2 Chronicles 5

ADDITIONS: The smoke filled Temple is used by false teachers to claim that God really got His kicks when all of those trumpets and instruments played.  In fact, because God had not promised a HOUSE but a TENT to David, this was the MARK of God "going into exile" so that the people could go into captivy and death.

I have added some notes from Revelation to show that this HAS BEEN fulfilled in a few builders of MEGA-churches as temples.  The PATTERNISM is in great detail and the rhetoricians, singers and musicians as sorcerers (Revelation 18) is proof that the Mother of Harlots has landed. CLICK FOR THE MARK OF THE BEASTS

In Ronnie Normans first "Music Matters" intention to impose instrumental music he says that NOT using instruments is a product of  the Restoration Movement "back to the Bible."  

Ronnie says that the non-instrumental Church of Christ elevated it to a test of fellowship: "That view of Scripture led to division, lack of assurance and confusion." The Church of Christ NEVER used instruments, but Disciples of Christ as "ore Anglican" imposed instruments with no thought of Biblical authority: it was purely "cash and carry."

PROOF THAT THIS IS A FALSE MANTRA USED TO DISSOCIATE PEOPLE WHO HAVE NEVER USED "MACHINES FOR DOING HARD WORK."

There was no melody and assuredly no harmony in the sacrificial rituals.

1. All of the Babylonian Tablets, literature contemporaneous with the Bible and the Classics and other national literature associates instruments with vile people performing sorcery (Rev 18) or witchcraft who "set their lies to melodies to deceive the simple."

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.

If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

John 3:34 For he whom God hath sent speaketh the words of God:      
for God giveth not the Spirit by METER unto him.

2. All of the Bible associates "instruments" with pagan rituals and excludes them from the Qahal or church in the wilderness.  John identified the rhetoricians, singers and instrument players as SORCERS who had deceived the whole world.  To all who are Classics literate he defined the harlot church as Circe or Kirke who was buried on an island he could see from Patmos.

Kirkê , hê, Circe associated with Hetairous and with the goddesses she was

Litrurgicial Music in the Jewish Encyclopedia

"Playing on musical instruments is prohibited on Sabbaths and holy days, and even to engage a non-Jew to play for Jews on Sabbath is considered a 'shebut' or disturbance of the Sabbath rest." Second, "music, except at marriage ceremonies, is generally prohibited, in token of mourning for the destruction of Jerusalem." (Jewish Encyclopedia, Vol. IX, p. 432, quoted by Kurfees, Instrumental Music).

"It is still banned by rigid adherents to old ways; but in ordinary conservative congregations it is unhesitatingly employed at weddings and other services on week days" (Isadore Singer, Jewish Encyclopedia, p. 134).

The Puritan character of the rabbinical Sabbath is shown in the aversion, deducible from some laws, to loud noises (instance Simeon ben Yona's reproof of his mother for loud talking), clapping of hands, striking with a hammer, trumpet-calls, and music ( While to some of the more ascetic rabbis any loud demonstration of joy undoubtedly approached irreverence and impiety, it may be noted that the minor reasons adduced in regard to music (lest musicians might be tempted to make or repair instruments, or the estimate of music as "labor," not "art")

The loud noise had no ART component but was to make a great crashing noise in connection with the slaughter of innocent animals. This was a national rigual and the common people were EXCUDED by the noise never called music. 

1 Chron 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:

Labor is the SERVICE the Levites performed in the later sacrificial system.

Abad (h5647) aw-bad'; a prim. root; to work (in any sense); by impl. to serve, till, (caus.) enslave, etc.: - * be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labour (-ing man), bring to pass, (cause to, make to) serve (-ing, self), (be, become) servant (-s), do (use) service, till (-er), transgress [from margin], (set a) work, be wrought, worshipper.

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

MUSIC IS CALLED CEREMONIAL LEGALISM: IMPOSED BY LIBERALS WHICH MEANS FASCISTS.

CLICK TO SKIP to Summary #3: These notes are for those wishing to read more background

The "god" of the Jews after their abandonment was Dionysus and therefore the "singing" was falsetto later replaced with the castrated a capellas from French opra.  Because this worship derives from Egypt and Greece, it is important to look at the paganism of those nations to understand the "worship of the starry host" to which God abandoned Israel and which the NACC wants to impose on people.

WHAT THE JEWS AND ALL STUDENTS OF THE OLD TESTAMENT EASILY UNDERSTAND.

Under "Star Worship" the Jewish Encyclopedia states:

"Star Worship" is perhaps the oldest form of idolatry practiced by the ancients. The observation of the stars in the East very early led the people to regard the planets and the fixed stars as gods. The religion of the ancient Egyptians is known to have consisted preeminently of Sun-worship. Moses sternly warned the Israelites against worshipping the Sun, Moon, stars, and all the hosts of heaven (Deuteronomy 4:19; 17:3). The Israelites fell into this kind of idolatry and as early as the time of Amos they had the images of Siccuth and Chium, 'the stars of their god' (Amos 5:26); the latter name is generally supposed to denote the planet Saturn. That the Kingdom of Israel fell earlier than that of Judah is stated (II Kings 17:16) to have been due, among other causes, to its worshipping the host of heaven.

But the Kingdom of Judah in its later period seems to have outdone the Northern Kingdom [Israel] in star-worship." Of Manasseh it is related that he built altars to all the hosts of heaven in the two courts of the house of YHWY, and it seems it was the practice of even Kings before him to appoint priests who offered sacrifices to the Sun, the Moon, the planets, and all the hosts of heaven. Altars for star-worship were built on the roofs of the houses, and horses and chariots were dedicated to the worship of the Sun. (II Kings 21:5; 23:4-5, 11-12) Star-worship continued in Judah until the 18th year of Josiah's reign (621 B.C.) when the King took measures to abolish all kinds of idolatry. But although star-worship was then abolished as a public cult, it was practiced privately by individuals who worshipped the heavenly bodies, and poured out libations to them on the roofs of their houses (Zephaniah 1:5; Jeremiah 8:2; 19:13)  Jeremiah, who prophesied in the sixth year of the captivity of Jehoiachin (591 B.C.) describes the worship of the Sun as practiced in the court of the Temple (Ezekiel 8:16) and that even after the destruction of the Temple the women insisted on continuing to worship the Queen of Heaven.

"The ancient Hebrews, being nomads like the Arabs, favored the Moon, while the Babylonians, who were an agricultural nation, preferred the Sun. But, as appears from Ezekiel 20:7-8 the Moon-worship of the Israelites, even while they were still in Egypt was combined with Sun-worship."

How could those promoting paganism have missed Acts 7:

Acts 7:42 Then God turned, and gave them up to worship the host of heaven; as it is written in the book of the prophets, O ye house of Israel, have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness?

WHAT PAUL, PETER, JUDE AND JOHN USED TO WARN ABOUT THE JUDAIZERS.

PLEASE DO NOT CALL MY psycharitist:  This areoptional links to the type of worship to which God abandoned the Israelites and to which He abandons those when He sends them strong delusions.  Just remember that Jesus called the Scribes and Pharisees "hypocrites." He pointed to Isaian 29 and Ezekiel 33 to identify the MOUTH RELIGIONISTS as slick speakers, singers and instrument players. Furthermore, as the Levitical singers sang FALSETTO and the literature always connects religious musicians to warriors or the perverse, you may want to read some of the links to words and ancient literature and I INVITE you to find an exception.

