophecies, to predict, foretell:
CarmenI. a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation (cf.: cano, cantus, and canto).I. In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumentalDiotrephes was a:
Isaiah 30 expains FOR WHOM God has prepared hell: and He beats them into hell with musical instruments.Sophis-tēs , A. master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, “meletan sophistais prosbalon” Pi.I.5(4).28, cf. Cratin.2; of musicians, “sophistēs . . parapaiōn khelun”
with modal words added, “hoi s. tōn hierōn melōn”
Melon Melos Vocal and instrumental music [Never in the Bible]
Hieros I. filled with or manifesting divine power, supernatural, omens afforded by sacrifice. c. generally, sacred objects or rites, cult imagesof the Creator of the universe (ho dēmiourgos）, panu thaumaston legeis
Of Lying Wonders, Rhetoricians and writers (Pharisees and Scribes)
Plat. Rep. 596d [596d] he said. “Are you incredulous?” said I. “Tell me, do you deny altogether the possibility of such a craftsman, or do you admit that in a sense there could be such a creator of all these things, and in another sense not? Or do you not perceive that you yourself would be able to make all these things in a way?” “And in what way, I ask you,” he said. “There is no difficulty,” said I, “but it is something that the craftsman can make everywhere and quickly. You could do it most quickly if you should choose to take a mirror and carry it about everywhere.
Apollōn , o(, Apollo: gen. ōnos (also ō An.Ox.3.222): acc.
A. “Apollō” IG1.9, al., A.Supp.214, S.OC1091, Tr.209 (lyr.) (mostly in adjurations, nēton Apollō, etc.), “Apollōna” Pl.Lg.624a, freq. later, Agatharch.7, etc.: voc. “Apollon” Alc.1, A.Th.159(lyr.), Cratin.186, etc.; “Apollōn” A.Ch.559; cf. Apellōn, Aploun.II. Pythag. name of a number,
Apoll-ōnios , a, on,A. of or belonging to Apollo, Pi.P.6.9, etc.:— fem. Apoll-ōnias (sc. polis or nasos), ados, h(, i.e. Delos, Id.I.1.6: also, = daphnē, Hsch.
III. Apoll-ōnion , to/, temple of Apollo, Th.2.91, Arist.Mir.840a21, GDI5726.45 (Halic.): —also Apoll-ōneion , D.S.14.16, etc., cf. Eust.1562.54.IV. Apoll-ōnia , ta/, festival of ApolloSêmeion 2. sign from the gods, omen Kathair-eô to s. to take it down, strike the flag,
as a sign of dissolving an assembly, And.1.36; to tês ekklêsias,
3. of sorcerers, bring down from the sky, selênên [sign in the moon]. *
V. less freq. like the simple [heresy] hairein, take and carry off[1] Golden lyre, rightful joint possession of Apollo and the violet-haired Muses, to which the dance-step listens, the beginning [sema] of splendid festivity; and singers obey your notes, whenever, with your quivering strings, you prepare to strike up chorus-leading preludes.
it is because there is no light in them. Isa 8:20
Matt. 11:25 At that time Jesus answered and said, I thank thee, O Father, Lord of heaven and earth, because thou hast HID these things from the wise [sophists] and prudent, and hast revealed them unto babes.
John 17:6 I have manifested thy name unto the men which thou gavest me out of the WORLD (Kosmos: PYTHAGOREANS): thine they were, and thou gavest them me; and they have kept thy word.
John 17:7 Now they have known that all things whatsoever thou hast given me are of thee.
John 17:8 For I have given unto them the words which thou gavest me; and they have received them, and have known surely that I came out from thee, and they have believed that thou didst send me.
Strabo Geography [10.3.10] And on this account Plato, and even before his time the Pythagoreians, called philosophy music; andAnd branch-bearing, choral dancing, and initiations are common elements in the worship of these gods. As for the Muses and Apollothey say that the universe is constituted in accordance with harmony,
assuming that every form of music is the work of the gods.
And in this sense, also, the Muses are goddesses,
and Apollo is leader of the Muses,
and poetry as a whole is laudatory of the gods.the Muses (female pastors) preside over the choruses,
whereas Apollo presides both over these and the rites of divination.But all educated men, and especially the musicians, are ministers of the Muses;
and both these and those who have to do with divination are ministers of Apollo;
and the initiated and torch-bearers and hierophants, of Demeter; and the Sileni and Satyri and Bacchae, and also the Lenae and Thyiae and Mimallones and Naïdes and Nymphae and the beings called Tityri, of Dionysus.-10.3.11] In Crete, not only these rites, but in particular those sacred to Zeus, were performed
along with orgiastic worship and
with the kind of ministers who were in the service of Dionysus, (Coroi, youth) mean the Satyri (Gender-bent musical Pan types).These ministers they called "Curetes," young men who executed movements in armour, accompanied by dancing, as they set forth the mythical story of the birth of Zeus; in this they introduced Cronus as accustomed to swallow his children immediately after their birth,
and Rhea as trying to keep her travail secret and, when the child was born, to get it out of the way and save its life by every means in her power; and to accomplish this it is said thatshe took as helpers the Curetes, who, by surrounding the goddess with tambourines and similar noisy instruments and with war-dance and uproar,
were supposed to strike terror into Cronus and without his knowledge to steal his child away; and that, according to tradition, Zeus was actually reared by them with the same diligence; consequently the
Curetes, either because,
being young, that is "youths," they performed this service, or because they "reared" Zeus "in his youth" (for both explanations are given), were accorded this appellation (Curo-trophein), as if they were Satyrs, so to speak,in the service of Zeus. Such, then, were the Greeks in the matter of orgiastic worship.
Woe to the multitude of many people,
which make a noise like the noise of the seas; and to the rushing of nations,
that make a rushing like the rushing of mighty waters Isa 17:12
The nations shall rush like the rushing of many waters:
but God shall rebuke them, and they shall flee far off,
and shall be chased as the chaff of the mountains before the wind,
and like a rolling thing before the whirlwind. Isa 17:13
And behold at eveningtide trouble; and before the morning he is not.
This is the portion of them that spoil us, and the lot of them that rob us. Isa 17:14
And there shall be upon every lofty mountain and upon every high hill,
water running in that day, when many shall perish,
and when the towers [rostrums] shall fall. Isaiah 30:25And his breath [Spirit], as rushing water [sound of warrior plucking bows and lyres] ,n a valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue them and overtake them. Isaiah 30:28 LXX
Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX
and the Lord shall make his glorious voice to be heard and the wrath [Greek: Orge] of his arm, to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX
For by the voice of the Lord the Assyrians [Egypt and Jerusalem] shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX
And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums [Tabrets = hell] and with pipe. Isaiah 30:32 LXX
For thou shalt be required before thy time: has it been prepared for thee also to reign?
nay, God has prepared for thee a deep trench, wood piled fire and much wood:
the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX
One of the seven angels who had the seven bowls came and said to me, "Come, I will show you the punishment of the great prostitute, who sits on many waters. Re.17:1
In Revelation 18 John calls the rhetoricians, singers and instrument players SORCERERS who HAD deceived the whole World. In Revelation 19 there is blessed peace when the instrumentalists have driven themselves into hell.
