Anti-Christ Judas - Instrumental Music as Worship

Rev. 19:20 And the beast was taken,
        and with him the false prophet that wrought miracles before him,
        with which he deceived them that had received the mark of the beast,
        and them that worshipped his image.
        These both were cast alive into a lake of fire burning with brimstone.

BEAST: Thērion , to (in form Dim. of thēr), A. wild animal, esp. of such as are hunted, mala gar mega thērion ēen, of a stag, Od.10.171, 180 (never in Il.); in Trag. only in Satyric drama
Sikinnis
sikinn-i^s si^, or siki_nis (E.Cyc.37), idos,
A. “Sikinnin” D.H.7.72:—Sicinnis, a dance of Satyrs used in the Satyric drama, S.Fr.772, E. l.c., D.H. l.c., Luc.Salt.22: named from its inventor Sicinnus, Ath.1.20e, cf. Scamon 1; or from Sicinnis, a nymph of Cybele, although originally danced in honour of Sabazios, Arr.Fr.106J.— Also written Sikinnon , to/, Suid.; Sikinna ,

Sa^bazios , ho, (Sabos) a Phrygian deity, whose mysteries resembled the teletai of Dionysus, Thphr.Char.27.8 (but Sabadion [acc.] ib.16.4, cf. Dessau Inscr.Lat.Sel.2189), Nymphis 11; hence afterwards taken as a name of Dionysus himself, Ar.V.9, Av.875, Lys.388; A.“theō Sabaziō pagkoiranō” CIG3791 (Bithynia), cf. IG12(5).27 (Sicinus); “Di Sabaziō”

Cybele or Kubebes: CII. Kubêbês. The ‘Great Mother’ goddess of the Phrygians worshipped at Pessinus, the mêtêr Dindumênê of i. 80. 1. For the Anatolian ‘Great Mother’ cf. App. I. 2, Frazer, G. B. iv, Bk. II, Attis, &c.; Ramsay, in Hastings' Bible Dictionary, extra vol., p. 120 f. The Atys myth which involved her cult is connected with Sardis by H.'s story of the son of Croesus (i. 34. 2 n.). The Great Mother was worshipped at Athens in the days of Sophocles (Phil. 391), and identified by the Greeks with Rhea, mother of the gods (cf. iv. 76; Strabo 469), with Aphrodite, with Demeter, and with Artemis as the lady of the wild woods. But here she is regarded as a foreign goddess.

The BEAST from the EARTH exerciseth all the POWER of the first BEAST before him,
        and causeth the earth and them which dwell therein
        to worship the first BEAST, whose deadly wound was healed. Rev. 13:12

CONTRARY AND ANTITHETICAL to the worship of God, THE WORSHIP OF THE BEAST is--

Thera^p-euō   II. do service to the gods, athanatous, theous th., Hes.Op.135, Hdt.2.37, X.Mem.1.4.13, etc.; “daimona” Pi.P.3.109; Dionuson, Mousas, E.Ba.82 (lyr.), IT1105(lyr.); th. Phoibou [“Apollon”] naous serve them, Id.Ion111 (anap.): abs., worship, Lys.6.51; do service or honour to one's parents, E.Ion183 (lyr.), Pl.R.467a, Men.91a; serve, wait upon a master, Id.Euthphr.13d, cf. Ar.Eq.59, 1261, etc.; th. tas thēkas reverence men's graves, Pl.R.469a.
APOLLYON- Phoebus , i, m., = Phoibos (the radiant), I. a poetical appellation of Apollon as the god of light: “quae mihi Phoebus Apollon, Val. Fl. 1, 228: “Circe,” [CHURCH AS WORSHIP CENTER] daughter of Sol, Petr. 135.—

Phoebus , i, m., = Phoibos (the radiant), I.a poetical appellation of Apollo as the god of light: “quae mihi Phoebus Apollo, Val. Fl. 1, 228: “Circe,” daughter of Sol, Petr. 135.—
B. Phoe-bēus , a, um, adj., Phœbean, Apollinean: “carmina,” Lucr. 2, 504: “lampas,” the sun, Verg. A. 4, 6: “virgo,” Daphne, Ov. P. 2, 2, 82: “laurus,” id. Tr. 4, 2, 51: “Rhodos,” where the worship of Apollo prevailed, id. M. 7, 365: “lyra,” id. H. 16, 180: “sortes,” oracle, id. M. 3, 130: “tripodes,” id. A. A. 3, 789: “Phoebeā morbos pellere arte,” id. F. 3, 827.—

Female Worship Leater C. Phoebas , ădis, f., a PRIESTESS of Apollo; hence the inspired one, the PROPHETESS Ov. Am. 2, 8, 12; id. Tr. 2, 400; Luc. 5, 128; 165.

-therap-ōn henchman, attendant [1] “Mousaōn [2] therapontes”

[1]   Mousa music, song [3 below] stu^ger-os , Mousa “kanakhan .       theias antiluron mousas”
        II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308
      Muses as: moisan pherein    LADED BURDEN
Muses as: adokim-os , disreputable, discredited, reprobate,
   Muses as: “kanakhan . . theias antiluron mousas

                         clanging and harp-players

Revival of Judas the Anti-Christ: The first Antichrist or anti-God religion is identified in the very name of the serpent as the symbol of Babylonian religion. The ministry team of Babylonian worship consisted of priests, prophets, soothsayers and prostitutes.
pg 5

Christian Chronicle Worship Forum Reviews: Dan Dozier --Jack Reese

The "bag" of Judas was for carrying the mouthpieces of wind instruments. They are the "tongues" of the Kosmoskrater and is a favorite topic on Greek vases. Judas is at the left and the Judas Box is always attached to the spotted flute case.

The serpent name is associated with the whispering and muttering (speaking in tongues, humming, hissing) of the soothsayers or priests claiming power to lead you into the presence of God. Its name is also associated with brass or copper, and with the flutes or wind instruments used because the "gods lived inside" of the instruments as the idols.

The booming and clanging sounds Paul condemned in First Corinthians 13 is identical in function to the "familiar spirit" or old wineskin of the witch of Endor. The clanging brass is a direct connect to the "Chaldeans" which had become symbolic of the soothsayers or astrologers. Molech worship as part of the "worship of the starry host" to which God sentenced Israel because of their musical idolatry (play) at Mount Sinai sent a message. It ignored the WORD of God where The spirit of Christ was the Spirit of the prophets (1 Pe 1:11) and sacrificed the CHILD in an effort to get a better revelation from the "gods."

The Jews offered up Jesus on the cross which was a symbol of Tammuz as the pagan, dead but resurrected messiah.

The Jews offered up a child with loud drumming, hand clapping and "making a joyful noise before the Lord" which was the Israelite warrior's chant. They also offered up Jesus with the same kind of mocking. This is why Jesus compared them to children piping trying to get John and Jesus to sing and dance the Dionysus (Babylonian) effeminate song and dance.

Here is a picture of Molech worship in Jerusalem:

Modern musical worship is defact proof of trying to silence Jesus or to get Him to come down and dance with the girls. It has the effect of silencing the human spirit which is the only place God looks for worship which is "giving heed to the Word of God."

As part of their "masculine journey" these fellows carried a new wineskin, blew trumpets, clapped or hissed in derision and carried their staves or oxgoads. They were truly the fullment of Shamgar whose descendants attempt to find their own manhood the same way. Click for The Sons of Shamgar.

If this sounds strange then remember that the Deceiver will always use what is popular and attracts large crowds. He appears as a guiding light and will supply whatever appeals to the human senses. This silences the still, quiet of God's voice within our own spirit.

Anti-Christ, then, is anything or anyone which stands between God and his worshipers who serve as their own priests. Of musical worship teams which Rubel Shelly claims can "lead you into the presence of God" a priestess claims:

"We are called to be kings and priests (I Peter 2:9). In this study I would like to focus especially on the priesthood and some of the functions which they were responsible for, as well as how these functions relate to dance particularly in regards to intercession Webster's defines a priest as,

"One authorized to perform the sacred rites of a religion;
especially as a mediatory agent between man and God." Roberta Walther

Anti-Christ is any substitution of the words or actions of those replacing the still, quiet voice of God in our heart.

Narrative Theology: "We have taken liberites with Exodus" to make the musical idolatry as the sin beyond redemption at Mount Sinai into "a pattern for Christian Worship and Community." Rubel Shelly

Judas under Satan's control would attempt to triumph over Jesus. Triumph over in Psalm 41 was outlawed for the assembly (Numbers 10:7) and is variously translated as "blow the trumpet or make a joyful noise." Jesus refused to sing and dance while the "children" piped.

Yes, the flute is derived from a word similar to "halal" and includes play the flute, pollute and prostitute. While a male phallic symbol, if you will look closely you will see the vulva attached.

Only Salome in the NT is said to have performed the dance they wanted Jesus to perform:

"The second pertinent passage in the bible is the well-known story of Salome, who is said to have danced for the head of John the Baptist. Before we discuss this story once more, consider that in the time the bible stories were created,

their greatest competition for the hearts of the people were the many pagan religions already in existence, many of which would have been mother goddess or fertility cults.

There are numerous references to these cults, if one understands that these cults often featured sacred trees or groves of trees where rituals were conducted. Therefore, one finds in the bible numerous references to "groves", and building altars in groves, where the protagonist is condemned; Reference Deuteronomy 16:21; Judges 6:25, 6:28, 6:30; I Kings 15:13, 16:33; 2 Kings 17:16, 21:3, 21:7, 23:4, 23:6, 23:15, and 2 Chronicles 15:16. From Resource

Topheth had been king Solomon's "music grove" and is named after the tabret or tambourine. It became the symbol of hell itself.

In the Apocryphal Book 4th Maccabees we learn the background to Paul in Hebrews:

Women received their dead raised to life again: and others were tortured, not accepting (fellowship) deliverance; that they might obtain a better resurrection: Hebrews 11:35

Tortured is from the Hebrew:

Tumpanizo (g5178) toom-pan-id'-zo; from a der. of 5180 (mean, a drum, 'tympanum"); to stretch on an instrument of torture resembling a drum, and thus beat to death: - torture.

In other words, if you did not accept their fellowship they drove you out or killed you as they symbolically stretched your own hide on a drum frame and beat you to death. Accepting is from the Greek:

Prosdechomai (g4327) pros-dekh'-om-ahee; from 4314 and 1209; to admit (to intercourse, hospitality, credence or [fig.] endurance); by impl. to await (with confidence or patience): - accept, allow, look (wait) for, take.

What they had to do was just to eat a little pork and they could go free. Modern models insist that we should be "all things to all people." One writer insists that Paul would have attended a Barbecue dinner with Gentiles just so he could get close and preach the gospel. Click for the modern Rebels like Jubal who tried to cheat people with music.

All they wanted Jesus to do was to "break down the walls" and just perform a dance or sing a song as the clergy "children" blew their little pipe.

Noise deliberately intends to scramble the rational or spiritual nature of mankind by putting the focus upon the fleshly or carnal nature through the external senses. Therefore, we should not look for a literal beast or dragon but for any effort to take attention from Christ as God Incarnate.

> "Music, like the word, also may have symbolic meaning. The basic elements out of which musical symbolism is built are sounds, tones, melodies, harmonies, and the various musical instruments, among which is the human voice.

Sound effects can have a numinous (spiritual) character and
may be used to bring about contact with the realm of the holy.

A specific tone may call one to an awareness of the holy, make the holy present, and produce an experience of the holy. This may be done by means of drums, gongs, bells, or other instruments.

The ritual instruments can, through their shape or the materials from which they are made, have symbolic meaning. The Uitoto in Colombia, for example, believe that all the souls of their ancestors are contained in the ritual drums. (See liturgical music.)

> "Summoning, mediating, and expelling devices In the form of magic or sacred words, singing, and music, sound plays or has played an important role in the worship of most religions. The same is true of light and of aromatic substances, such as oils, perfumes, and incense. The importance of these elements has brought about the creation or adoption of specific objects with functions that often serve converging purposes in worship. In most cases they are used

to draw the attention of the deity,
to establish a connection with it,
and to exorcise forces that are evil or harmful to the god and to men.

Because of the need to attract the deity's attention, the sound-producing instruments are usually

percussive or shrill, rather than melodic, and drums, gongs, cymbals, bells, conchs, and sistrums (timbrels, or rattles) are the most common forms. "ceremonial object" Encyclopædia Britannica Online. Or Click Here.

And David tried to arouse or awaken his harp so that he could awaken the dawn.

At its roots all paganism worshiped the heavenly bodies. They were held to be alive, were given names and became gods. The evidence is that Lucifer (Satan, etc.) hitched his stars on astrology and the musical worship of the heavenly spheres. The dragon or the serpent was not literal but comets which may have settled down to become planets after horrendious battles with other stars.

This was the worship of the creature rather than the Creator. The mark of the beast at one level is musical star worship.

CHAP. XLVII.--OPINIONS OF THE HERETICS BORROWED FROM ARATUS.

Ante-Nicene Fathers, Vol. V Hippolytus

"Aratus says that there are in the sky revolving, that is, gyrating stars, because from east to west, and west to east, they journey perpetually, (and) in an orbicular figure. And he says that there revolves towards "The Bears" themselves, like some stream of a river,

an enormous and prodigious monster, (the) Serpent;
and that this is what the devil says in the book of Job to the Deity, when (Satan) uses these words:

"I have traversed earth under heaven, and have gone around (it),"
that is, that I have been turned around, and thereby have been able to survey the worlds.