Perseus posts Demosthenes, Speeches [260] In day-time you marshalled your gallant throng of bacchanals through the public streets, their heads garlanded with fennel and white poplar; and, as you went, you squeezed the fat-cheeked snakes, or brandished them above your head, now shouting your Euoi Saboi! now footing it to the measure of Hyes Attes! Attes Hyes!--saluted by all the old women with such proud titles as Master of the Ceremonies, tipsy-cakes, and cracknels, and currant-buns. With such rewards who would not rejoice greatly, and account himself the favorite of fortune?  Fugleman, Ivy-bearer, Fan-carrier; and at last receiving your recompense of Commentary 4. euoi saboi: as euoi, evoe, was the cry used in the regular Bacchic worship, so saboi was used in invoking Sabazios, the Phrygian Bacchus. All points to some Asiatic worship, more or less caricatured. 6. kittophoros, ivy-bearer, the ivy being sacred to Bacchus.--liknophoros, bearer of the winnowing-fan, liknon, the mystica vannus Iacchi. See Verg. Georg. I. 166.--kai toiauth, i.e. these (exarchos k.t.l.) and similar names. Matt. 3:11 I indeed baptize you with water unto repentance: but he that cometh after me is mightier than I, whose shoes I am not worthy to bear: he shall baptize you with the Holy Ghost [A Violent Wind], and with fire: Matt. 3:12 Whose fan is in his hand, and he will throughly purge his floor, and gather his wheat into the garner; but he will burn up the chaff with unquenchable fire.  4425.  ptuon, ptoo´-on; from 4429; a winnowing-fork (as scattering like spittle):  fan.  John the Baptist claimed that the one who would follow him - Jesus - would take winnowing-fan in hand and separate wheat from the chaff. (Luke 3:18) Dionysos was called Liknites -"He of the winnowing fan" - because this tool was used for a "baptism by air", as one can see in the vase paintings which show initiates veiled and seated with a winnowing fan being waved above their heads. (Jane Ellen Harrison's Prolegomena to the Study of Greek Religion, pages 401-2) Thus "Bacchus was directly called upon," he says. The Sabazian worship was Sabbatic; the names Evius, or Hevius, and Luaios are identical with Hivite and Levite. but it also means the ministers of lascivious rites (the Venus-worship) and the true interpretation of the word Kadesh is bluntly rendered in Deuteronomy xxiii. 17; Hosea iv. 14; and Genesis xxxviii., from verses 15 to 22. The "holy" Kadeshuth of the Bible were identical as to the duties of their office with the Nautch-girls of the later Hindu pagodas. Plutarch: What God is worshipped by the Jews: When all the company requested and earnestly begged it of him; first of all (says he), the time and manner of the greatest and most holy solemnity of the Jews is exactly agreeable to the holy rites of Bacchus; for that which they call the Fast they celebrate in the midst of the vintage, furnishing their tables with all sorts of fruits while they sit under tabernacles made of vines and ivy; and the day which immediately goes before this they call the day of Tabernacles. Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi. What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their gods withal. Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,--either word agrees with Bacchus. [Bacchae: Dionysus = Bacchus = Evius = Bromius (all different names for the same god]  8. Enthrupta, streptous, SOPS twists: for enthrupta evidently from strephô.- turn upside down, II.to twist about, like a wrestler trying to elude his adversary; so, in argument, to twist and turn, shuffle, The heavey burden of wine: Don't get Fluted Down with Wine. Euripides, Bacc when Zeus his father snatched him up from the immortal fire and saved him in his thigh [testicles], [525]  crying out: “Go, Dithyrambus, enter this my male womb. I will make you illustrious, Bacchus, in Thebes, so that they will call you by this name.” [530]  But you, blessed Dirce, reject me with my garland-bearing company about you. Why do you refuse me, why do you flee me? I swear by the cluster-bearing [535]  delight of Dionysus' vine that you will have a care for Bromius. (dithurambos). A hymn sung at the festivals of Dionysus to the accompaniment of a flute and a dance round the altar. (See Dionysia.) The hymn celebrated the sufferings and actions of the god in a style corresponding to the passionate character of his worship. In the course of time it developed into a distinct kind of Greek lyric poetry. It was in Corinth that it first received anything like a definite artistic form, and this at the hands of Arion , who was therefore credited by the ancients with its actual invention.  Lasus...By several innovations in music and rhythm, especially by a stronger and more complete instrumentation, this artist gave it greater variety and a more secular character...Solo pieces were inserted to relieve the choruses, the text was gradually subordinated to the music, and the dithyramb was thus gradually transformed into a kind of opera. Bromius Bremo A roar of music: Pindar, Nemean, 11. [1] Daughter of Rhea, [ZOE] you who have received the town hall under your protection, Hestia, sister of Zeus the highest and of Hera who shares his throne, welcome Aristagoras to your dwelling, and welcome to a place near your splendid scepter his companions, [5] who, in honoring you, guard Tenedos and keep her on a straight course; [6] often they worship you, first of the gods, with libations, and often with the savor of burnt sacrifice. Lyres and songs peal among them, and Themis, who belongs to Zeus the god of hospitality, is honored with everlasting feasts Euripides, Bacchae. Anon shall the whole land be dancing, when Bromius leads his revellers to the hills, to the hills away! where wait him groups of maidens from loom and shuttle roused in frantic haste by Dionysus. O hidden cave of the Curetes! [120] O hallowed haunts in Crete, that saw Zeus born, where Corybantes with crested helms devised for me in their grotto the rounded timbrel of ox-hide (lifeless instrument), mingling Bacchic minstrelsy with the shrill sweet accents of the Phrygian flute, a gift bestowed by them on mother Rhea, to add its crash of music to the Bacchantes' shouts of joy; Rev 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns. [135] He is sweet in the mountains  , whenever after the running dance he falls on the ground, wearing te sacred garment of fawn skin, hunting the blood of the slain goat, a raw-eaten delight, rushing to the [140]  Phrygian, the Lydian mountains, and the leader of the dance is Bromius, evoe!  The plain flows with milk, it flows with wine, it flows with the nectar of bees. [145]  The Bacchic one, raising the flaming torch of pine on his thyrsos, like the smoke of Syrian incense, darts about, arousing the wanderers with his racing and dancing, agitating them with his shouts, [150]  casting his rich locks into the air. And among the Maenad cries his voice rings deep:  “Go, Bacchae, go, Bacchae, with the luxury of Tmolus that flows with gold, [155]  sing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, [160]  when the sweet-sounding sacred pipe sounds a sacred playful tune suited [165]  to the wanderers, to the mountain, to the mountain!” And the Bacchante, rejoicing like a foal with its grazing mother, rouses her swift foot in a gamboling dance. Once you have collected your "crooked generation" of perverted and perverting actors, singers and instrument players the next thing is to get them on THE STAFF. [261] After getting yourself enrolled on the register of your parish--no one knows how you managed it; but let that pass--anyhow, when you were enrolled, you promptly chose a most gentlemanly occupation, that of clerk and errand-boy to minor officials. After committing all the offences with which you now reproach other people, you were relieved of that employment; and I must say that your subsequent conduct did no discredit to your earlier career.  Note 4. grammateuein: see §§ 162.5, 209.2. The occupation of a paid private clerk (not that of a clerk of the Senate or Assembly) was despised at Athens: olethros grammateus.-- [p. 162] archidiois, petty officers:   See the same Scribe or grammatôn defined below:  261 Note: [9, 6 [Rhetorical devices]: When in the course of time you were relieved of these duties having yourself committed all the offences of which you accuse others I vow that your subsequent life did not fall short of your earlier promise You engaged yourself to the players Simylus and Socrates the "Bellowers " as they were called to play minor parts and gathered a harvest of figs grapes and olives like a fruiterer getting his stock from other people's orchards and you made more from this source than from your plays which you played in dead earnest at the risk of your lives for there was a truceless and merciless war between you and the spectators from whom you received so many wounds that you naturally mock at the cowardice of those who have never had that great experience.  Jesus and all of the Greek literature identifies these players as hypocrites and parasites.  Pausanias speaks of the players and musicians having lost their role in Greece especially Corinth. Of the Howlers or Growlers: Pausanias, Attica [11] The Athenians refuse to confess that their defeat at Aegospotami was fairly inflicted, maintaining that they were betrayed by Tydeus and Adeimantus, their generals, who had been bribed, they say, with money by Lysander. As a proof of this assertion they quote the following oracle of the Sibyl:--And then on the Athenians will be laid grievous troubles By Zeus the high-thunderer, whose might is the greatest,         On the war-ships battle and fighting,         As they are destroyed by treacherous tricks, through the baseness of the captains. [262] You entered the service of those famous players Simylus and Socrates, better known as the Growlers. You played small parts to their lead, picking up figs and grapes and olives, like an orchard-robbing costermonger, and making a better living out of those missiles than by all the battles that you fought for dear life. For there was no truce or armistice in the warfare between you and your audiences, and your casualties were so heavy, that no wonder you taunt with cowardice those of us who have no experience of such engagements.  Agonizomai: contend for a prize as a thapsode, playwright, actor, chorus leader, public speaking, dramatists. Demosthenes Against Medias 21. Hupokritais I. interpreter or expounder II. in Att., one who plays a part on the stage, actor, 2. of an orator, poikilos [poetry, songs] one who delivers, recites, declaimer, 3. metaph., pretender, dissembler, hypocrite. Hydraula one who playes on the waterorgan.  Citharistria she who plays on the cithara.  Rhapsôidoi; One who stitches or weaves songs together. A. reciter of Epic poems, sts. applied to the bard who recited his own poem, Pi.N.2.2 rhaptô, aoidê; Nearos, humnois rhapsantes aoidên, 1.art of song,autar aoidên thespesiên 5. = eppsdê, spell, incantation, Kuon II. as a word of reproach, freq. in Hom. of women, to denote shamelessness or audacity, 3. of the Cynics, areskei toutois kunôn metamphiennusthai bion    Bakchai, Lussas k. E.Ba.977 Paul warned about the Cynics marked by their "Old Style Praise singing." Phil. 3:2 Beware of dogs, beware of evil workers, beware of the concision. Phil. 3:3 For we are the circumcision,          which worship God IN the spirit, and rejoice in Christ Jesus,             and have no confidence in the flesh.   Go to the mountain, go, fleet hounds of Madness, where the daughters of Kadmos hold their company, and drive them raving [980]  against the mad spy on the Maenads, the one dressed in women's attire. His mother will be the first to see him from a smooth rock or crag, as he lies in ambush, and she will cry out to the maenads: [985] “Who is this seeker of the mountain-going Kadmeans who has come to the mountain, to the mountain, Bacchae? Who bore him? For he was not born from a woman's blood, but is the offspring of some lioness [990]  or of Libyan Gorgons. Bakche a Bacchante, frantic handmaid of Hades. Pi.N.2.2  Pindar, Nemean 2 [1] Just as the Homeridae, the singers of woven verses, most often begin with Zeus as their prelude, so this man has received a first down-payment of victory in the sacred games by winning [5] in the grove of Nemean Zeus, which is celebrated in many hymns...Citizens, praise Zeus in a victory [Nikao)  procession for Timodemus' glorious homecoming. [25] Begin with a sweet-singing voice! Areskei Aresko pleasing self (Rom 15:1 outlawed) malista êreskonto Airo lift up, raise up, exalt, NEW STYLE OF MUSIC IS AS OLD AS BABYLON: Plato said that they intended to change the LAWS.  Nearos 2. of things, new, humnoi Hes.Fr.265 ; neara exeurein Pi.N.8.20 ; fresh, Pindar Nemean 8. 1] Queenly Season of Youth, herald of the divine embraces of Aphrodite, you who rest in the eyes of young girls and boys, and carry one man in the gentle arms of compulsion, but handle another man differently. It is a desirable thing, for one who has not strayed from due measure in any deed, [5] to be able to win the better kinds of love; [6] such loves,the shepherds of Cyprian Aphrodite's [ZOE] gifts, attended the marriage-bed of Zeus and Aegina. And from that union a son was born, the king of Oenone, the best in hands and mind. Many men often prayed that they might see him; for, unbidden... As a suppliant I cling to the sacred knees of Aeacus, on behalf of his dear city and these citizens, bringing [15] a Lydian crown embroidered with song, glory from Nemea in the double foot race for Deinias and his father Megas. For prosperity that is planted with a god's blessing is more abiding for men; [18] such prosperity as once loaded Cinyras with wealth in sea-washed Cyprus. I stand with feet lightly poised, catching my breath before I speak. [20] For many stories have been told in many ways. But to find something new and submit it to the touchstone for testing is danger itself. Words are a dainty morsel for the envious; and envy always clings to the noble, and has no quarrel with worse men. [23] Envy devoured the son of Telamon, throwing him onto his own sword.Pindar, Nemean 8. Nearos: young men of the theatrikos  A.of or for the theatre, theatrical, mousikê Opposite to EPIC Pl.Phdr.243a professional musicians, things elegant, delicate, harmonius, fitted. Plato, Phaedrus [243a] they put on airs as though they amounted to something, if they could cheat some mere manikins and gain honor among them. Now I, my friend, must purify myself; and for those who have sinned in matters of mythology there is an ancient purification, unknown to Homer, but known to Stesichorus. For when he was stricken with blindness for speaking ill of Helen, he was not, like Homer, ignorant of the reason, but since he was educated, he knew it and straightway he writes the poem: That saying is not true; thou didst not go within the well-oared ships, nor didst thou come to the walls of Troy   The-ama , Ion. theêma , atos, to, ( [theaomai] ) A. sight, spectacle, Opposite mathêma, gives pleasure, orchêseis kai theamata.  Because the church or ekklesia is a school of the Bible and Jesus seeks only disciples, to introduce music and theatrics is SPECIFICIALLY only for pleasure and to silence the teaching of Jesus who wrote the songs and sermons:  Disciples: 3101.  mathetes, math-ay-tes´; from 3129; a learner, i.e. pupil:  disciple Drama REpresents and is always two or three removes from the facts:  Math-êma , atos, to, ( [mathein] ) A. that which is learnt, lesson 2. learning, knowledge X.Smp.2.2 Xenophon, Symposium  II. When the tables had been removed and the guests had poured a libation and sung a hymn, there entered a man from Syracuse, to give them an evening's merriment. He had with him a fine flute-girl, a dancing-girl--one of those skilled in acrobatic tricks,--and a very handsome boy, who was expert at playing the cither and at dancing; the Syracusan made money by exhibiting their performances as a spectacle.

Quintus Horatius Flaccus, Bad men, when they avoid certain vices, fall into their opposite extremes.1.2.5 The tribes of female flute-players,1 quacks, vagrants, mimics, blackguards; 2 all this set is sorrowful and dejected on account of the death of the singer Tigellius; for he was liberal [toward them]. On the other hand, this man, dreading to be called a spendthrift, will not give a poor friend [5] wherewithal to keep off cold and pinching hunger. 1 Ambubaiarum , "Women who played on the flute." It is derived from a Syrian word; for the people of that country usually excelled in this instrument. Pharmacopolae is a general name for all who deal in spices, essence, and perfumes. Circumfora-neus adj. [circum + forum] , around the forum, about the market - place: aes, debts (at the bankers). -- Frequenting markets: pharmacopola. Pharmacopola, pharmakopôlês, I. a vender of medicines, a quack  circumforaneus,   Jesus consigned the pipers, singers and dancers to the marketplace, Agora or Forum as polluted: Rev. 18:22 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; Rev. 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.  5331.  pharmakeia, far-mak-i´-ah; from 5332 [pharmakeus]; medication (“pharmacy”), i.e. (by extension) magic (literally or figuratively): -- sorcery, witchcraft. Rev. 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. 2 Mendici, mimae, balatrones. The priests of Isis and Cybele were beggars by profession, and under the vail of religion were often guilty of the most criminal excesses. Mimae were players of the most debauched and dissolute kind; and balatrones, in general, signifies all scoundrels, buffoons, and parasites, who had their name, according to the old commentator, from Servilius Balatro. Balatrones  Forum, II. In partic., a public place, market-place. B. The market-place, forum, in each city, as the principal place of meeting, where public affairs were discussed, courts of justice held, money transactions carried on: Choros, ho, dance, aiei d' hêmin dais te philê kitharis te choroi, later of the dance as a public religious ceremony, Dionuson timôsas chorois E.Ba. 220, II. choir, band of dancers and singers, h. Ven.118, Pi.N.5.23, Fr.199; sumphônia kai choroi Ev.Luc.15.25 E.Ba. 220 Bacchae: They say there came a stranger hither, a trickster and a sorcerer, from Lydia's land, with golden hair and perfumed locks, the flush of wine upon his face, and in his eyes each grace that Aphrodite gives; by day and night he lingers in our maidens' company on the plea of teaching Bacchic mysteries.  Once let me catch him within these walls, and I will put an end to his thyrsus-beating and his waving of his tresses, for I will cut his head from his body.  III. place for dancing, en de ch. poikille . . Amphiguêeis Il. 18.590 ; leiênan de ch. Od.8.260 , cf. 264; hothi t' Êous êrigeneiês oikia kai choroi eisi 12.4 ; Numpheôn kaloi ch. êde thoôkoi ib.318; at Sparta the agora was called choros, Paus.3.11.9; so perh. in Crete, Supp.Epigr.2.509.6 (Eltynia, prob. v B. C.): v. infr. (Acc. to Hsch. choros = kuklos, stephanos, and therefore prop. denotes a ring-dance.) Jesus CAST OUT the minstrels LIKE DUNG. Here is what he thought of them: They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept Lu.7:32 Agora (g58) ag-or-ah'; from ageåiro, (to gather; prob. akin to 1453); prop. the town-square (as a place of public resort); by impl. a market or thoroughfare: - market (-place), street Mendi-cus I. adj., beggarly, needy, in want, indigent (class.). a beggar, mendicant: mendicum malim mendicando vincere, Quam, etc., Plaut. Bacch. 3, 4, 16 : mendici, i. e. the priests of Cybele, Hor. S. 1, 2, 2 .- As a term of abuse, a beggar, ragamuffin, Ter. And. 4, 5, 20.-- Mimic: Mi-ma  I. abl. plur., mimabus, acc. to Cledonius, p. 1863 P.), f. [mimus] , a female mimic or mime,   Mim-aulos , ho, A. mimic actor, accompanied on the flute, Ath.10.452f. Mim-êtês  A. imitator, grammatôn forgers,  II. artist (cf. mimêsis one who impersonates characters, as an actor or poet,  2. coupled with goês, mere actor, impostor,  . masturba-tor  I. one who defiles himself    Blackguard: balatrones, a babbler, jester, buffoon. Lynn Anderson appeals to Aldus Huxley promoting images, drama and music rather than words: Abused as we abuse it at present, dramatic art is in no sense cathartic; it is merely a form of emotional masturbation. It is the rarest thing to find a player who has not had his character affected for the worse by the practice of his profession. Nobody can make a habit of self-exhibition, nobody can exploit his personality for the sake of exercising a kind of hypnotic power over others, and remain untouched by the process. From Source A man who strains himself on the stage is bound, if he is any good, to strain all the people sitting in the stalls. Bertolt Brecht The actor searches vainly for the sound of a vanished tradition, and critic and audience follow suit. So the artist sometimes attempts to find new rituals with only his imagination as his source: he imitates the outer form of ceremonies, pagan or baroque, unfortunately adding his own trapping -- the result is rarely convincing. .........And after the years and years of weaker and waterier imitations we now find ourselves rejecting the very notion of a holy stage. .........It is not the fault of the holy that it has become a middle-class weapon to keep the children good. Peter (Stephen Paul) Brook