"For they suppose that towards the North Pole is situated the Dragon, the Serpent, from the highest pole looking upon all (the objects), and gazing (ophis) on all the works of creation, in order that nothing of the things that are being made may escape his notice. For though all the stars in the firmament set, the pole of this (luminary) alone never sets, but, careering high above the horizon, surveys and beholds all things, and none of the works of creation, he says, can escape his notice.
Where chiefly Settings mingle and risings one with other."
CHAP. XLVIII.--INVENTION OF THE LYRE; ALLEGORIZING THE APPEARANCE AND POSITION OF THE STARS; ORIGIN OF THE PHOENICIANS; THE LOGOS IDENTIFIED BY ARATUS WITH THE CONSTELLATION CANIS; INFLUENCE OF CANIS ON FERTILITY AND LIFE GENERALLY.

You didn't know that Lyra had an eye. Neither did Astronomers until recently:

Ring Nebula (M57, NGC 6720) in the constellation Lyra, a planetary nebula consisting mainly of gases thrown off by the star in the center. [symbolism intended]

[The once worshiped theatrical and musical performers are now noted as the STARS and "worship" totally revolves around their performance. They have, at times, replaced the table of the Lord, and they stand over or preside over or overlook the flock.]
Rubel Shelly claims that John shifted poor memories through philosophy and invented his own gospel account to fit his own personal agenda. Therefore, not knowing that the Word is personified beginning in Genesis, RUBLE claims that John used the Greek Logos to compose his narrative story about Jesus. The Greek Logos or Hermes was the "interpreter" of the Gods which Peter outlaws as "private interpretation" and was the father of musical instrumens, the twanging bow, of thieves and liars. He is the JUBAL figure of Genesis.

Therefore, there has been an eternal warfare between Jesus as the S.O.N. God and these characters as the S.U.N. god whom Shelly baptizes to replace the Dabar or Logos of the Bible.

We are not off track, therefore, to look for the connection between the modern musical worship groups and Gnosticm, Astrology and even witchcraft:

"And (Aratus) says that (the constellations) Lyra and Corona have been placed on both sides near him,--now I mean Engonasis,--but that

he bends the knee, and stretches forth both hands,

as if making a confession of sin.

And that the lyre is a musical instrument

fashioned by Logos while still altogether an infant,

and that Logos is the same as he who is denominated Mercury

among the Greeks. And Aratus,

with regard to the construction of the lyre, observes:--

Then, further, also near the cradle,

Hermes pierced it (a turtle shell

with strings attached) through,

and said, Call it Lyre."

"It consists of seven strings, signifying by these seven strings the entire harmony and construction of the world (kosmos) as it is melodiously constituted. For in six days the world was made, and (the Creator) rested on the seventh. [Note: this is the little animal-like Adam before Sophia and Zoe breathed life into him and made the minor jehovahs into musical worship teams]

If, then, says (Aratus), Adam, acknowledging (his guilt) and
guarding the head of the Beast,
according to the commandment of the Deity, (ZOE)
........... will imitate Lyra,
........... that is, obey the Logos of God, that is, submit to the law,
........... he will receive Corona that is situated near him.

If, however, he neglect his duty, he shall be hurled downwards in company with the Beast that lies underneath, and shall have, he says, his portion with the Beast.

And Engonasis seems on both sides to extend his hands, and on one to touch Lyra, and on the other Corona--and this is his confession;--so that it is possible to distinguish him by means of this (sidereal) configuration itself.

But Corona nevertheless is plotted against, and forcibly drawn away by another beast, a smaller Dragon, which is the offspring of him who is guarded by the foot of Engonasis.

A man also stands firmly grasping with both hands, and dragging towards the space behind the Serpent from Corona; and he does not permit the Beast to touch Corona. though making a violent effort to do so. And Aratus styles him Anguitenens, because he restrains the impetuosity of the Serpent in his attempt to reach Corona.

But Logos, he says, is he who, in the figure of a man, hinders the Beast from reaching Corona, commiserating him who is being plotted against by the Dragon and his offspring simultaneously.

See more on the Greek Logos and music.

The cult made a clear connection between instrumental music and the cow or bull. For instance, the only surviving harp from Ur shows that the literal King went into sheol along with the live sacrice of his female harp players.

Mercury is sometimes represented as holding a purse, symbolic of his business functions. Usually, however, artists borrow the attributes of Hermes irrespective of their appropriateness and portray him wearing winged sandals or a winged cap and carrying a caduceus (staff). The Judas Bag or purse was for "carrying the mouthpieces of wind instruments." It relates to music as speaking in tongues and "of the world" or cosmos.

Music to make the spirits come (used by the clergy on Jesus) means what it seems to mean:

Come, ye Bacchae, come, ye Bacchae, bringing down (double entendre) Bromius, (boisterous one) god the child of god, out of the Phrygian mountains into the broad highways of Greece.

Horatius Flaccus, Odes reads in part about the Shelly-like Logos who took the liberties while still in a cradle to scoop out a turtle from his shell and used its guts to make the world's first harp (the Jubal figure)

Come, Mercury, by whose minstrel spell

Amphion (musician) raised the Theban stones,

        Come, with thy seven sweet strings, my shell,

        Thy "diverse tones,"

Nor vocal once nor pleasant, now

To rich man's board and temple dear:

        Put forth thy power, till Lyde bow

        Her stubborn ear.

She, like a three-year colt unbroke,

Is frisking o'er the spacious plain,

        Too shy to bear a lover's yoke,

        A husband's rein.

The wood, the tiger, at thy call

Have follow'd: thou caust rivers stay:

The monstrous guard of Pluto's hall

To thee gave way,..

Me let my sire in fetters lay

For mercy to my husband shown:

        Me let him ship far hence away,

        To climes unknown.

Go; speed your flight o'er land and wave,

While Night and Venus shield you; go

        Be blest: and on my tomb engrave

        This tale of woe."

Amphion was a Corinthian of the Bacchiad clan.

Lucifer was the enemy of Israel in Egypt and triumphed over or defeated them at the foot of Mount Sinai as they were called back to worship Osiris in the form of Apis the golden calf.

The sound of strings or brass were believed to be the voice of the gods living inside: strike or abrade or abuse the musical instrument -- grind it into powder as in the Greek psallo or "melody" -- and you forced the gods living inside to speak to you. The magical performer was the "mediator" or "intercessor" and only by becoming one (knowing personally) the mediator could you know the gods.

A musician never a Jewish or Christian Worship Leader:

"From Greek mousike (techne) the art of the Muses. The music of the Greeks did not signify merely the harmony of sounds, but actually imbodied the idea of inner harmony of the spirit,
........... the becoming at one with the spirit of the Muses, (9 sisters)
........... so that the soul responded in harmonic rhythm to the beat of universal harmony.

Note: The Babylon influence at the end-times will be replacing the Spirit Creator with the theatrical, creative talent of real humans

Mousikos (g3451) moo-sik-os'; a Muse; "musical", i.e. (as noun) a minstrel: - musician (See Revelation 18:22)

Technites (g5079) tekh-nee'-tace; from 5078 (art, skill, talent); an artisan; fig. a founder (Creator): - builder, craftsman.

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Revelation18:22

From Second Adam and Eve:

1 AFTER Cain had gone down to the land of dark soil, and his children had multiplied therein, there was one of them,
2 But as to this Genun, Satan came into him in his childhood;
: and he made sundry trumpets and horns, and string instruments, cymbals and psalteries, and lyres and harps, and flutes; and he played on them at all times and at every hour.

See Enoch God will come with ten thousand of his host.
3 And when he played on them,
Satan came into them, so that from among them were heard beautiful and sweet sounds, that ravished the heart.
4 Then he gathered companies upon companies to play on them;
and when they played, it pleased well the children of Cain, who inflamed themselves with sin among themselves, and burnt as with fire;

5 Satan also taught Genun to bring strong drink out of corn; and this Genun used to bring together companies upon companies in drink-houses; and brought into their hands all manner of fruits and flowers; and they drank together.

We naturally feel that those with performance talents are "inspired." When things "sound just right" the natural harmony was so magical that it was believed to be God living inside of the performer. Physical sensations therefore were an easy substitute for the non-harmonic act of quietly listening with our mind.

"The trained musicians which eventually appear around the time of David and Solomon mark a distinctive change in the history of Jewish music.

Before this time much of the music was made by women." (Zondervan Pictorial Dictionary, Music p. 313).

"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephthah's daughter, and the women hailing the young hero David have become almost archetypes of female musicians.

"Characteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating. This is the scene known to the entire Near East, and not

"even the severe rule of Islam could wholly suppress this age-old practice." (Int Dict of the Bible, Music, p. 457).

"Music with the Greeks, therefore, included, besides vocal and instrumental music, choral dancing, rhythmic motions, and various modes of harmony expressed in action, perhaps most particularly that part of education which we should now

classify as a striving for harmony (Kosmos unity) in life combined with aesthetic (art and human creativity), (See Judas and the cosmos above)
........... in contrast with intellectual and physical branches of study and development.

It was culture of the essential person, the ego or soul,

whereas the other two divisions care for and supply the needs of the mind and of the body.

"From (the Ugaritic text) come references to a class of Temple personnel designated by the term serim, who exercised functions similar to those of the Hebrew singers during the monarchy and later times. Some of the servants of David who were designated in 1 Kings 4:31 by (a) term meaning 'aboriginal' or 'native sons,' and who possessed Canaanite names such as Heman, Chalcol, and Darda, were engaged in various forms of musical activity.

As such they were described by the phrase 'sons of Mahol,' a Hebrew term closely related to (the Greek),
used of a semi-circular area in which the Greek chorus danced, and meaning 'members of the orchestral guild.'
Machowl (h4235) maw-khole'; the same as 4234; dancing; Machol, an Isr.: - Mahol.

Chuwl (h2342) khool; or 2427 kheel; a prim. root; prop. to twist or whirl (in a circular or spiral manner), i. e. (spec.) to dance, to writhe in pain (espec. of parturition) or fear; fig. to wait, to pervert: - bear, (make to) bring forth, (make to) calve, dance, drive away, fall grievously (with pain), fear, form, great, grieve, (be) grievous, hope, look, make, be in pain, be much (sore) pained, rest, shake, shapen, (be) sorrow (-ful), stay, tarry, travail (with pain), tremble, trust, wait carefully (patiently), be wounded.

1 Chron 2:6. Zimri, and Ethan, and Heman, and Calcol, and Dara--These five are here stated to be the sons of Zerah, that is, of Ezra, whence they were called Ezrahites (1 Kings 4:31). In that passage they are called "the sons of Mahol," which, however, is to be taken not as a proper name, but appellatively for "sons of music, dancing," &c. The traditional fame of their great sagacity and acquirements had descended to the time of Solomon and formed a standard of comparison for showing the superior wisdom of that monarch. Jewish writers say that they were looked up to as prophets by their countrymen during the abode in Egypt. Jamieson, Fausset, Brown

"A further reflection of this musical interest became apparent when Megiddo was excavated and the treasure room of the royal palace was uncovered. From this area was recovered a plaque inlaid with ivory, depicting a royal personage seated on a throne.

He was drinking from a small bowl,
and was being entertained by a court musician who stood before him
plucking the strings of a lyre." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 335, see p. 411).

Those with this talent may be believed by the superstitious to have the ability to "bring us into the presence of the gods" because they were taught this skill directly by the god or goddesses like the Muses. However, because the gods were believed to be evil or insane, music was dangerous because it can bring on the mantic art which is "to be outside of ourselves" such as speaking in tongues:

"Music, in all its various branches is represented as having been taught to man by his divine and divine-human ancestors, such as Isis-Osiris, Thoth, Edris (in the Koran), etc. It is one of the elements of the power known as mantrikasakti. Music was represented as one of four divisions of mathematics, the others being arithmetic, astronomy, and geometry.

"The music of sound arouses in us a power which needs to be controlled, as it can carry us to heights from which we may fall. If regarded as a sensual indulgence, even though a refined one, its true import is not realized. (Theosohy)

The Orphic Pantheon by G. R. S. Meade informs us that:

Now Rhea, as Ceres, in Hymn XIV, is called 'brass-sounding' and

'drum-beating'. This has reference to the mystical results of certain sounds and rhythm, part and parcel of what the Hindus call Mantravidyâ. I remember reading a curious old French book in the Bibliothèque de la Ville of Clermont-Ferrand, one of the books confiscated from the Minime Monastery of the same town, at the time of the Revolution. This work dealt with the magical properties of music, and described for what especial purposes the various instruments of music were used in the Temple-service of the Jews.

Now Iamblichus (De Mysteriis, III.ix) goes into the matter of the so-called Corybantic and Bacchic 'frenzies' produced by musical instruments in the Mysteries of Ceres and Bacchus; and in his Life of Pythagoras (xxv) he, further, tells us that:

'The whole Pythagoric school went through a course of musical training, both in harmony and touch, whereby, by means of appropriate chants,
........... they beneficially converted the dispositions of the soul to contrary emotions.