The ancient historians understand the universal Biblical truth that God ABANDONED Israel to paganism BECAUSE of musical idolatry at Mount Sinai. 

Tacitus said that Dionysos Liber was the God of Jerusalem in former times, but a different God had replaced him, a God with less attractive characteristics: "Liber established a festive and cheerful worship, while the Jewish religion is tasteless and mean." (660)

Plutarch of Chaeronea held that the God of the Jews was none other than Dionysos. "First the time and character of the greatest, most sacred holiday of the Jews clearly befit Dionysos. When they celebrate their so-called Fast, at the height of the vintage, they set out tables of all sorts of fruit under tents and huts plaited for the most part of vines and ivy. They call the first of the two days Tabernacles.

A few days later they celebrate another festival, this time identified with Bacchos not through obscure hints but plainly called by his name, a festival that is a sort of 'Procession of Branches' or 'Thyrsos Procession' in which they enter the Temple each carrying a thyrsos.

What they do after entering we do not know, but it is probable that the rite is a Bacchic revelry, for in fact they use little trumpets to invoke their God as do the Argives at their Dionysia.

Others of them advance playing harps; these players are called in their language Levites, either from 'Lysios' or better, from 'Euois.' 

David's SEER is defined as a "star gazer" because the nation had been abandoned to worship the starry host.

SEER China: "The Shang's faith [2000-1500bc] was shamanism. The Wu--who were seers, medicine men, and sorcerers--and their associates--the diviners (people who told fortunes or predicted the future)--

were the mediums between the supernatural world and the human world.

They also served as scribes and clerks, ceremonial dancers, musicians, and even high-ranking officials. Moreover, they were proto-type intellectuals, who could not only write and keep accounts, but who were also archivists and historians.

Because the cosmos of shamans is full of spirits of all kinds, the Shang state religion was mainly concerned with offering food and entertainment to male and female ancestors of the ruling house; to deceased great men; and to the deities of the mountains, water, rivers, wind and stars." [OWC:106, Eliade cites human sacrifice in China.] # [SDFML] Funk & Wagnalls Standard Dictionary of Folklore, Mythology, and Legend , Maria Leach (ed.), HarperR

3. All of the church fathers agree with that and even warn about the "instrumental" performances "outside of church."

Click for Music Index
Click for Church Fathers Index.
No one will find POSITIVE information about music in the "school of the Bible."
Everyone will find NEGATIVE information associating musical religion with sexuality and homosexuality.

4. All of the founders of denominations repudiates instruments. In fact, the Bible is NOT metrical and cannot be "sung" in the modern sense if your life depended on it.

5. The Catholic church never used the organ as a part of the official mass but played between the various parts of the liturgy.

Catholic Encyclopedia on Liturgical Music.

6.  In the early 1800s when the Campbells were trying to restore the Bible as the sole authority for faith and practice, NONE of the denominations which flowed into The Church of Christ used musical instruments.  Most of the best material was written by Presbyterians against the Scotch State Church which wanted to be like the English State Church. Many Presbyterians have not introduced instruments because they never USED THEM.  Some Baptists and almost all Baptists were being DIVIDED by those imposing instrumenta in the early 1900s.

7. ALL of the musical terms and names of instruments speak of sorcery or witchcraft: the word Demagogue is one who appeases the masses with the performing arts. He is often associated with KLEPTOMA and heresy.

8. No church has imposed instruments without sowing massive discord with a high hand.

THE HEGELIAN FROG BOILING PROCEDURE

Because Ronnie was thinking of adding instruments in 1987 but decided against it. Why? Why because members of the Church of Christ would never have helped build the "church plant."   Speaking of music and drama:

ing the same connections between sexuality and playing found in the most virulent antitheatrical tracts. As this paper will demonstrate, by "playing" with the conflated language, these writers defended their art,

justifying their existence in a society that was both seduced and repulsed by them. By claiming the polemical antitheatrical language, these players escaped from the ideological margins to which their opponents had tried to relegate them.

Using the artifices of mimesis (imitation) and comedy they pointed out and

defused their opponents' anxieties about music, theater, and sexuality, creating a space for players in the cultural mainstream."

He says he is Pro acapella rather than ANTI-instrumental and  never TAUGHT it. However, all of that time music was a "major player in ever venue" so that it was NOW a current reality. Their perspective SHIFTED. That allows 20 years to "train up a whole generation" in ways Jesus says they SHOULD NOT GO since He cast out the musical minstrels like dung.   Without guilt by association Mein Kampf and the modern change agent Hegelian dialect RECOMMENDS it.  The Promise Keepers speaks of "dissociation which is driving the people into schizophrenia: they are conditioned to slowly accept that which would initially gag them AND the atmosphere is so thick that people are implicitely and explicitly warned NOT to object. Those who object know that they will be MARKED as "human material" rather than the intellectual leadership.
 
The "navigating the winds of change" is a deceptive effort to gradually introduce things that are REPULSIVE but which can be accustomed to.  Psalm 1:1 speaks of the gradualism of attending performances:

Psa. 1:1  Blessed is the man that walketh not in the counsel of the ungodly, nor standeth in the way of sinners, nor sitteth in the seat of the scornful.

Tertullian Chapter IV. All Theatrical Performance is Based on Idolatry

If, therefore, it shall be made plain that the entire apparatus of the shows is based upon idolatry, beyond all doubt that will carry with it the conclusion that our renunciatory testimony in the laver of baptism has reference to the shows, See the Story of Genun (Jubal). And Enoch.

which, through their idolatry, have been given over to the devil, and his pomp, and his angels.
We shall set forth, then, their several origins, in what nursing-places they have grown to manhood;
next the titles of some of them, by what names they are called;

then their apparatus, with what superstitions they are observed; (then their places, to what patrons they are dedicated; )  then the arts which minister to them, to what authors they are traced.

If any of these shall be found to have had no connection with an idol-god,
it will be held as free at once from the taint of idolatry, and as not coming within the range of our baptismal abjuration

THE PERSONA OF PERFORMERS IS PROBABLY NOT WHAT JESUS HAD IN MIND.

Lynn Anderson Quoted by Rubel Shelly in NEW GLASSES to get a NEW VISION for the Church of Christ promotes the replacement of WORDS tith vision and sound. This of course comes out of Feminists Theology which Carroll D. Osburn views with favor to say that "Patriarchal religion is destroyed by feminists using small acts of treachery. The Feminists Re-Imaging version says:

"The hold that feminist theology has on UM seminaries cannot be underestimated. For example, one of the foremost proponents of feminist theology, Rosemary Radford Ruether, is a tenured professor at Garrett Evangelical Theological Seminary and Aida Isasi-Diaz, another well-known feminist/liberationist theologian, is on the staff at Drew University Seminary.

"The Re-Imagining Conference of 1993 (which was characterized by worship of the goddess Sophia and denial of the person and work of Jesus Christ) was not an isolated event. It has been repeated three more times since then and the keynote speakers are always Protestant and Catholic seminary professors or clergy.

Lynn Anderson: Sounds right to me, Mr. Huxley! Something like this can happen to faith as well. The rational, informational, and linear-sequential worlds of productivity tend to dominate in our lives these days.

Consequently, the rest of our worlds suffer neglect, and we are losing touch with much of what it means to believe.

The rest of the story told by Huxley includes just this:

"Abused as we abuse it at present, dramatic art (preaching) is in no sense cathartic; it is merely a form of emotional masturbation. It is the rarest thing to find a player who has not had his character affected for the worse by the practice of his profession.

Nobody can make a habit of self-exhibition, nobody can exploit his personality for the sake of exercising a kind of hypnotic power over others, and remain untouched by the process. From Source

Ronnie Norman denies that the Bible says anything about "how to do worship." In fact, it says lots about the church as an empowered synagogue devoted solely to "giving heed" to the Word of God.  "The synagogue had no praise services" and there was no "playing of instruments on the REST day."  The church is for our SABBATH or PAUO on the Lord's Day and the "laded burden" outlaws both the laded burdens (songs, collections) as well as the burden laders. The word PAUO or rest is devoted almost totally to mean: "Stop the singing, stop the music." This was defined in Isaiah 58 which outlaws doing your own pleasrue or speaking your own words on the Sabbath.

CLICK TO SEE HOW MUSIC DEFINES HERESY.

Pauo means stop the polemos or battle, fight, war: stop levying war against another, anaireisthai or airô egeirein, kathistanai, epagein to begin a war; p. poieisthai to make war, -- opp. to p. anapauein, kataluesthai to put an end to it, make peace, all in attic

The singing which is to PAUSE to give rest is b. mostly of things, make an end of, stop, abate

Pauo means: STOP the: melôid-ia , hê, singing, chanting,

II. chant, choral song, melôidias poiêtês, lullaby, generally, musis

Pauo means: Stop the pain of: aoidê [aeidô]

1. song, a singing, whether the art of song, Hom.; or the act of singing, song, Il.
2. the thing sung, a song, Hom., etc.
3. the subject of song, 

SINCE GOD HAD ABANDONED THEM TO WORSHIP THE STARRY HOST AT THE TEMPLE, THIS WAS A PROPHETIC EVENT: A PARABLE.

Jesus said that truth had been hidden in parables from the foundation of the world: this hide the truth from the Scribe and Pharisee class Jesus identified as hypocrites by pointing to rhetoricians, singers and instrument players.

Asking "What does the bible say" false teachers always quote 2 Chronicles 5 which defines the separation from the TENT God permitted to David into the HOUSE built by Solomon in vilation of God (Acts 7).  This shut down access to the "seven spirits of God," His symbolic presence, His Word and His Grace or Mercy.

Ronnie and a few of his friends whom Rick Atchley says "he runs with" get their authority not for praying or a direct operation of the Holy Spirit but from the NAAC handlers like David faust.   Again,

David Faust: I . In the Old Testament the Lord didn't merely "permit" the use of musical instruments as aids to worship. He commanded their use.

2. In the old Testament the Lord didn't merely "permit' the use of musical instruments as aids to worship. He blessed their use.

Second Chronicles 5:14 adds an important point about the dedication of the temple. After the instrumentalists and the singers joined together in united praise to the Lord, the next verse says, "Then the temple of the Lord was filled with a cloud, and the priests could not perform their service because of the cloud, for the glory of the Lord filled the temple of God" God's "glory" in the form of a cloud was an expression of God's joy, pleasure, approval, and delight.

God was making known His presence in a very intense and powerfful way. The people not only honored the Lord as they played instruments and sang together, but they did so withh God's full and hearty approval. The Lord didn't just put up with the use of musical instruments; He smiled upon it, and expressed great delight and pleasure in the way His people praised Him through a combination of singing an instrumental accompaniment

WE WILL EXPLAIN that the GLORY of the LORD imposed of FILLED the temple with a cloud: I want to post this so you don't miss it included in lots of background below. Where the GLORY of God was manifested "No one dared to go" except the High Priest once a year.  

God's glory FILLED the house with a CLOUD: h6051

Ezek. 30:18 At Tehaphnehes also the day shall be darkened, when I shall break there the yokes of Egypt: and the pomp of her strength shall cease in her: as for her, a cloud shall cover her, and her daughters shall go into captivity.
    Ezek. 30:19 Thus will I execute judgments in Egypt: and they shall know that I am the LORD.