For, before they retired to rest, they purified their minds of the [mental, says Quintilian] confusion and noises of the day, by certain songs and peculiar chants, and so prepared for themselves peaceful repose with either few or pleasant dreams. And again, when they rose from sleep, they freed themselves from drowsiness by songs of another character.

And sometimes by means of melodies without words they cured certain affections and diseases, and this they said was the real means of "charming".
........... And it is most probable that the word "charm" (epode)
........... came into general use from them.

It was thus, then, that Pythagoras established a most salutary system of regenerating the morals by means of "music" [Mantravidyâ].' (Op. cit. Kiessling's text, pp. 245, 246; see also Taylor, Iamblichus on the Mysteries, 2nd ed., pp. 130, 131, n.)

See how Nimrod Did it

"Music and Mantras, therefore, were used by the Orphics to attract, or call down, the influence of the Mother of the Gods, who at the same time was the 'Store-house of Life', of Divine Nature. Thus Proclus in his Commentary on Euclid (ii) tells us that

'the Pole of the World is called by the Pythagoreans the Seal of Rhea' (Myst. Hymns, p. 63).

Now the pole is the conductor of the vital and magnetic forces of the earth-envelope, and is, therefore, appropriately called by this name, as being the seal and signature of the vital forces of Divine Nature, whereby all diseases can be healed and all states of the soul vitalized.

This is why Paul outlawed female leadership which often tends toward mother goddess worship. Furthermore, in Romans 15 Paul limited the public teaching to that which has been written to keep the female and effeminate Orphics and Dionysic's from getting control of the assembly.

Of course, there is nothing remotely close to musical harmony in the music of either the Old or New Testaments! This is why Paul warned that women's participation in Corinth would bring on speaking in tongues and people would see them as mad, insane or mantic. This, in turn, would make the unbelievers that they were practicing the same "worship" they had just left in paganism:

Because women were always more effective, their masters used them for their own ego or financial gain:

Manteuomai (g3132) mant-yoo'-om-ahee; from a der. of 3105 (mean. a prophet, as supposed to rave through inspiration); to divine, i.e. utter spells (under pretence of foretelling): - by soothsaying.

If therefore the whole church be come together into one place, and all speak (or sing out of the person's own mind or spirit) with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad? 1Co.14:23

And it came to pass, as we went to prayer, a certain damsel possessed with a spirit of divination met us, which brought her masters much gain by soothsaying: Acts 16:16

Babylonian or Canaanite religion was the agent of Lucifer in Canaan. He caused Israel to reject God and demand a king like the nations so that they could worship like the nations. Music in all of these nations was the power to force the worshipers to fall down on their face.

Speaking to the end-time horde of plague bringers restricted to a small tribe, the Catholic Encyclopedia notes:

"It seems that in addition to the public and official cult of the "twelve great gods" and their subordinate divinities, the Assyrians had a more sacred and secret religion,
........... a religion of mystery and magic and sorcery.

These "religious" texts, moreover, together with a mass of talismanic inscriptions on cylinders and amulets, prove the presence of an exceedingly rich demonology. Below the greater and lesser gods there was a vast host of spirits, some of them good and beneficent and some of them evil and hurtful. And these spirits were described and classified with an exactness

which leads some to liken the arrangement to that of the choirs and orders of our own angelic hierarchy.

The antiquity and importance of this secret religion, with its magic and incantations of the good spirits or evil demons, may be gathered from the fact that by order of King Assurbanipal his scribes made several copies (songbooks) of a great magical work according to a pattern which had been preserved from a remote antiquity in the priestly school of Erech in Chaldea.

And Paul wrote:

BE ye followers of me, even as I also am of Christ. 1 Corinthians 11:1
Now I praise you, brethren, that ye remember me in all things, and keep the ordinances, as I delivered them to you. 1 Corinthians 11: 2
But I would have you know, that the head of every man is Christ; and the head of the woman is the man; and the head of Christ is God. 1 Corinthians 11: 3
Every man praying or prophesying, having his head covered, dishonoureth his head. 1 Corinthians 11: 4
But every woman that prayeth or prophesieth with her head uncovered dishonoureth her head: for that is even all one as if she were shaven. 1 Corinthians 11: 5
For if the woman be not covered, let her also be shorn: but if it be a shame for a woman to be shorn or shaven, let her be covered. 1 Corinthians 11: 6
For a man indeed ought not to cover his head, forasmuch as he is the image and glory of God: but the woman is the glory of the man. 1 Corinthians 11: 7
For the man is not of the woman; but the woman of the man. 1 Corinthians 11: 8
Neither was the man created for the woman; but the woman for the man. 1 Corinthians 11: 9

For this cause ought the woman to have power on her head because of the angels. 1 Corinthians 11: 10

This work consisted of three books, the first of which is entirely consecrated to incantations (chanting a powerful song), conjurations (to summon a god), and imprecations (A curse) against the evil spirits. These cuneiform books, it must be remembered, are really written on clay tablets. And each of the tablets of these first books which has come down to us ends with the title, "Tablet No. - of the Evil Spirits". The ideogram which is here rendered as kullulu -- "accursed" or "evil" -- might also be read as limuttu -- "baneful". Besides being known by the generic name of udukku -- "spirit" -- a demon is called more distinctly ecimmu, or maskimmu.

One special class of these spirits was the sedu, or divine bull, which is represented in the well-known figure of a man-headed bull so common on the Assyrian monuments.

This name, it may be remarked, is probably the source of the Hebrew word for demon. The Assyrian sedu, it is true, was more commonly a beneficent or tutelary (guardian) spirit. But this is hardly an obstacle to the derivation, for the good spirits of one nation were often regarded as evil by men of rival races. (Catholic Encyclopedia)

According to Vincent, Paul reaches back to Deuteronomy to explain what was happening when the people participated with demons. Rubel Shelly sees the Exodus event as a pattern for Christian worship and community and even suggests baptizing the S.U.N. god to represent the S.O.N. God.

Because of the musical idolatry at Mount Sinai, God turned Israel over to worship the starry host. Bull worship was actually demon worship as Paul warned the Corinthians about "rising up to play" in 1 Corinthians 10:

Demon: "It is used in the Septuagint, Deut. 32:17, to translate the Hebrew word which seems, originally, to have meant a supernatural being inferior to the gods proper, applied among the Assyrians to the bull deities which guarded the entrances to temples and palaces." (Vincent, p. 244)

"Why do the wicked live on, growing old and increasing in power?

They send forth their children as a flock;
their little ones dance about.
They sing to the music of tambourine and harp;
they make merry to the sound of the flute.
They spend their years in prosperity and go down to the grave in peace.

Yet they say to God, 'Leave us alone! We have no desire to know your ways. Who is the Almighty, that we should serve him? What would we gain by praying to him?' -- Job 21:7, 11-15

"Paul, however, fixes attention on the feast which was entirely after the manner of idol worship.

By doing this Paul strikes home directly at the Corinthians who thought that they, too, could preserve their relation to Jehovah while, pretending to make use of their liberty,
........... they ate, drank, and amused themselves at idol celebrations.

This very thing the Israelites of old attempted when they feasted upon the offerings brought to the golden calf and then rose up 'to play,' to dance and to have a gay time after the fashion they had learned from the idolatrous Egyptians." (Lenski, 1 Cor., p. 397-398).

"It is a great mistake to imagine that back of their idolatry and their idol sacrifices there is nothing but an empty vacuity. True enough, as 8:4 makes plain, the gods of the idols have no existence whatever; no being by the name of Jupiter exists, and this is true with respect to all other gods.

But something does exist, something that is far more terrible than these pseudo-gods, namely an entire kingdom of darkness which is hostile to God, a host of demons or fallen angels who are ruled by the greatest of their number, namely Satan, Eph. 2:3; 6:12.

All altars, all sacrifices, and all worship that are not intended to serve the true God are thus actually though not necessarily consciously and intentionally devoted to these demons... Hence all idol sacrifices, whatever the pagan ideas concerning them may be, are really sacrifices unto devils." (Lenski, on 1 Cor. p. 415).

When Paul warned the Corinthians about demon worship in 1 Corinthians 10, he was speaking of the demon-bull representing Osiris at Mount Sinai.

Lucifer would be the Anti-Christ as the king of Babylon, Assyria, Egypt and Canaan. She will be the end-time Anti-Christ. Assyria is also identified as the dominant "tree" in the garden of Eden.

The confrontation between the Anti-Christ and Jesus is identified at the "flute-playing children" trying to force Him into the dance or knee bending to a Baal-like figure. (Judas put the money into the mouthpiece bag)

This was prophesied in many places. For instance, when God "sings" with music you may be in grave trouble. Psalm 55 is similar to Psalm 41 which predicts that Judas (my familiar friend) will not triumph over me (with wind instruments). So David and Jesus did not worry about their enemies as the "anti-christ" figure but their closest friends:

GIVE ear to my prayer, O God; and hide not thyself from my supplication. Psalm 55:1

Attend unto me, and hear me: I mourn in my complaint, and make a noise; Psalm 55:2
Because of the voice of the enemy, because of the oppression of the wicked: for they cast iniquity (panting like professional mourners h205) upon me, and in wrath (associated with music in Job 21) they hate me. Psalm 55: 3
And I said, Oh that I had wings like a dove for then would I fly away, and be at rest. Psalm 55: 6
Day and night they go about it upon the walls thereof: mischief also and sorrow are in the midst of it. Psalm 55: 10
For it was not an enemy that reproached me; then I could have borne it: neither was it he that hated me that did magnify himself against me; then I would have hid myself from him: Psalm 55: 12
As for me, I will call upon God; and the Lord shall save me. Psalm 55: 16
He hath put forth his hands against such as be at peace with him: he hath broken his covenant. Psalm 55: 20
The words of his mouth were smoother than butter, but war was in his heart: his words were softer than oil, yet were they drawn swords. Psalm 55: 21

As with all musical psalms (except perhaps 33), we hear a pronouncement of judgment. In this chapter, the enemy sounds very similar to Judas in Psalm 41.

The Kings of The Word as the Commercial Anti-Christ

The kings of Tyre and Babylon were agents of Lucifer. They were called the musical prostitute and the whore of Babylon but they will ultimately go into hell with her musicians and instruments. Of the king of Tyre:

At that time Tyre will be forgotten for seventy years, the span of a king's life. But at the end of these seventy years, it will happen to Tyre as in the song of the prostitute: Is.23:15NIV

Take up a harp, walk through the city, O prostitute forgotten; play the harp well, sing many a song, so that you will be remembered." Is 23:16

Because "Lucifer" was at times female, his or her male agents tried to escape being called effeminate or whores. Therefore, the king of Tyre wanted to be remembered as a male.

And of the king of Babylon:

Thy pomp is brought down to the grave, and the noise of thy viols: the worm (maggots) is spread under thee, and the worms cover thee. Is 14:11

How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations! Is 14:12

The Babylonian king (whore) will again go into hell with her musical attempts to deceive the people as a commercial form of religion.

Judas as the Anti-Christ Agent of Satan

To triumph over another person often meant leading them in a processional. The musicians played, the singers sang and the children danced around the defeated enemy to pollute them by mocking them and even spitting on them. God told us through Moses:

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm ( make a joyful noise). Nu 10:7

The two silver trumpets, on the other hand, was used to call assembly of the congregation but were outlawed during those meetings. However, it was not a musical instrument and later Jews outlawed adding holes to change the pitch. These musical devices could not be used against God's people because they were designed to panic the enemy into defeat or to rejoice over (triumph over) them in victory.

Wind instruments in primitive cultures also serve nonreligious functions. In New Guinea, bamboo trumpets were once played

to frighten an enemy during battle and
to alert a village that the victorious warriors were coming home with the corpses of the foes.

"Trumpets also may be associated with the office of king or chief, as in West Africa,
"where their use is strictly controlled by tribal law. "wind instrument" Encyclopædia Britannica Online.

When used for calling the congregation into assembly they were used much like a church bell.

AND Moses gathered all the congregation of the children of Israel together, and said unto them, These are the words which the Lord hath commanded, that ye should do them. Ex.35:1

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7

However, when the congregation came to hear from God the instruments could not be turned against them to triumph over them. The exception might be excommunication - the music was the shawms of a dying civilization or person:

"All the various usages of the shophar (Ram's horn trumpet) can be viewed under one category: that of a signaling instrument. It sounded all signals in war and peace; it announced the new moon, the beginning of the sabbath, the death of a notable;

it warned of approaching danger;
it heraled excommunication; [Rev 13:17 so that no one could buy or sell unless he had the mark, which is the name of the beast or the number of his name.]
it was instrumental in exorcisms and magic healing." (Interpreters Dictionary of the Bible, p. 473, Abingdon).
See the Jewish War Rules from the Dead Sea Scrolls.

Modern medicine understands that musical worship teams or instrumental music or just loud vocal singing splits the ears, alarms the rational part of the brain and shuts it down so that we listen only with our emotion. This loud sound literally breaks down the walls of our mind. Therefore, God condemned and outlawed it as worship.

Psalm 41 Judas Will Not Triumph Over With Wind Instruments

Psalm 41 prophesied that Judas, whose bag carried "the mouthpieces of wind instruments," would not triumph over (blow his triumph trumpet, Jubilee, pipe) over Jesus when He came to teach (see Num 10:7 above).