Hos. 6:4 O Ephraim, what shall I do unto thee? O Judah, what shall I do unto thee? for your goodness is as a morning cloud, and as the early dew it goeth away.
   Hos. 6:5 Therefore have I hewed them by the prophets; I have slain them by the words of my mouth: and thy judgments are as the light that goeth forth.

Hos. 6:6 For I desired mercy, and not sacrifice;
        and the knowledge of God more than burnt offerings.


The Veil (Vail) which cut off access to God, His mercy and His Word is the Hebrew:

        6531. perek, peh´-rek; from an unused root meaning to break apart; fracture, i.e. severity: cruelty, rigour.
        6532. poreketh, po-reh´-keth; feminine active participle of the same as 6531;
                   a separatrix, i.e. (the sacred) screen:--vail.

God had abandoned the monarchy to worship the starry hosts: the glory of God SHUT DOWN the temple so that only the High Priest could go into the Most Holy Place once a year.

The Holy Place as a parable of the body or church of Christ was OFF LIMITS to preachers, singers and instrument players: the Levites could not come NEAR any holy thing.

2Cor. 3:12 Seeing then that we have such hope, we use great plainness of speech:
2Cor. 3:13 And not as Moses, which put a vail over his face,
        that the children of Israel could not stedfastly look to the end of that which is abolished:
2Cor. 3:14 But their minds were blinded: for until this day remaineth the same vail untaken away in the reading of the old testament; which vail is done away in Christ.
2Cor. 3:15 But even unto this day, when Moses is read, the vail is upon their heart.

Preaching and music proves that the blindness prevails:
Acts 15:21 For Moses of old time hath in every city
        them that preach him,
        being read in the synagogues every sabbath day.

2Cor. 3:16 Nevertheless when it shall turn to the Lord,
        the vail shall be taken away.
2Cor. 3:17 Now the Lord is that Spirit: and where the Spirit of the Lord is, there is liberty.
2Cor. 3:18 But we all,
        with open face beholding as in a glass the glory of the Lord,
        are changed into the same image from glory to glory, even as by the Spirit of the Lord.

As we have noted, we have the same fulfilment in Revelation 15. No one can enter into the true Church of Christ or worship God acceptably in the PLACE of their own spirits until all of the PLAGUES have been poured out.

The Warrior musicians (made noise) under the KING and COMMANDERS of the army engage in joint animal sacrifices with the priests: these are for dedication or purification of the CIVIL leaders or the HOUSE not built for God which might be separated from one another by centuries. It would hardly be a legalistic PATTERNISM for something to do in the ekklesia or church which is a "school of the Bible" only.

c. 960 B.C. Solomon's Dedication of the Temple built with slave labor and by selling some cities into foreign hands.

c. 715 B.C. Hezekiah's Plague Stopping by Cleansing the Temple [247 years]

But, that ignores the immediate context and the story line beginning at Mount Sinai. It was because of musical idolatry that God turned the national system over to "worship the starry host" (Acts 7).  God removed the covenant of Grace and gave them the Law of Moses.  

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); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - (cause) to triumph (over).

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

7321. ruwa roo-ah´; a primitive root; to mar (especially by breaking); figuratively, 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.

Theodoret (Quasten, Music & Worship, p. 65) claimed that the Jews brought liturgical music from Egypt and Philo wrote that "Moses learned rhythm, harmony, meter and everything concerned with instrumental music from the Egyptians." This is why Moses knew that the noise at Mount Sinai was not the sound of defeat or of victory. Rather, it was the "sound of them singing that I hear."

The Jews sang in the type of the Egyptian threnodies (elegies for the dead):

Thus they made a golden bull, the image of an animal that was held to be the most sacred in that land; they offered unholy sacrifices, performed impious dances and sang hymns which differed in no way from the pagan mourning songs. Philo, De specialibus legibus

Still later, when the elders fired God and demanded a king God knew that it was so they could "worship like the nations." If you read the Samuel literature you will hear God warning that the kings would enslave them and carry out the captivity and death sentence imposed at Mount Sinai. One of the curses was that the "senior pastor" would take the young boys to make instruments of chariots with which they would run before the war chariots and mostly get killed.

"The Israelite state was not founded with divine blessing. Rather, it was allowed as a grudging concession, just as a parent lets a child have his way in order that he may learn his folly from experience." (Anderson, Bernard, Theology of the O.T. p. 163).

Because the system was Sabazianism we know that the system was identical to that at Tyre, Egypt or in Babylon:

Ecclesiasticus 48 which was in the 1611 KJV notes:

1. Then the prophet Elijah arose like a fire, and his word burned like a torch.
2. He brought a famine upon them, and by his zeal he made them few in number.
3. By the word of the Lord he shut up the heavens,
     and also three times brought down fire.
4. How glorious you were, O Elijah, in your wondrous deeds! And who has the right to boast which you have?
5. You who raised a corpse from death and from Hades, by the word of the Most High;
6. who brought kings down to destruction, and famous men from their beds;
7. who heard rebuke at Sinai and judgments of vengeance at Horeb;

8. who anointed kings to inflict retribution,
and prophets to succeed you.

O Israel, thou hast destroyed thyself; but in me is thine help. Hosea 13:9 

I will be thy king: where is any other that may save thee in all thy cities? and thy judges of whom thou saidst, Give me a king and princes? Hosea 13:10

I gave thee a king in mine anger, and took him away in my wrath. Hosea 13:11

Before looking at 2 Chronicles chapter 5 you might look at chapter 4: there you will see the description of many things which are clearly idols. That is not surprising since they were involved in a Goyim or Gentile form of sacrificial system: God had not commanded sacrifices until they fell into musical idolatry and then He simply abandoned them to do what was in their heart.

2 Chronicles  5:1 Thus all the work that Solomon made for the house of the LORD was finished:
        and Solomon brought in all the things that David his father had dedicated;
        and the silver, and the gold, and all the instruments,
        put he among the treasures of the house of God.

Stephen has told the Jews that their temple and whole system was not by the command of God.  He notes that the Tabernacle made after the heavenly tabernacle and had no musical noise connected with it originally:

Acts 7:44 Our fathers had the tabernacle of witness in the wilderness,
        as he had appointed, speaking unto
        Moses, that he should make it according to the fashion that he had seen.
Acts 7:45 Which also our fathers that came after brought
        in with Jesus into the possession of the Gentiles,
        whom God drave out before the face of our fathers, unto the days of David;
Who found favour before God, Acts 7:46
A. and desired to find a tabernacle for the God of Jacob.
B. But Solomon built him an house Acts 7:47
C. Howbeit the most High dwelleth not in temples made with hands; as saith the prophet.  Acts 7:48

Acts 7:49 Heaven is my throne, and earth is my footstool:
        what house will ye build me? saith the Lord: or what is the place of my rest?
Acts 7:50 Hath not my hand made all these things? 
Acts 7:51 Ye stiffnecked and uncircumcised in heart and ears, 
        ye do always resist the Holy Ghost: as your fathers did, so do ye.

By building "god a house" which apparently thought about instruments long ago and slowly--as confessed--conditioning people by using instruments in other venues and then appealing to this Temple Dedication animal slaughter, Stephen might say that they resist the Holy Spirit.       

Even in the wilderness, the curse of the law BECAUSE of musical idolatry caused the tribe of Levi to bear the burden of the sacrifices. Their service is called hard bondage.  The national Levites performed AT but never IN the holy places. At the same time the godly Israelites were QUARANTINED from the temple.  Therefore, if you resist the Holy Spirit, build a house and do a temple dedication you MUST restrict it to the preacher and elders NEITHER of which can go into the "church house."  You MUST not let the congregation even WATCH you perform this vile ceremony.

Therefore,

2 Chronicles  5:2 Then Solomon assembled the elders of Israel, and all the heads of the tribes, the chief of the fathers of the children of Israel, unto Jerusalem,
        to bring up the ark of the covenant of the LORD out of the city of David, which is Zion.

ZION is the place God selected for the TENT and zion is the name for the heavenly rest of God's people.  David has built his TENT on Zion but now Solomon has built God a HOUSE without authority. He is REMOVING "God" whom he believes is in the box FROM ZION up to Moriah alongside the Jebusite High Places where Canaanite Baalism is taking place.

Notice that the CONGREGATION is never the common people but the civil, clergy and representatives from each tribe. The common people--who attend your church--were put OUTSIDE the gates when any of the "musical" instruments made a great noice.

2 Chronicles  5:3 Wherefore all the men of Israel assembled themselves unto the king
        in the feast which was in the seventh month.
2 Chronicles  5:4 And all the elders of Israel came; and the Levites took up the ark.
2 Chronicles  5:5 And they brought up the ark,
        and the tabernacle of the congregation,
        and all the holy vessels that were in the tabernacle,
        these did the priests and the Levites bring up.

The Levitical Warrior musicians who never made music but noise were under the king and the commanders of the army. The Temple was by Solomon's choice for Solomon's glory as a national shrine and bank for the people's confiscated wealth.  Whatever part civilians ever had was in service of the KING and not a religious function.

2 Chronicles  5:6 Also king Solomon, and all the congregation of Israel
        that were assembled unto him before the ark,
        sacrificed sheep and oxen, which could not be told nor numbered for multitude.

WHERE DID SOLOMON GET ALL OF THOSE ANIMALS SINCE HE WAS NOT A FARMER

Nehemhiah speaking by the Spirit of Christ said that they were robbers and parasites!

Now, Solomon was not a farmer and the tithe was intended for the civil services of the Levites: this amounted to 3/7 of the tithe of food only from those given free farms. The priests and levites got a daily dole of food when on duty and when they went home they made their own living. I am quite certain that those "resisting the Holy Spirit" in the words of Stephen have never read WHY there were kings in the first place.

1Sa 8:7 And the LORD said unto Samuel,
          Hearken unto the voice of the people in all that they say unto thee:
          for they have not rejected thee,
          but they have rejected me,
          that I should not reign over them.

1Sa 8:8 According to all the works which they have done since the day that I brought them up out of Egypt even unto this day,
          wherewith they have forsaken me,
          and served other gods, so do they also unto thee.

This is when they rose up in musical idolatry and God truned them over to worship the Starry Host. David's SEER was a Star Gazer, Jerusalem was a Jebusite High Place and the worship was mostly Sabianism.

1Sa 8:9 Now therefore hearken unto their voice:
          howbeit yet protest solemnly unto them,
          and show them the manner of the king that shall reign over them.
1Sa 8:10 And Samuel told all the words of the LORD unto the people that asked of him a king.
1Sa 8:11 And he said, This will be the manner of the king that shall reign over you:
          He will take your sons, and appoint them for himself, for his chariots,
          and to be his horsemen; and some shall run before his chariots.
1Sa 8:12 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. 
1Sa 8:13 And he will take your daughters to be confectionaries, and to be cooks, and to be bakers.
1Sa 8:14 And he will take your fields, and your vineyards, and your oliveyards,
        even the best of them, and give them to his servants.
1Sa 8:15 And he will take the tenth of your seed, and of your vineyards,
.......... and give to his officers, and to his servants.

It sounds like preachers have moved from being ministers or servants to wanting to be a KINGS SET OVER YOU. He wants everyone to feed him, entertain him and help him do worship wars.  This is predicted of those who try to be mighty nations replacing the tribal leaders:

"When tribes grew too large for effective co-operation (and inbred), they often became subdivided into smaller kinship groups (clans, sibs, gentes) which continued to regard each other as close allies. Government was exercised by individual chieftains assisted by councils of elders" (p. 26).

"In this fashion evey common tribal interest--the recurrence of the seasons, the increase of the food supply, successful hunting--was likely to become embodied

in some regularly repeated ceremony, which usually included group dancing, singing, and feasting.
Besides enabling men to express, and thereby to allay, ANGER and ANXIETY, such ceremonies also promoted tribal UNITY and strengthened the loyalty of the individual to TRIBAL TRADITION, for the emotional excitement they aroused had the effect of breaking down the barriers between individuals and thus fusing all tribesmen into a collective whole. Meanwhile, whole systems of magical devices were gradually elaborated." (H. Bamfort Parkes, Of Gods and Men p. 29)

This is always to BIND people to the KING set over us because it brings glory to him.

"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Parkes, Henry Bamford, On Gods and Men, p. 30).

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods, and many tribes supposed lunatics and sexual deviants to be divinely possessed.

So, the expense of broken families and the cost of a musical performance is born by those who are FLEECED since the church volunteers but has no LAW OF GIVING.

However, the Spirit of Christ spoke through the prophets who always repudiated the sacrificial system because it had been IMPOSED as part of the "worship of the starry hosts.  That is what Stephen was trying to tell them by referring to the musical idolatry at Mount Sinai and recorded by Amos:

Therefore thus saith the Lord God; Behold, mine anger and my fury shall be poured out upon this place, upon man, and upon beast, and upon the trees of the field, and upon the fruit of the ground; and it shall burn, and shall not be quenched. Jeremiah 7:20   Thus saith the Lord of hosts, the God of Israel; Put your burnt offerings unto your sacrifices, and eat flesh. Jeremiah 7:21	21. Put ... burnt offerings unto ... sacrifices ... eat flesh--Add the former (which the law required to be wholly burnt) to the latter (which were burnt only in part), and "eat flesh" even off the holocausts or burnt offerings. As far as I am concerned, saith Jehovah, you may do with one and the other alike. I will have neither (Isa 1:11 Ho 8:13 Am 5:21,22). JFB
For I spake NOT unto your fathers, nor commanded them	I hate, I despise your feast days, and I will not smell in your solemn assemblies. Amos 5:21
in the day that I brought them out of the land of Egypt,         concerning burnt offerings or sacrifices: Jeremiah 7:22	Though ye offer me burnt offerings and your meat offerings, I will not accept them: neither will I regard the peace offerings of your fat beasts. Amos 5:22      Take thou away from me the noise of thy songs;      for I will not hear the melody of thy viols. Amos 5:23
BUT this thing commanded I them, saying,        Obey my voice, and I will be your God,                  and ye shall be my people:        and walk ye in all the ways that I have commanded you,                  that it may be well unto you. Jeremiah 7:23	BUT let judgment run down as waters, and righteousness as a mighty stream Amos 5:24 Amos 5:25 Have ye offered unto me sacrifices and offerings in the wilderness forty years, O house of Israel?
BUT they HEARKENED NOT, nor inclined their ear,         but walked in the counsels         and in the imagination of their evil heart,         and went backward, and not forward. Jeremiah 7:24 Since the day that your fathers came forth out of the land of Egypt unto this day,         I have even sent unto you all MY servants the PROPHETS, daily rising up early and sending them: Jeremiah 7:25 Yet they HEARKENED NOT unto me, nor inclined their ear, but hardened their neck: they did worse than their fathers. Jeremiah 7:26 Therefore thou shalt speak all these words unto them;        but they will not hearken to thee:        thou shalt also call unto them;         but they will not answer thee. Jeremiah 7:27	Amos 5:26 BUT ye have borne the tabernacle of your and Moloch and Chiun [#666] your images, the star of your god, which ye made to yourselves. They burned infants to the beat of instruments in 2 Chron 28 just before the PURGE and EXORCISM and in chapter 30 just AFTER Hezekiah's ceremony SOLELY to get the priests to return to Jerusalem to help defend it. Amos 5:27 Therefore will I cause you to go into captivity beyond Damascus, saith the LORD, whose name is The God of hosts. This was the sentence conditionally imposed because of musical idolatry at Mount Sinai.  Canaan as the promised land became the Killing Fields as God let the kings lead them into captivity and death.