BLESSED is he that considereth the poor: the Lord will deliver him in time of trouble. Psalm 41: 1

The Lord will preserve him, and keep him alive; and he shall be blessed upon the earth: and thou wilt not deliver him unto the will of his enemies. Psalm 41:2
The Lord will strengthen him upon the bed of languishing: thou wilt make all his bed in his sickness. Psalm 41: 3
I said, Lord, be merciful unto me: heal my soul; for I have sinned against thee. Psalm 41: 4
Mine enemies speak evil of me, When shall he die, and his name perish? Psalm 41: 5
And if he come to see me, he speaketh vanity: his heart gathereth iniquity to itself; when he goeth abroad, he telleth it. Psalm 41: 6
All that hate me whisper together against me: against me do they devise my hurt. Psalm 41: 7
An evil disease, say they, cleaveth fast unto him: and now that he lieth he shall rise up no more. Psalm 41: 8
Yea, mine own familiar friend, in whom I trusted, which did eat of my bread, hath lifted up his heel against me. Psalm 41: 9
But thou, O Lord, be merciful unto me, and raise me up, that I may requite them. Psalm 41: 10

By this I know that thou favourest me, because mine enemy doth not triumph over me. Psalm 41: 11

The Jewish clergy as "musical children" did play their pipes and tried to force John and Jesus into their dance of ecstasy in violation of God's will:

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7

The truimph-over alarm, suitable to tribal movements, panicing the enemy or national rejoicing where no word from God was expected is:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears with sound, i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout for joy, sound an alarm, triumph.

By this I know that thou favourest me, because mine enemy (Judas) doth not triumph over me. Ps.41:11

And David was clothed with a robe of fine linen, and all the Levites that bare the ark, and the singers, and Chenaniah the master of the song (h4853) with the singers: David also had upon him an ephod of linen. 1Chr.15:27

Thus all Israel brought up the ark of the covenant of the Lord with shouting, and with sound of the cornet, and with trumpets, and with cymbals, making a noise with psalteries and harps. 1 Chr 15:28

This ark moving was a civil-religious affair and had nothing to do with "congregational worship." The "master of song" was:

Sar (h8269) sar; from 8323; a head person (of any rank or class): - captain (that had rule), chief (captain), general, governor, keeper, lord, ([-task-]) master, prince (-ipal), ruler, steward.

David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1 Chr 25:1

Their ministry was related to the "destroyer" because they had rejected God as king and demanded a human king. God warned that the kings would DESTROY them. The word "ministry" is:

And he will appoint him captains over thousands, and captains over fifties; and will set them to ear his ground, and to reap his harvest, and to make his instruments of war, and instruments of his chariots. 1 Samuel 8:12

Abodah (h5656) ab-o-daw'; or abowdah ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought

David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1Chr.25:1NIV

Acaph (h623) aw-sawf'; from 622; collector; Asaph, the name of three Isr., and of the family of the first: - Asaph.

Acaph (h622) aw-saf'; a prim. root; to gather for any purpose; hence to receive, take away, i. e. remove (destroy, leave behind, put up, restore, etc.): - assemble, bring, consume, destroy...

Jeduthun is the Hebrew

Yduwthuwn (h3038) yed-oo-thoon'; or yÿduthuwn yed-oo-thoon'; or yÿdytuwn yed-ee-thoon'; prob. from 3034; laudatory; Jeduthun, an Isr.: - Jeduthun

Yadah (h3034) yaw-daw'; a prim. root; used only as denom. from 3027; lit. to use (i. e. hold out) the hand; phys. to throw (a stone, an arrow) at or away; espec. to revere or worship (with extended hands); intens. to bemoan (by wringing the hands)

h3027 is the OPEN HAND exercising POWER.

1 Chr 25:1 MOREOVER David and the captains of the host separated to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was:

Shoutings:

Teruwah (h8643) ter-oo-aw'; from 7321; clamor, i. e. acclamation of joy or a battle-cry; espec. clangor of trumpets, as an alarum: - alarm, blow (-ing) (of, the) (trumpets), joy, jubile, loud noise, rejoicing, shout (-ing), (high, joyful) sound (-ing).
Abedah (h9) ab-ay-daw'; from 6; concr. something lost; abstr. destruction, i. e. Hades: - lost. Comp. 10.
Because Ephraim hath made many altars to sin, altars shall be unto him to sin. Ho.8:11

Abaddown (h11) ab-ad-done'; intens. from 6; abstr. a perishing; concr. Hades: - destruction.
Hell and destruction are before the Lord: how much more then the hearts of the children of men? Pr.15:11
Abad (h6) aw-bad'; a prim. root; prop. to wander away, i. e. lose oneself; by impl. to perish (caus. destroy): - break, destroy (- uction), / not escape, fail, lose, (cause to, make) perish, spend, * and surely, take, be undone, * utterly, be void of, have no way to flee.

Mine enemies speak evil of me, When shall he die, and his name perish? Ps.41:5

Therefore once more I will astound these people with wonder upon wonder; the wisdom of the wise will perish, the intelligence of the intelligent will vanish." Isa 29:14

Triumph over in Greek is:

Thriambeuo (h2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - cause to triumph over.

This choral dance would prove that Jesus might be a pagan god and therefore gender-confused:

"We know the Gnostics used sexual practices
........... to bind the flesh and the divine together (Rev. 2:20).

"In most ancient pagan religions the act of procreation was a mystery; they thought fornication and in some instances homosexuality

linked them to the world of the gods. Apparently, this sexual aspect of Gnosticism was incorporated with Jezebel's teaching which Jesus condemned (Rev. 3:20). The apostle Peter was aware of this problem." (Trombley, Who Says Women Cannot Teach, p. 176).

Of course, this would have disqualifed Jesus as the Incarnate God of the universe and made Him at least be dionysus whom they had worshipped in the temple. When they triumphed over it would involve singing the lament and dancing in the chorus as the children played their pipes or wind instruments. This would mark Jesus as just one of the "girls."

DeCorona, Chapter XII.

But I first say a word also about the crown itself. This laurel one is sacred to Apollo or Bacchus (Dionysus)-to the former as the god of archery, to the latter as the god of triumphs
........... Apollo is: Apolluon (g623) ap-ol-loo'-ohn; act. part. of 622; a destroyer (i.e. Satan): - Apollyon

The Witness of the Dead Sea Scrolls. If you have come to this point from some other Article Click Here for the separate DSS material on Psalm 41.

The Judas Bag or Box and the Musical Triumph Over Connection

It is a little-known mystery that the Judas bag (he was a thief) was for "carrying the mouthpieces of wind instruments." Judas would be classed along with the clergy who "piped" for Jesus to frighten or panic Him into rising up like a warrior to go into battle against the Romans. Or they would force Him to dance the Dionysos, choral dance which would mark Him as effeminate. Science now knows that music creates the "fight or flight" syndrome and both have a sexual relationship. It didn't work of Jesus.

It was prophesied of Jesus that:

All that hate me whisper together against me: against me do they devise my hurt. Ps.41:7

Whisper is like speaking in tongues and is related to Nachash or the serpent in the garden of Eden

"The serpent-charmers usual instrument is the flute. Those who professed the art of taming serpents were called by the Hebrews menachashim, while the art itself was called lachash , (Jer 8:17; Ecc 10:11)" Smith's Dictionary, Serpent.

Lachash (h3908) lakh'-ash; from 3907; prop. a whisper, i. e. by impl. (in a good sense) a private prayer, (in a bad one) an incantation; concr. an amulet: - charmed, earring, enchantment, orator, prayer.

Baal-lashon is lord of The Tongue

"Never was Satan's wisdom so craftily used as when he secured universal acceptance of this traditional belief:

for it has succeeded in fixing the attention of mankind on the letter and the means,
and thus blinding the eyes to the solemn fact that the Fall of man had to do solely with the Word of God,
........... and is centered in the sin of believing Satan's lie instead of Jehovah's truth."

This Judas bag is from the Greek:

Glosokomon (g1101) gloce-sok'-om-on; from 1100 (speaking in tongues) and the base of 2889; prop. a case to keep mouthpieces of wind-instruments in, i.e. (by extens.) a casket or (spec.) purse: - bag.

It is made up of two words:

1. Glossa (from Strong's g1100) means "speaking in tongues" especially an unacquired one.

Tongue is from the Hebrew--

Lashown (H3956) law-shone'; also (in plur.) fem. from 3960; the tongue (of man or anmals), used

literally. (as the instrument of licking, eating, of speech), and

figurative. (speech, an ingot, a fork of flame, a cove or water): - babbler, bay, / evil speaker, language, talker, tongue, wedge

Lashan (h3960) law-shan'; a prim. root; prop. to lick; but used only as a denom. from 3956;

to wag the tongue, i. e. to calumniate: - accuse, slander.

Strange or stammering tongues is much like naba which described the "prophets" who sang with musical instruments and drove themselves into slobering madness to prove that they had contacted a god--

Laeg (h3934) law-ayg'; from 3932; a buffoon; also a foreigner: - mocker, stammering.

But in mine adversity they rejoiced, and gathered themselves together: yea, the abjects gathered themselves together against me, and I knew it not; they did tear me, and ceased not: Ps 35:15

With hypocritical mockers in feasts, they gnashed upon me with their teeth. Ps.35:16

lag (h3932) law-ag'; a prim. root; to deride; by impl. (as if imitating a foreigner) to speak unintelligibly: - have in derision, laugh (to scorn), mock (on), stammering.

This word is used by Hosea to make the connection between weapons and the tongue. The derision is much like speaking in tongues--

They return, but not to the most High: they are like a deceitful bow: their princes shall fall by the sword for the rage of their tongue: this shall be their derision in the land of Egypt. Ho.7:16

Deceitful is

rÿmyyah (h7423) rem-ee-yaw'; from 7411; remissness, treachery: - deceit (-ful, -fully), false, guile, idle, slack, slothful.

Bow is a real bow which was often twanged to create music--

qesheth (h7198) keh'-sheth; from 7185 in the orig. sense (of 6983) of bending; a bow, for shooting (hence fig. strength) or the iris: - * arch (-er), / arrow, bow ([-man, -shot]).

And the tongue is a fire, a world of iniquity: so is the tongue among our members, that it defileth the whole body, and setteth on fire the course of nature; and it is set on fire of hell. Ja.3:6

The external melody condemned by Paul is related to the twanging bowstring sending the singing arrow into your heart.

1 cor 14 is parallel to Isaiah 28 and 32

The mind of the rash will know and understand, and the stammering tongue will be fluent and clear. Is.32:4

You will see those arrogant people no more, those people of an obscure speech, with their strange, incomprehensible tongue. Is.33:19

2. Kosmos (g2889) means the "orderly arrangement" or the "adorning" world. this is derived from (g2864 or Komizo which means "to carry off."

And base things of the world, and things which are despised, hath God chosen, yea, and things which are not, to bring to nought things that are: 1Co.1:28

See more information from Strabo.on the music and speaking in tongues connection from the barbarians playing the barbados.

"All early civilizations saw their ideal music as an image (idol) of cosmic order and its practice in temple ritual and court ceremonial

as a means of helping to maintain or reflect universal harmony.

This is why it is felt that Judas really INTENDED to give Jesus the power to become the messiah he hoped for: Dionysus, the god of new wine and new wineskins:

From such a philosophy stem the age-old concepts of the efficacy of numerical proportions in musical sound; the ethos (magical effect) of particular modes; the music of the spheres; and the musical foundation of the state. Such ideas steadfastly maintained throughout the ages, made for very conservative traditions of music whose fundamental patterns changed little over long periods of time." (Britannica, Music, p. 1091)

"Yet, through all there was an overarching harmony. The Greek word cosmos which we translate by universe originally meant beauty and harmony.

The Pythagoreasns discovered mathematical formulae for the musical harmonies.

They believed in the harmony of the sounds produced by the movement of the stars. Therefore, they spoke of cosmic harmony of the spheres, each of which has a different sound, but all together creating a harmonious sound. If you delete the half-poetic, mythological elements from such ideas,

then you can say that they had a universal, ecstatic interpretation of reality." (Tillich, Paul, A History of Christian Thought, Touchstone, p. 333).

This explains the Judas Bag made up of two other Greek words:

1. Glossa (from Strong's g1100) means "speaking in tongues" especially an unacquired one.

2. Kosmos (g2889) means the "orderly arrangement" or the "adorning" world. this is derived from (g2864 or Komizo which means "to carry off."

Kosmos (g2889) kos'-mos; prob. from the base of 2865; orderly arrangement, i.e. decoration; by impl. the world (in a wide or narrow sense, includ. its inhab., lit. or fig. [mor.]): - adorning, world.

Komizo (g2865) kom-id'-zo; from a prim. komeo , (to tend, i.e. take care of); prop. to provide for, i.e. (by impl.) to carry off (as if from harm; gen. obtain): - bring, receive

And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you; 2 Pet 2:13

In 1 Corinthians 10 Paul had warned against the musical worship of Apis at Mount Sinai.

"From time immorial music had been especially valued in the service of prophecy. Pliny the Elder gives us a report of the cult of Apis:

"In Egypt an ox is honored in place of the god. He is called Apis and he lives in isolation. If he ever goes among the people he stalks along while the lictors make way for him and throngs of boys accompany him, singing songs in his honor.

He appears to understand what is happening and seems to wish to be adored.

The throngs [of boys] suddenly become inspired and prophesy the future. (Pliny, Natural History)

Consequently Apollo was god of prophets and musicians and Pan was god of medicine, music and divination.

Origen Book VI, Chapter XLI.

"In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysus, an Egyptian musician,

the latter told him, with respect to magic arts,
that it was only over the uneducated and men of corrupt morals that they had any power,
while on philosophers they were unable to produce any effect, because they were careful to observe a healthy manner of life."

Art not thou that Egyptian, which before these days madest an uproar, and leddest out into the wilderness four thousand men that were murderers? Ac.21:38

The Kosmos and Komas are related

"Comedy (from Greek komos, meaning "revel") was presented competitively in Athens from 486 BC at the Lenaea winter festival, though it fused much earlier traditions of popular entertainment, mime, phallic rites, and revelry (dancing) in honour of Dionysus.

Ancient shamanistic ceremonies also may have influenced its development. Old Comedy, of which Aristophanes was the chief exponent, was highly satirical. It was characterized by wildly imaginative material (in which the chorus might represent birds, frogs, wasps, or clouds) that was blended with a grotesque, vulgar, and witty tone, which could still accommodate poetry of great lyrical beauty.

The bawdiness of the plays was emphasized by the actors' costumes, which featured jerkins with padded stomachs and large phalli. As in tragedy, masks were worn, though exaggerated for comic effect. (Britannica, Comedy)

The Barbiton was played by the "barbarians" to Triumph-Over and enemy. this is one such image. "Dogs" were male prostitutes.

Musical mastery was often associated with astrology. The planets or "roving stars" were believed to be gods. The order of the kosmos was controlled and made available to the human worshipers through the effort of the musicians to bring order and harmony into the lives of people so that they would not be destroyed. Much like the Jewish Jubilee, the Aztecs believed that their ritual aided the gods because they were not able to keep the roving stars from destroying their homes.

From a study of Jude, Enoch and many other ancient documents, this practice was taught to mankind by Satan.

It is fitting, therefore, that Judas symbolized mankind's trust of astrology or natural phenomena and could not easily believe in and hear the true God who spoke spirit words to them. Jude identifies the false teachers as "roving stars" because they, like Judas, were the agents of star worship.

Fittingly, Satan is called the Kosmokrator:

Kosmokrator (g2888) kos-mok-rat'-ore; from 2889 and 2902; a world-ruler, an epithet of Satan: - ruler.

For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. Ephesians 6:12

(For the weapons of our warfare are not carnal, but mighty through God to the pulling down of strong holds;) 2 Corinthians 10:4

Like the Hebrew, weapon and instrument are the same word:

Hoplon (g3696) hop'-lon; prob. (to be busy about); an implement or utensil or tool (lit. or fig., espec. offensive for war): - armour, instrument, weapon

"the watchmen, who patrolled the streets for the repression of common crime, were charged with the additional duty of exorcizing the dreaded powers of the air and of darkness, which went about like roaring lions seeking what they might devour.

To accomplish this object the night watchman wielded spiritual weapons of two different sorts but of equal power; he range a bell, and he chanted a blessing." (Frazer, James George, Folk-Lore in the Old Testament, Macmillian, p. 423, 1923)

In the story of Genun, the battle between Satan and the Word was between musical activity which was self-praise or Satan-praise and just simply obeying the Word of God:

By the word of truth, by the power of God, by the armour of righteousness on the right hand and on the left, 2 Cor 6:7

The anti-christ is at work then when we trust our own efforts such as keeping of days, new moons, sabbaths or honor natural talent over the "simple fisherman."

"Speculation on number and proportion led to an intuitive feeling of the harmonia ("fitting together") of the kosmos ("the beautiful order of things"); and the application of the tetraktys to the theory of music revealed a hidden order in the range of sound.

Then entered Satan into Judas surnamed Iscariot, being of the number of the twelve. Luke 22:3

Number means something added up. Arithmos is from the Greek:

Airo (g142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

Pythagoras may have referred, vaguely, to the "music of the heavens," which he alone seemed able to hear; and later Pythagoreans seem to have assumed that the distances of the heavenly bodies from the Earth somehow correspond to musical intervals--a theory that, under the influence of Platonic conceptions,

resulted in the famous idea of the "harmony of the spheres." Though number to the early Pythagoreans was still a kind of Kosmic matter, like the water or air proposed by the Ionians, their stress upon numerical proportions, harmony, and order comprised a decisive step toward a metaphysic in which form is the basic reality. See Apopis below.

Chaldean is a synonym in the Bible for soothsayers or enchanters who always used music to deceive people. Judas, for instance, carried the Glosokomon or the bag for carrying the mouthpieces of wind instruments. It is made up of "speaking in tongues" and "of the Kosmos."

Apopis also called Apep, Apepi, or Rerek, ancient Egyptian demon of chaos, who had the form of a giant serpent and, as the foe of the sun god,

Re, represented all that was outside the ordered Kosmos.

Although many serpents symbolized divinity and royalty, Apopis threatened the underworld and symbolized evil. Each night Apopis encountered Re at a particular hour in the sun god's ritual journey through the underworld in his divine bark. Seth, who rode as guardian in the front of Re's bark, attacked him with a spear and slew him, but the next night Apopis, who could not be finally killed, was there again to attack Re.

The Egyptians believed that they could help maintain the order of the world
and assist Re by performing rituals against Apopis.

This kosmos worship was the sin of Israel at Mount Sinai. They rejected God's covenant of grace by attempting to control their old gods through singing, dancing and playing instruments. As a result, they had the Book of the Covenant imposed upon them.

The Overt Attack upon John, Jesus and His mission

Just a little flute, but they used it as Isaiah indicated. The instruments were common in Old Testament times and as we get to the time of Christ we learn that the children used them in playing.

We played the flute for you, and you did not dance; we sang a dirge, and you did not mourn. (Matthew 11:17 NIV)

This was said about the generation that did not like John the Baptist because he was not a party attender and they did not like Jesus because he was not a man who was involved with society. So you can see from that incidental statement that instruments of music were common. Singing with instrumental accompaniment was a way of national life. It had been going on as a part of the religious life for centuries. The symbol of the bull-cult which destroyed Israel was the phallus. Flutes were almost always made to resemble the male sexual organ often united with the female. The sounds were the sounds of the gods having orgasm:

The sound of the flute, for example, is widely associated with love magic. Among many tribes, young men played the flute to serenade young women. Flutes and flute music empower sexual initiation. In some cultures, instrument symbolism is highly developed. In South America:

The whistling of a flute connotes sexual invitation,

while vibration, represented by such instruments as the clarinet and the bull-roarer, symbolizes a warning or threat.

Booms and clange sounds produced by drums and rattles symbolize the uniting of male and female.(Britannica) See the 1 Corinthians 13 Model

This was the fulfillment of the Spirit of Christ through Isaiah who wrote:

As for my people, children are their oppressors, and women rule over them. O my people, they which lead thee cause thee to err, and destroy the way of thy paths. Isa 3:12

The Jewish clergy was trying to oppress Jesus and the Hebrew word is:

Nagas (h5065) naw-gas'; a prim. root; to drive (an animal, a workman, a debtor, an army); by impl. to tax, harass, tyrannize: - distress, driver, exact (-or), oppress (-or), * raiser of taxes, taskmaster.

Nagash (h5066) naw-gash'; a prim. root; to be or come (causat. bring) near (for any purpose); euphem. to lie with a woman; as an enemy, to attack; religious to worship

That thou shalt take up this proverb against the king of Babylon, and say, How hath the oppressor ceased! the golden city ceased! Is.14:4

Thy pomp is brought down to the grave, and the noise of thy viols: the worm (maggots) is spread under thee, and the worms cover thee. Isa 14:11

Click to see Naga, the Musical oppressor.

The Babylonian or anti-Christ religions throughout the regions taught that people were created to feed, clothe, house and entertain the gods with music ans sex.

The Christ which is Anti- Babylonian came to serve mankind. Holy days were to force the people into temples to pay their dues, Jesus came to open the gates so that people could worship in spirit at any time and any place.

Anti-Christ is at work when people, like playing children, try to get between the worshper and God.

Jesus came to silence the musical children who were trying to oppress with the choral dance of Dionysus. He said that the Jewish clergy "took away the key to knowledge." They also laded them with burdens of ceremonial legalism. This is why He said:

Come unto me all ye that labor and are heavy laden, and I will give you rest. Mt.11:28

Phortizo (g5412) for-tid'-zo; from 5414; to load up (prop. as a vessel or animal), i.e. (fig.) to overburden with ceremony (or spiritual anxiety): - lade, be heavy laden.

A burden in Hebrew means a song usually in judgment:

Massa (h4853) mas-saw'; from 5375; a burden; spec. tribute, or (abstr.) porterage; fig. an utterance, chiefly a doom, especially singing; mental, desire: - burden, carry away, prophecy, * they set, song, tribute.

THE burden of Tyre. Howl, ye ships of Tarshish; for it is laid waste, so that there is no house, no entering in: from the land of Chittim it is revealed to them. Isa 23:1

And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot Isaiah 23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Isaiah 23:16

So my heart laments (h1993hamah) for Moab like a flute; it laments like a flute for the men of Kir Hareseth. The wealth they acquired is gone. Je.48:36

They return at evening: they make a noise like a dog, and go round about the city. Ps.59:6

Nasa (h5376) naw-saw'; or na¹ah Pc¹aa 4ÿ6 [7] naw- saw'; a prim. root; to lift, in a great variety of applications, lit. and fig., absol. and rel. (as follows): - accept, advance, arise, (able to, [armour], suffer to) bear (-er, up), bring (forth), burn, carry (away), cast, contain, desire, ease, exact, exalt (self), extol, fetch, forgive, furnish, further, give, go on, help, high, hold up, honourable (/ man), lade, lay, lift (self) up, lofty, marry, magnify, * needs, obtain, pardon, raise (up), receive, regard, respect, set (up), spare, stir up, / swear, take (away, up), * utterly, wear, yield

That thou shalt take up this proverb against the king of Babylon, and say, How hath the oppressor ceased! the golden city ceased! Is.14:4

The rest Jesus delivered was to shut down the rabbi and doctor of the law:

Anapauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain); by impl. to refresh: - take ease, refresh, (give, take) rest.

Theoretically, it was unlawful for the tyrants of the temple to enslave the citizens of Israel and force them to build the temple with musical overseers or "excellers." With enough psychological force it would seem like, as at Thebes, the huge stones just silently moved into place when the music was played. However, the music was triumphing over the slaves.

Later, when it was demanded that the apostles pay the temple tax, Jesus provided it from "unearned income" and said that the sons of the king are exempt or free. Furthermore, Jesus refused to dance to the musical children trying to bring Him under their bondage.

The dramatic dance with the chorus and lamenting for Dionysus would have meant that the paganistic Jews would have triumphed over Jesus with their pipes or trumpets. This perverse act is define by Joseph Campbell:

"This cry of Zeus, the Thunder-hurler, to the child, his son, Dionysos, sounds the leitmotif of the Greek mysteries of the initiatory second birth (Second Incarnation)..The word 'Dithyrambos' itself, as an epithet of the killed and resurrected Dionysos, was understood by the Greeks to signify 'him of the double door', him who had survived the awesome miracle of the second birth." - Joseph Campbell, The Hero With a Thousand Faces

"A fourth-century BC hymn in honor of dionysus contains the invocation: 'Come to us, King Dithyramb, Bacchus, god of the holy chant.'"

Dithurambos, Dithyramb "comes to be used of a Dionysiac song which possessed some infectious quality that led his votaries to take it up as a ritual chant. Later it became the subject for competition at Dionysiac festivals, and with its formalization it lost any spontaneity it may have possessed originally."

Hoping that Jesus was Bacchus or Dionysus:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows,

And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt.11:17 Mt 11:16

Mourned is:

Threneo (g2354) thray-neh'-o; from 2355; to bewail: - lament, mourn.

Thriambeuo (g2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 [touch or set on fire] (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - (cause) to triumph (over).

Throeo (g2360) thro-eh'-o; from threomai , (to wail); to clamor, i.e. (by impl.) to frighten: - trouble

"At the beginning of the fifth century BC tragedy formed part of the Great Dionysia, the Spring festival of Dionysos Eluethereus. Three poets completed, each contributing three tragedies and one satyric play.

The latter was performed by choruses of fifty singers in a circle, dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis (i.e. church steeples or columns or asherahs), as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross

"The gods, forsooth, delight in mimics; and that surpassing excellence which has not been comprehended by any human faculty, opens its ears most willingly to hear these plays, with most of which they know they are mixed up to be turned to derision; they are delighted, as it is, with the shaved heads of fools, by the sound of flaps, and by the noise of applause." (Arnobius Against the Heathen, Ante-Nicene Fathers, VI, p. 531).

PENTHEUS

Avaunt! Ho! shut him up within the horses' stalls hard by, that for light he may have pitchy gloom. Do thy dancing there,

and these women whom thou bringest with thee to share thy villainies

I will either sell as slaves or make their hands cease from this noisy beating of drums, and set them to work at the loom as servants of my own.

The Chorus

By the clustered charm that Dionysus sheds o'er the vintage I vow there yet shall come a time when thou wilt turn thy thoughts to Bromius. What furious rage the earth-born race displays,

even Pentheus sprung of a dragon (serpent) of old, himself the son of earth-born Echion,

a savage monster in his very mien, not made in human mould,

but like some murderous giant pitted against heaven; for he means to bind me, the handmaid of Bromius, in cords forthwith, and e'en now he keeps my fellow-reveller pent within his palace, plunged in a gloomy dungeon. Dost thou mark this, O Dionysus, son of Zeus, thy prophets struggling 'gainst resistless might? Come, O king, brandishing thy golden thyrsus along the slopes of Olympus; restrain the pride of this bloodthirsty wretch! Oh! where in Nysa, haunt of beasts, or on the peaks of Corycus art thou, Dionysus, marshalling with thy wand the revellers?

or haply in the thick forest depths of Olympus, where erst Orpheus with his lute gathered trees to his minstrelsy, and beasts that range the fields.

Ah blest Pieria! Evius honours thee, to thee will he come with his Bacchic rites to lead the dance, and thither will he lead the circling Maenads, crossing the swift current of Axius and the Lydias, that giveth wealth and happiness to man, yea, and the father of rivers, which, as I have heard, enriches with his waters fair a land of steeds.

Trying to Pollute Jesus

The clergy or priestly class of most ancient religious was tainted with sexual deviation. It is called "the world's oldest profession." The connection came when the clergy who were considered inspired because of their effeminate natures, their near-insanity when they got themselves worked up and their true insanity.

Their insanity was proven when they pretended to be the gods or able to use music to lead you into the presence of the gods. They were peddlars of the Word, in Paul's mind, and they would do anything to buy your body (as in church attendance).

"Philo of Alexandria had already emphasized the ethical qualities of music, spurning the 'effeminate' art of his Gentile surroundings.

Similarly, early synagogue song intentionally foregoes artistic perfection,
renounces the playing of instruments,
and attaches itself entirely to 'the word'--the TEXT of the Bible" (Encyclopedia Judaica, 1971 ed., "Music")

However, in the temple area, the Feast of Tabernacles had turned into a huge fertility ritual where even the elders competed to "become a man of note."

In Dionysus worship three clergy "poets competed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, The effectiveness of the musical performance was enhanced with Asherah poles or errected columns. The goal was to "know their gods personally."

"dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross.

"The backdrop to the central figures of Pentheus and dionysus is the chorus of The Bacchae, female devotees of the god. The word bakkhos (masculine) or bakkh (feminine) designates
someone who has been possessed by the god,
who literally has the god within.

(The word entheos, meaning "having the god [= theos] within," is the ultimate source of our word enthusiasm.) The feminine plural of this word, bakkhai, is Latinized as "bacchae," whence the name of the tragedy, Bacchae. The play is named after the chorus, that is,

the song-and-dance ensemble
who stand for the true followers of the god.

(They were the mediators now replaced with praise teams leading you into the presence of the gods.)

These women are Lydians and hence foreigners,

(Barbarians: they had their own ministeries)

"accompanying dionysus as he travels all the way from distant Lydia (they were Barbarians) to the center of Hellenism, Thebes. Their possession by the god is benign, unlike the possession of the women of Thebes, who are led by Agave, mother of Pentheus.

"The singing and dancing of the chorus of Bacchae, who stand for the Lydian women,

(I.e. they mediate for the rest of the untalented women)

is fundamentally an act of ritual, of worshipping the god.

This ritual of bacchic moderation is predicated on the myth of bacchic catastrophe. Such a balance of moderation and catastrophe brings to life the theatre of dionysus.

"One of the greatest of all Greek dramas, The Bacchae powerfully dramatizes the

conflict between the emotional (The Judas or performance)
and rational sides of the human psyche. (Trusting God's Word)

When the people of Thebes deny the existence of the god dionysus,

he punishes them by unleashing the full force of female sexuality,
thereby destroying social order and driving them to certain tragedy.

"The papacy also continued the practice of creating castratos (boys castrated before puberty to keep their singing voices high-pitched) for their own entertainment, long after it had fallen in disfavor throughout Italy."

Socrates and Ion

For in this way, the god would seem to indicate to us and

not allow us to doubt that these beautiful poems are not human, or the work of man, but divine and the work of god;

and that the poets are only the interpreters of the gods by whom they are severally possessed. Was not this the lesson which the god intended to teach when by the mouth of the worst of poets he sang the best of songs? Am I not right, Ion?

Ion: Yes, upon my word, I do: for you somehow touch my soul with your words, Socrates, and I believe it is by divine dispensation that good poets interpret to us these utterances of the gods.

Socrates: And you rhapsodes (professional singers), for your part, interpret the utterances of the poets?

Ion: Again your words are true.

Socrates: And so you act as interpreters of interpreters?

Ion: Precisely.

Socrates: Stop now and tell me, Ion, without reserve what I may choose to ask you: when you give a good recitation and specially thrill your audience,

either with the lay of Odysseus leaping forth on to the threshold, revealing himself to the suitors
and pouring out the arrows (the same ones Cupid shot. Get the picture?) before his feet,
or of Achilles dashing at Hector, or some part of the sad story of Andromach or of Hecuba or of Priam

are you then in your senses,
or are you carried out of yourself,
and does your soul in an ecstasy suppose
herself to be among the scenes you are describing, whether they be in Ithaca, or in Troy,
or as the poems may chance to place them?

Ion: How vivid to me, Socrates, is this part of your proof! For I will tell you without reserve: when I relate a tale of woe, my eyes are filled with tears; and when it is of fear or awe, my hair stands on end with terror, and my heart leaps.

Socrates: Well now, are we to say, Ion,

that such a person is in his senses at that moment,--
when in all the adornment of elegant attire and golden crowns
he weeps at sacrifice or festival, having been despoiled of none of his finery;
or shows fear as he stands before more than twenty thousand friendly people, none of whom is stripping or injuring him?

Ion: No, on my word, not at all, Socrates, to tell the strict truth.

Socrates: And are you aware that you rhapsodes produce these same effects on most of the spectators also?

Ion. Yes, very fully aware: for I look down upon them from the platform and see them at such moments crying and turning awestruck eyes upon me and yielding to the amazement of my tale.
........... For I have to pay the closest attention to them;
........... ........... since, if I set them crying, I shall laugh myself because of the money I take,
........... ........... but if they laugh, I myself shall cry because of the money I lose.

CHORUS

Hail to thee, Dirce, happy maid, daughter revered of Achelous! within thy founts thou didst receive in days gone by the babe of Zeus, what time his father caught him up into his thigh from out the deathless flame,

while thus he cried: "Go rest, my Dithyrambus, there within thy father's womb; by this name, O Bacchic god, I now proclaim thee to Thebes." But thou, blest Dirce,

thrustest me aside, when in thy midst I strive to hold my revels graced with crowns.
Why dost thou scorn me? Why avoid me?

By the clustered charm that Dionysus sheds o'er the vintage I vow there yet shall come a time when thou wilt turn thy thoughts to Bromius. What furious rage the earth-born race displays,

even Pentheus sprung of a dragon (serpent) of old, himself the son of earth-born Echion, a savage monster in his very mien, not made in human mould,

Sounding in Greek is: 1 Corinthians chapter 13:, 1 Corinthians chapter 13:,

Echeo (g2278) ay-kheh'-o; from 2279; to make a loud noise, i.e. reverberate: - roar, sound.

Echos (g2279) ay'-khos; of uncert. affin.; a loud or confused noise ("echo"), i.e. roar: fig. a rumor: - fame, sound.

Aeschines, Speeches [51] The case is this: To review the private life of Demosthenes would, in my opinion, demand too long a speech. And why need I tell it all now? the story of what happened to him in the matter of the suit over the wound, when he summoned his own cousin, Demomeles of Paeania, before the Areopagus; and the cut on his head; or the story of the generalship of Cephisodotus, and the naval expedition to the Hellespont,

when Demosthenes as one of the trierarchs carried the general on his ship, and shared his table, his sacrifices, and his libations and how after he had been thus honored because the general was an old friend of his father's,

he did not hesitate, when the general was impeached, and was on trial for his life, to become one of his accusers;

or, again, that story about Meidias and the blow of the fist that

Demosthenes got when he was choregus, in the orchestra, and

how for thirty minas he sold both the insult to himself and the vote of censure that the people had passed against Meidias in the theater of Dionysus.

Meidias was a rich and domineering man,who had conceived a bitter hatred for Demosthenes in the course of the suites against Demosthenes' guardians. When Demosthenes was serving as choregus, Meidias, meeting him in the orchestra, in the presence of the spectators,

struck him in the face. The people, at a meeting held in the theater at the close of the festival, passed a vote of censure against Meidias, and Demosthenes instituted a suit in the courts; but finally, probably for worthy political reasons, he compromised the case.

The choregus was the theatrical manager. He carried scribes and musicians with him on his tours. In addition, as a rich person he was the patron of the chorus:

"Since theatrical performances were civic ceremonies in ancient Greece, the state paid the actors' salaries. The additional expenses of production--including the salaries and training of the chorus, costumes for the chorus and flute players, and payment of the mutes or extras--were assigned to choragi, or producers, on a rotating basis.

"Choragi were appointed to playwrights by lot in July, giving them time to prepare for the dithyrambic, tragic, and comic contests of the Lenaea festival in winter and the Great Dionysia festival in spring, both of which honoured the Greek god Dionysus. Since the spirit of these contests was highly competitive, a rich, helpful, and charitable choragus gave the playwright an advantage. If the play won a prize, however, it officially was awarded to the choragus.

Five satyrs are shown. In two of them the middle of the body is missing. The other three wear the distinctive drawers of the satyr-play: they are therefore not simply satyrs, but satyrs of drama. Facing them is the flute-player, in formal costume, who in drama provides the music. He bends a little as he plays, and beats time with his right foot. Behind him, up against the side-border, an old man dressed in a himation stands looking on. He is not characterized as an actor or other performer: in such pictures there is often a 'civilian', who is hard to name: our man is perhaps the choregus (patron), but might also be a character in the play.
[230] But for my part I am surprised at you, fellow citizens, and I ask under what possible consideration you could refuse to sustain this indictment. On the ground that Ctesiphon's motion is lawful? Never was a more unlawful motion made. On the ground that he who moved the decree is not the sort of man to be punished? You give up the possibility of calling any man to account for his manner of life, if you let this man go.

And is it not vexatious that whereas in former times the orchestra was piled with golden crowns with which the state was honored by the Hellenes, today in consequence of the policies of Demosthenes you the people go uncrowned and unproclaimed, but he is to be honored by the voice of the herald?

Jesus accused the Jews of "mouth religion" and quoted Isaiah but there is a closer parallel in Ezekiel:

Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Ezekiel 33:30

And they come unto thee as the people cometh,
........... and they sit before thee as my people,

and they hear thy words,
........... but they will not do them:

for with their mouth they shew much love, (This is amorous, sexual love)
........... but their heart goeth after their covetousness. Ezekiel 33: 31

And, lo, thou art unto them as a very lovely song
........... of one that hath a pleasant voice,
........... and can play well on an instrument:

for they hear thy words,
........... but they do them not. Ezekiel 33: 32

And when this cometh to pass, (lo, it will come,) then shall they know that a prophet hath been among them. Ezekiel 33: 33

When this happened with Jesus they would understand that their Messiah as True Prophet had been there and gone.

Therefore, Jesus asked the Jews if they had come out to see John as one who wore SOFT clothing. This is the clothing of the male prostitute: the Catamite. They talked about him and "went out to see" if John was their kinda guy.

Furthermore, they were like children who piped hoping that Jesus would join the Dionysus dance and sing the lament. This would be the TRIUMPH OVER prophesied in Psalm 41 where "triumph over" or "alarm" means "to blow and play the instruments and 'making a joyful noise before the Lord." This was not a legal "act of worship" but it was a war cry and dance.

Since the Intertestament Period, the Jews and the temple were under constant attack from the "gymnasium" and the "Greek theater."

Jesus said that when you see these SIGNS then you know that a prophet has been among you. The prophets cried woes and dooms to the people but it sounded like "we hare having a gay old time in 'worshiping' the brother and Sister Singers with a perverse love."

Next, the proof that Jesus was not their Messiah but was Dionysus Incarnated would be an apparent battle between the "king" and his "first cousin." One cannot doubt that these supernatural signs were there, like all of the parables, to hide Jesus as the True God to those who "did not have ears."

Part of the uncertainty is visible in the sympathetic characterization of Pentheus, the persecutor of Dionysos, in The Bacchae of Euripides. The young king, first cousin of the mysterious and exotic god whom he fails to recognize as his near-and-dear relative, is rash, excitable, obsessive-compulsive. He is human, all too human. He cannot help becoming curious, ever more morbidly curious, about the god whom he resists so fiercely. His initial sense of unfamiliarity gives way to invasive feelings of familiarity, of maddening closeness. Repulsion gives way to fatal attraction. The magnetic force of this attraction is the essence of Dionysos as the god of theatre, as the inner source of tragedy itself. It is the lure of tragedy that draws Pentheus into his own fatal ordeal. The tragic is what causes Pentheus to desire to be tragic.

If music, dance and theater had defeated Jesus then He would not be the Messiah. Therefore, when music, dance and theater take over in the modern church it never happens before the WORD, the true King, is thrown over for the perversity of the theater.

Jesus identified the clergy as children playing the old fertility rituals where sexual perversion was an acceptable act of worship. He said:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Mt 11:16
And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt 11:17
The dance they wanted Jesus to get into was a dance reserved for women liberated from caring for their children and effeminate men:

Orcheomai (g3738) or-kheh'-om-ahee; (a row or ring); to dance (from the ranklike or regular motion): - dance

(orchêstra). Literally "the dancing place," from orcheomai. The space of the Greek theatre situated in front of the stage, in which the chorus went through its evolutions. In the Roman theatre it was absorbed in the area occupied by the audience. See Chorus; Theatrum.

Word with same meaning:

chrêstêrios 1 [chraô3] of or from an oracle, oracular, prophetic, Aesch., Eur.; Apollon chrêstêrie author of oracles, Hdt.

Which normally appears with:

Apollôn Apollo, son of Zeus and Latona, brother of Artemis, Hom., etc.: in Hom. men who die suddenly are said to be slain by his agana belea; cf. Artemis.

chrauô to scrape, graze, wound slightly, hon rha te poimên chrausêi Il.; cf. enchrauô, epichraô.

Words which appear with Chrauo:

rhêtor-ikos , ê, on, oratorical, hê rhêtorikê (sc. technê) rhetoric, Pl.Phdr.266d, Phld.Rh.1.187 S.; to rh. Pl.Phdr.266c, Plt.304e; ta rh. D.L.4.49, etc.; rh. deilian ho dêmosios kairos ouk anamenei an orator's timidity, Aeschin.3.163; rh. graphê an indictment against an orator ([paranomôn] ), Is.Fr.64 S. Adv. -kôs Pl.Grg.471e , Aeschin. 1.71, Arist.Po.1450b8, Phld.Rh.2.134 S.: Comp., -ôteron legesthai D.H.Is.8 .

2. of persons, skilled in speaking, fit to be an orator, Isoc.3.8, Pl.Phdr.260c, 272d, al.; phusei rh. ib.269d, etc.; scholastikos rh. OGI693 (Egypt).

b. student, Lib.Or.14.62.

3. belonging to a rhêtôr, doulos Stud.Pal.1.67.289 (i A.D.).

# graphê [graphô] representation by means of lines:I. drawing or delineation, Hdt.; of painting, id=Hdt., Plat.
# 2. a drawing, painting, picture, hoson graphêi only in a picture, Hdt.; prepousa hôs en graphais Aesch.
# II. writing, the art of writing, Plat.
# 2. a writing, Soph.: a letter, Thuc.; so in pl., like grammata, Eur.: pseudeis gr. false statements, id=Eur.
# III. (graphomai) as attic law-term, an indictment in a public prosecution, a criminal prosecution undertaken by the state, opp. to dikê (a private action), Plat., etc.
rhêtorikos 1 [rhêtôr]
1. oratorical, rhetorical, hê rhêtorikê (sc. technê ) rhetoric, the art of speaking, Plat.; rhêtorikê deilia an orator's timidity, Aeschin.:-- adv. -kôs, Plat.
2. of persons, skilled in speaking, fit to be an orator, id=Plat., etc.

Word with similar meaning:

blasphêm-os , on, speaking ill-omened words, evil-speaking, Arist.Rh.1398b11: c. gen., against . . , Plu.2.1100d, etc.

2. of words, slanderous, libellous, dedoika mê blasphêmon men eipein alêthes d' êi D.9.1 , cf. Luc.Alex.4 (Sup.). Adv. -môs Philostr. VA4.19 , App.BC2.126.

3. blasphemous, ethnê LXX 2 Ma.10.4 ; rhêmata Act.Ap.6.11 ; lalein blasphêma Apoc.13.5 : Subst., blasphemer, LXX 2 Ma.9.28, 1 Ep.Ti.1.13, etc.

chrêsto-logos , on, giving fair words, speaking plausibly, Hist.Aug.Pertinax 13.5.

technê 1 [tiktô]

I. art, skill, craft in work, cunning of hand, esp. of metal-working, Od.; of a shipwright, Il.; of a soothsayer, Aesch., Soph.

2. art, craft, cunning, in bad sense, doliê t. Od.; in pl. arts, wiles, cunning devices, id=Od., etc.

3. the way, manner or means whereby a thing is gained, without any sense of art or craft, mêdemiêi technêi in no wise, Hdt.; pasêi technêi by all means, Ar.; pantoiêi t. Soph.

II. an art, craft, trade, epistasthai tên t. to know his craft, Hdt.; en têi technêi einai to practise it, Soph.; epi technêi manthanein ti to learn a thing professionally, Plat.; technên poieisthai ti to make a trade of it, Dem.

III. an art, i. e. a system or method of making or doing, Plat., Arist.; ê phusei ê technêi Plat.; meta technês, aneu technês id=Plat.

IV. = technêma, a work of art, handiwork, Soph.

Which Appears with:

rhapsôid-ikos , ê, on, of or for a rhapsodist: hê -kê (with and without technê) the rhapsodist's art, Pl.Ion 538b, 540a, al. Adv. -kôs Eust. 3.55 .

Henry George Liddell, Robert Scott, A Greek-English Lexicon

hupo-kritikos , ê, on, belonging to hupokrisis 11 , skilled therein, esti phuseôs to hu. einaihaving a good delivery, Arist.Rh.1404a15 .

2. suited for speaking or delivery, lexis -kôtatê ib. 1413b9, cf. Demetr.Eloc.193: hê -kê (sc. technê) the art of delivery, Arist.Rh. 1404a13, Po.1456b10, al. (but, the actor's art, Hp.Vict.1.24 (v.l. hupokritai), Phld.Mus.p.91 K., Gal.Thras.27). Adv. -kôs Chamael. ap. Ath.9.407a.

3. metaph., acting a part, pretending to, hu. tou beltionos Luc.Alex.4 , cf. Vett.Val.42.25, al. Adv. -kôs Id.38.19 .

hupokrisis 1 [hupokrinomai]

I. in ionic a reply, answer, Hdt.
II. in attic the playing a part on the stage, the actor's art, Arist.
2. an orator's delivery, declamation, id=Arist.
3. metaph. the playing a part, hypocrisy, Phocyl.

Similar Meaning

paris-ôdês , es, after the manner of parisa (parisos 11 ), Vit.Isoc. p.257 W

parizô

I. to sit beside another, c. dat., Od., Hdt.

II. Causal, to seat or make to sit beside, tina tini Hdt.: --Mid. parizomai to seat oneself or sit beside, id=Hdt., Bion.; aor2 par-ezomên, epic imperat. -ezeo, Hom.

Which appears with:

sullog-ismos , ho, computation, calculation, kata tous tôn paterôn s. according to the (military) ratings of their fathers, D.S.17.94; kata ton s. tou koinou polemou echein ta ktêmata shall have the property according to the assessment of . . , SIG364.38 (Ephesus, iii B.C.).

2. generally, ratiocination, reasoning, Hp.Decent.11, Pl.Tht.186d, Arist.PA656a27, etc.

3. plan, scheme, sunelogisato . . sullogismon Ibêrikon kai barbarikon Plb.3.98.3 ; ou têi tuchêi pisteuôn alla tois s. Id.10.7.3.

II. putting together of observed facts, Pl.Cra.412a; s. estin hoti touto ekeino Arist.Rh.1371b9 : generally, inference, Phld.Sign.14, al.

2. in the Logic of Arist., a syllogism or deductive argument, defined provisionally as an argument in which, certain things being posited, something different from them necessarily follows, APr.24b18, cf. 47a34, al.; of several kinds, e.g. ho apodeiktikos s. APo.74b11; ho dialektikos s. Top.100a22; eristikos s. ib.b24; sts. opposed to epagôgê (q.v.); ho ex epagôgês s. the syllogism which springs out of induction, APr.68b15; to enthumêma s. tis Rh.1355a8 .

III. Rhet., inference from written to unwritten law, Hermog.Stat.2, al. (cf. Syrian.in Hermog.2.198 R., al.): pl., ib.11.

parasi_t-ia , hê, profession of a parasite, Luc. Par.37.

Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898)

Parasi-tus

(parasitos, "table companion"). A word which among the Greeks denoted originally the priest's assistant, who, like the priest, received his support from the offerings made to the temple, in return for certain services.

These services included the collection and care of supplies of corn due to the temple,

assistance at certain sacrifices, and the preparation of the banquets connected with [p. 1175] certain festivals.

The assistants of civil officials, who were maintained at the expense of the State, were also called parasites in many places.

The word received another meaning in the Middle and New Greek comedy, where it means the hanger on, who plays the flatterer and buffoon, with a view to getting invited to dinner.

The parasite was transferred as a standing character to the Roman imitations of Greek comedy, and figures largely in the plays of Plautus. Good examples of the stage parasite will be found in his Captivi and Menaechmi and in the Phormio of Terence. See Know, Die Parasiten bei den Griechen (1876).

scurra ae, m [SCRV-] , an idler, loafer, man about town: scurrae locupletes.--A city buffoon, droll, jester, clown, pantaloon, parasite: neque parum facetus scurra: vagus, H.: Urbani scurra Catulli, i. e. a clown in a play of Catullus, Iu.-- Prov.: de scurra- multo facilius divitem quam patrem familias fieri posse.

parasi-tus , i, m., = parasitos, lit. one who eats with another; hence,

I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods, Varr. ap. Aug. Civ. Dei, 6, 7; App. M. 10, p. 246, 35.--Hence, parasitus Phoebi, a player, actor, Mart. 9, 29, 9.--

Parasi-tus

(parasitos, "table companion"). A word which among the Greeks denoted originally the priest's assistant, who, like the priest, received his support from the offerings made to the temple, in return for certain services. These services included the collection and care of supplies of corn due to the temple, assistance at certain sacrifices, and the preparation of the banquets connected with [p. 1175] certain festivals. The assistants of civil officials, who were maintained at the expense of the State, were also called parasites in many places. The word received another meaning in the Middle and New Greek comedy, where it means the hanger on, who plays the flatterer and buffoon, with a view to getting invited to dinner. The parasite was transferred as a standing character to the Roman imitations of Greek comedy, and figures largely in the plays of Plautus. Good examples of the stage parasite will be found in his Captivi and Menaechmi and in the Phormio of Terence. See Know, Die Parasiten bei den Griechen (1876).

II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite (syn. scurra): nos parasiti planius ... Quasi mures semper edimus alienum cibum, etc., Plaut. Capt. 1, 1, 7 ; cf. id. Pers. 1, 3, 3; id. Stich. 2, 1, 42: parasitorum in comoediis assentatio, Cic. Lael. 26, 98 : edaces parasiti, Hor. Ep. 2, 1, 173 ; Juv. 1, 139. --Comically, of a whip: ne ulmos parasitos faciat, that he will make his elm-twigs stick to me like parasites, i. e. give me a sound flogging, Plaut. Ep. 2, 3, 5.--The tutelar deity of parasites was Hercules, Plaut. Curc. 2, 3, 79.

Pers. 1, 3, 3 ( [1] Enter TOXILUS, from the house of his MASTER.) T. Maccius Plautus, Persa, or The Persian (ed. Henry Thomas Riley)

TOXILUS (to himself) . I've hit upon the whole matter, so that with his own money the Procurer may this day make her his fieed-woman. But see, here's the Parasite whose assistance I have need of. I'll make believe as though I didn't see him; in that way I'll allure the fellow. (Goes to the door, and calls to the SERVANTS within.) Do you attend, you there, and quickly make haste, that I mayn't have any delay when I come in-doors. Mix the honied wine; get ready the quinces and the junkets1 , that they may be nicely warmed upon the dishes, and throw in some scented calamus

1 The junkets: "Colutea." These, according to some, were the fruit of a tree called by the same name; others take the word to mean a large kind of quince. As there is some doubt on the subject, a general name has been adopted in the Translation. Warner thinks that the word means "myrrh;" but it is pretty clear that he is mistaken. Quinces were used in the wines of the ancients, as we learn from Columella.

(90)

2 . I' faith, that boon-companion of mine, I fancy, will be here just now.

SATURIO I recollect it and am aware, both that you did ask me, and that I hadn't any to lend. A Parasite's good for nothing that has got money at home; he has a longing at once to begin upon an entertainment, and to gobble away at his own expense, if he has anything at home. A Parasite ought to be a right down needy Cynic; he ought to have a leather bottle

(126)

9 , a strigil, an utensil

(126)

10 , a pair of slippers, a cloak, and a purse; and in that a little of the needful, with which he may just cheer up the existence of his own household.

TOXILUS I don't want money now; lend me your daughter.

T. Maccius Plautus, Epidicus, or The Fortunate Discovert (ed. Henry Thomas Riley)

EPIDICUS (to himself). I do think that in the Attic land there is no spot of land so fertile as is this Periphanes of ours; why, from the locked and sealed-up money-chest I summon forth silver just as much as I please. But this, i' troth, I am afraid of, that if the old man should come to know it, he'll be making parasites of elm-twigs Note 1

(308)

1. to be shaving me quite clean. But one matter and consideration disturbs me--what music-girl, one that goes out on hire, I'm to show to Apæcides. (He muses.) And that as well I've got: this morning the old gentleman bade me bring for him on hire some music-girl to his house here, to sing for him while he was performing a sacrifice note Note 2. She shall be hired, and be instructed beforehand in what way she's to prove herself cunning towards the old man. I'll away in-doors; I'll get the money out of the swindled old fellow. (He goes into the house of PERIPHANES.)

Note 1 Parasites of elm-twigs: He alludes to the propensity of Parasites for devouring to the bone all who came in their way.

Note 2 Performing a sacrifice: It was the custom, while private person were sacrificing to the Lares or household Gods, to have music performed upon the harp or the pipe.

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kônôp-osphrantês, [p. 1019] ou, ho, Gnat-smeller, name of a parasite, Alciphr.1.21.

parasi-tor . a-ri, v. dep. [id.] , to play the parasite, to sponge: parasitarier, Plaut. Stich. 4, 2, 54 : parasitando pascere ventres suos, id. Pers. 1, 2, 3 .

Similar Meaning Latin

cithari-zo , a-re, v n., = kitharizô, to play on or strike the cithara, Nep. Epam. 2, 1; Vulg. Apoc. 14, 2.

prosana-phu saô , play on the flute, Pl.Com.69.6 (leg. proana-).

hupauleô , play on the flute in accompaniment, melos tisi Alcm. 78 ; penthimon ti D.C.74.5 ; hu. lusiôidois Posidon.4J. ; Pandionidi Luc. Harm.1 : abs., Id.Salt.83.

hupokitharizô , play an accompaniment on the harp, Sch.Il.18.570.

Henry George Liddell, Robert Scott, A Greek-English Lexicon

They wanted Jesus to lament in the sense of singing the song of worship with instrumental music to Bacchus while getting touched or "set on fire." When applied to dionysus or Bacchus it was the:

"Thriambeuo (g2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus (Dionysus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - (cause) to triumph (over).

In Psalm 41 it is promised that Judas would not triumph over Jesus. This triumph was outlawed for the assembly (Num 10:7) and is the Hebrew:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. shout for alarm or joy: - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Numbers 10:7

This was a little ritual drama by men trained in the theater of effeminancy. If by their acting they could get you to fall into the dance or chant their song they had closed down your rational mind and infused their pagan worship right into the emotional seat without raising a single rational thought.

You had been 'triumphed over" in violation of Numbers 10:7. This Dionysus gets on all of the religious festivals and, of course, he drags along his female choir to really punish you by triumphing over you or being applauded as the best of the roving bands of women. This is reproduced in all ages as the agents of the gods forsake their homes and rove around with their bands. The more brazen ones bring along their teams of female singers of muses:

"dionysus certainly roves more than the other gods; the traditional picture of him is not one of him sitting sedately on Olympus sipping nectar and listening to the Muses (9 females) sing. Rather it is one of him roaming (like planets of the kosmos) through the wilderness, thrysus (a wand bound with ivy and topped with a pine cone) in hand (bulbous seed packet).

followed by bands of ecstatic (speaking in tongues) women, his Bacchants,

and spreading the art of cultivation of vines and of wine-making. Other gods may leave Olympus, but it is not habitual with them as it is with dionysus. (Early Wimber people, no doubt)

See the Nimrod-Musical Worship Team Parallel

"dionysus often seems to stand somewhere between male and female, between god and man, between death and life.

He is a male god,
but he is always surrounded by women, his chief worshipers.
"His worship involved transvestism and the blurring of sex roles.

Men and women both dressed in long robes covered by fawnskins, and women, as bacchants,

left their normal sphere of activity, the home, and danced madly on mountainsides.

dionysus even looks somewhat ambiguous sexually;
Pentheus in the Bacchae comments on the god's effeminacy: his long curls, his pale complexion.

Dionysus is like Lucifer who was the musician in the garden of Eden:

And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isaiah 23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered (as a male). Isaiah 23:16

Of the Iambus

[10] As for the contests at Delphi, there was one in early times between citharoedes, who sang a paean in honor of the god; it was instituted by the Delphians. But after the Crisaean war, in the time of Eurylochus, the Amphictyons instituted equestrian and gymnastic contests in which the prize was a crown, and called them Pythian Games. And to the citharoedes (sang to the accompaniment of the cithara) they added both fluteplayers and citharists who played without singing, who were to render a certain melody which is called the Pythian Nome. There are five parts of it: angkrousis, ampeira, katakeleusmos, iambi and dactyli, and syringes. Now the melody was composed by Timosthenes, the admiral of the second Ptolemy, who also compiled The Harbours, a work in ten books; and through this melody he means to celebrate the contest between Apollo and the dragon, setting forth the prelude as anakrousis, the first onset of the contest as ampeira, the contest itself as katakeleusmos,

the triumph following the victory as iambus and dactylus, the rhythms being in two measures, one of which,
........... the dactyl, is appropriate to hymns of praise, whereas the other,

the iamb, is suited to reproaches (compare the word "iambize"), and the expiration of the dragon as syringes, since with syringes (pipes) players imitated the dragon as breathing its last in hissings. (piping)
........... Iambic was associated with invective and even Caesar and Pompey excaped it.

The dragon or serpent is:

Nachash (h5175) naw-khawsh'; from 5172; a snake (from its hiss): - serpent.

Nachash (h5173) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe.

The flute is an instrument which makes a whistling sound. It is derived from:

Sharaq (h8319) shaw-rak'; a prim. root; prop. to be shrill, i. e. to whistle or hiss (as a call or in scorn): - hiss.

The word for serpent and speaking in tongues is almost identical;

"Nihesh, of which lihesh, is but a variant, is probably a denominative from nahash, 'a serpent' (l and n interchange is Heb), denoting 'to his,' 'to whisper' (like a serpent), then 'to utter divinatory formula.'" (Int Std Bible Ency, p. 862)

"The symbol of Marduk is the pixax (Akkadian, marru), and his emblematic animal is a composite serpent-dragon (with a name derived from the Sumerian mush-hush, "fire-red dragon"). Finegan, Jack, Myth and Mystery, p. 29, Bake

Mushussu

The Magi Recognized that Jesus was Superior but Herodotus wrote:

"The Magi are a very peculiar race, different entirely from the Egyptian priests, and indeed from all other men whatsoever. The Egyptian priests make it a point of religion not to kill any live animals except those which they offer in sacrifice.

The Magi, on the contrary, kill animals of all kinds with their own hands, excepting and men. They even seem to take a delight in the employment, and kill, as readily as they do other animals, ants and snakes, and such like flying or creeping things. However, since this has always been their custom, let them keep to it. I return to my former narrative.

Immediately after the conquest of Lydia by the Persians, the Ionian and Aeolian Greeks sent ambassadors to Cyrus at Sardis, and prayed to become his lieges on the footing which they had occupied under Croesus.

Cyrus listened attentively to their proposals, and answered them by a fable.

"There was a certain piper," he said, "who was walking one day by the seaside, when he espied some fish;

so he began to pipe to them, imagining they would come out to him upon the land.
But as he found at last that his hope was vain, he took a net, and enclosing a great draught of fishes, drew them ashore.
The fish then began to leap and dance; but the piper said,
'Cease your dancing now, as you did not choose to come and dance when I piped to you.'"
Cyrus gave this answer to the Ionians and Aeolians,

because, when he urged them by his messengers to revolt from Croesus, they refused; but now, when his work was done, they came to offer their allegiance. It was in anger, therefore, that he made them this reply.

In Ezekiel 33 they would treat Ezekiel as they treated God. They would come to him and treat him like one who sang beautiful, sensuous songs and played musical instruments well but they would not listen to the real message and repent. Now, they wanted Jesus to sing to the god of wine and dance in the female chorus. This would prove that He was not the true Messiah. Jesus didn't fall for it.

In Ezekiel 13, God specificially denounces the women "prophetesses" (who always used music).

Jerusalem was the spiritual "sodom" which, with the hope that Jesus and Join would join in and that John was "soft" shows that homosexuality had a strong grip on the clergy.

Their bodies will lie in the street of the great city, which is figuratively called Sodom and Egypt, where also their Lord was crucified. Re.11:8

The earliest example of Satan teaching Jubal (Genun) how to seduce people with musical instruments and mixed-sex choirs, proves how evangelistic those who have fallen for musical worship are in trying to literally force others to join them. In the Genun story, those who are deceived and cannot repent gain comfort and affirmation if they can get others to join them. This was the only tradition about the use of music as personal worship to God. Click for the Story.

Rather than looking for huge physical manifestation of the anti-christ destroying people physically, there is far more danger from his use of the people of the world or kosmos

to try to produce harmony among the people just like the harmony of the planets. In the end-times there will be great "planetary" upheavals and "earthquakes" and "windstorms" but God warned Elijah that He was not heard as a result of the charismatic prophets of Baal and Asherah but must be heard in absolute silence: "The voice of a whispered silence."

The attempt to triumph with music has plagued most religious groups down through history. The churches (Baptist, Methodist, Presbyterian) out of the American Restoration Movement in the 1800s enjoyed peace and fellowship until a few people began to use force to try to get everyone under the musical umbrella. To have done so would have been to "triumph over" the church.

Postscript:

"Dr. Herman Norton, author of Tennessee Christians, tells the story about the first division usually identified with the U.S. Religious Census of 1906. A preacher by the name of A. I. Myhr came to Tennessee to work for the "organized" missionary societies to win over Tennessee churches of Christ into the ranks of the "organ" and "society" Christian Church. Myhr worked for twenty years (I890-1910) with this one objective in mind. He was supported by the editors of the Christian Standard and the Christian Evangelist. At the time of his resignation as Secretary of the Tennessee Missionary Society in 1910, he had not won over a single church of Christ in Nashville and met with poor success in both Middle and West Tennessee. The United States Religious Census officially recognized that two Restoration churches did in fact exist in the 1910 publication.

"Dr. Norton wrote in the Tennessee Christians that during the twenty-year effort in Tennessee, Myhr had succeeded in "engendering a bitter partisan spirit in almost every congregation in the state." And he added, "where there had been one communion, admittedly in discord, when he arrived in the state, there were now two separate and distinct bodies with no meaningful communication between them" (Tennessee Christians, p. 123).

"When Dr. Shelly came to Nashville some twelve or so years ago, the churches of Christ were at peace. The churches cooperated in many good works. Goodwill prevailed on every hand. This is, sadly, no longer true!"

Is it anti-Christian to deliberately divide churches just to introduce what was always seen as pagan attempts to attract the masses to pay the bills and to attract the gods into their presence?

A Church Divided

"David Lipscomb was faced with the painful awareness that the churches of Christ/ Christian Churches were already divided by 1897. However, Lipscomb would have to wait another ten years before it became official.
"Division did come and was first marked by the Newbern, Tennessee, church trial (1902-1905). A majority, against the will of the minority, forced an organ into the Newbern building resulting in a trial which took years to resolve. I would say that churches of Christ are now about at the place where the churches were in 1897. Division need not come and should not come. God hates division and those who sow discord among the brethren.

Again, those who have been defeated by music even when many hate it and try to mitigate its disturbance (such as during the Lord's Supper), have their Genuns or Jubals evangelistically trying to teach none-musical churches how to defeat the rest of the church and how to take over the church property and install instruments over the objections of the literate Bible students.

The evangelistic effort failed earlier and it will fail again. However, a few people always get hurt when the ceremonial legalists try to defeat the Words of Christ. The only worship which He accepts: in spirit (mind) and in truth (not your sentimental praise stuff).

However, if Psalm 55 is correct, a Judas (Jubal or Genun) tribe of youth will rise up and be the Anti-Christ in our lifetime. If we understand Psalm 41 and actually what happened, great destruction will occur as the secular-like temples are torn down, people consume their children (now happening spiritually) and a million will die if they remain in the city identified as Sodom.

When you see Anti-Christ you can recognize him (her) by the harp or flute as the key weapons to silence the Words of Christ and make it impossible for in-spirit worship by the "audience." However, when you feel the oppression you also feel that the Lord is one step nearer so that:

And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly (bright, gay, sumptuous) are departed from thee, and thou shalt find them no more at all. Revelation 18:14

And Herod with his men of war set him at nought, and mocked him, and arrayed him in a gorgeous robe, and sent him again to Pilate.Luke 23:11

The music of harpists and musicians, flute players and trumpeters, will never be heard in you again. No workman of any trade will ever be found in you again. The sound of a millstone will never be heard in you again. Revelation 18:22 (The commercial "grinders" were often prostitutes)

True worship is in spirit or mind and devoted to truth. If you see a team-attack against the human body you know that an anti-Christ is in your midst.

See Plutarch On The Musical Triumph

See The Music and Devil or Satan Worship

See The Mark of the Beast in Pistis Sophia

First Musical Heresy Musical Worship Teams

Musical Heresy 2: Hippolytus on Music and Soothsaying

Hippolytus Book V

Orphic Music

Orphic Connection to Romans 14

Rhea-Saturn-Zoe Connection

Classical Index

Musical Worship Index

Church Fathers

Home Page

Counter added 12.18.04 10a 9267 Rev 7.05.07 5949 8.13.09 25000 1.13.11 27826 4.28.11 28243. 4.24.19 31390

 



                                    
                                    


                                                                     
                                    

                                   
                                    

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