2 Chronicles  5:7 And the priests brought in the ark of the covenant of the LORD unto his place,
        to the oracle of the house, into the most holy place,
        even under the wings of the cherubims:
2 Chronicles  5:8 For the cherubims spread forth their wings over the place of the ark,
        and the cherubims covered the ark and the staves thereof above.

Like Jachin and Boaz which were Hermes or vivid phallic pillars, the Cherubim were idols. Because the temple was built by Hiram the Masonic Architect it comes as no surprise that it looked like the one at Tyre and other areas. Here is a picture of Hiram's Throne Chair:

The Bible noted that the Cherubim's wings were "extended," and this is a feature of the Late Bronze Age thrones. The winged sphinxes' wings extend to become side arms, so that the god seated on the throne, can be said to be enveloped by the Cherubim's wings- perhaps this feature explains the statement made of the King of Tyre in Phoenica, and the allusion to a "covering Cherub"? Phoenician Cherubim thrones exist in stone as bas-reliefs and as three-dimensional thrones as late as the 3rd century BCE. Phoenician art portrays gods and goddesses seated in these thrones in bas-reliefs, seals, and three-dimensional forms.

Of course, when David danced before the LORD he believed that God was really capture IN the box and not ON the Box.  

2 Chronicles  5:9 And they drew out the staves of the ark,
        that the ends of the staves were seen from the ark before the oracle;
        but they were not seen without. And there it is unto this day.

2 Chronicles  5:10 There was nothing in the ark save the two tables which Moses put therein at Horeb,
        when the LORD made a covenant with the children of Israel, when they came out of Egypt .

Now, it is perfectly clear that the symbolic presence of God in a small open tent where everyone could see it has been moved into a blacked-our HOUSE because he thought that God should dwell in DARKNESS. That, of course, would put Jehovah which the monarchy did not worship away in His "closet" and Solomon could be in total charge.

2 Chronicles  5:11 And it came to pass, when the priests were come out of the holy place:
        (for all the priests that were present were sanctified, and did not then wait by course:

2 Chronicles  5:12 Also the Levites which were the singers, all of them of Asaph, of Heman, of Jeduthun,
        with their sons and their brethren, being arrayed in white linen,
        having cymbals and psalteries and harps,
        stood at the east end of the altar,
        and with them an hundred and twenty priests sounding with trumpets:)

H622 Asaph aw-saf' A primitive root; to gather for any purpose; hence to receive, take away, that is, remove (destroy, leave behind, put up, restore, etc.); assemble, bring, consume, destroy, .

"Such terms as 'Asaph,' 'Heman' and 'Ethan' or 'Jeduthun' are evidently used by the Chronicler to designate musical guilds, and in the case of 'Heman' and 'Ethan' are closely paralleled by scores of abbreviated names found at Ugarit and elsewhere, and are characteristically Canaanite and early, not appearing in later Hebrew lists of contemporary names." (Unger, Merrill, Archaeology and the Old Testament, Zondervan, P. 217)

"David introduced innovations in the age and service of the Levites (I Chron. 23-26). Certain Levites, particularly Asaph, became musicians and probably wrote some of the Psalms." (Living Bible Ency., p. 1143)

Josephus with Ezekiel blames these Levites for the destruction of the nation:

6. Now as many of the Levites, (26) which is a tribe of ours, as were singers of hymns, persuaded the king to assemble a sanhedrim, and to give them leave to wear linen garments, as well as the priests

for they said that this would be a work worthy the times of his government, that he might have a memorial of such a novelty, as being his doing.

Nor did they fail of obtaining their desire; for the king, with the suffrages of those that came into the sanhedrim, granted the singers of hymns this privilege, that they might lay aside their former garments,

and wear such a linen one as they desired; and as a part of this tribe ministered in the temple,
he also permitted them to learn those hymns as they had besought him for.

Now all this was contrary to the laws of our country, which, whenever they have been transgressed, we have never been able to avoid the punishment of such transgressions.

See the Catholic Restoration of the Levites.

From this plan it is very clar that altar was OUTSIDE of the Holy Buildings and walled in from anyone. At that time the  civilians woud be OUTSIDE the gates.  Herod's Temple (not God's) was probably similar.

The more ancient drawings picture the temple as a Ziggurat because it served the same function with the same officials and practices as a Babylonian temple.  It also fleeced the people so that THEY served the agents of the gods.  The two pillars flanking the "vagina" into all pagan temples and many churches as a womb are Jochin and Boaz. There were seen in most Greek temple areas are were hermes or phallic symbols with a real "head" of Hermes on top.

2 Chronicles  5:13 It came even to pass, as the trumpeters and singers were as one,
        to make one sound to be heard in praising and thanking the LORD;
        and when they lifted up their voice with the trumpets and cymbals and instruments of musick,
        and praised the LORD, saying,
            "For he is good; for his mercy endureth for ever: "

that then the house was filled with a cloud, even the house of the LORD;

H6051 Anan aw-nawn' From H6049 ; a cloud (as covering the sky), that is, the nimbus or thunder cloud: cloud (-y).

H6049 Anan aw-nan' A primitive root; to cover; used only as denominative from H6051 , to cloud over; figuratively to act covertly, that is, practise magic:  bring, enchanter, Meonemin, observe (-r of) times, soothsayer, sorcerer.

Sound is never music in the Bible:
6963. qowl, kole; or lOq qol, kole; from an unused root meaning to call aloud; a voice or sound:  aloud, bleating, crackling, cry (+ out), fame, lightness, lowing, noise, + hold peace, (pro-)claim, proclamation, + sing, sound, + spark, thunder(-ing), voice, + yell.

MUSIC is singing:
7892.  sheer; or feminine h∂rˆyv shiyrah, shee-raw´; from 7891; a song; abstractly, singing: musical(-ick), x sing(-er, -ing), song.

PRAISING:
1984. halal, haw-lal´; a primitive root; to be clear (orig. of sound, but usually of color); to shine; hence, to make a show, to boast; and thus to be (clamorously) foolish; to rave; causatively, to celebrate; also to stultify:--(make) boast (self), celebrate, commend, (deal, make), fool(-ish, -ly), glory, give (light), be (make, feign self) mad (against), give in marriage, (sing, be worthy of) praise, rage, renowned, shine.

2 Chronicles  5:14 So that the priests could not stand to minister by reason of the cloud:
        for the glory of the LORD had filled the house of God.

The darkness was so thick that light would not shine. Whether it is glory in a good way or an evil way, the message is that YOU cannot minister or serve in the presence of God.  This cut off the symbolic presence of God, the Word of God in the Ark and Grace under the mercy seat.

The KABOD did the filling but the house was FILLED with a CLOUD

3519.  kabowd, kaw-bode´; rarely -glorious(-ly), glory, honour(-able).

Ex. 24:17 And the sight of the glory of the LORD was like devouring fire on the top of the mount in the eyes of the children of Israel.
Ex. 24:18 And Moses went into the midst of the cloud, and gat him up into the mount: and Moses was in the mount forty days and forty nights.

Moses was a prophet as a type of Christ.  The common people could not enter into that place of fire and cloud.

LOOK AGAIN AT WHAT HAPPENED: GOD DID NOT FALL INTO A CHARISMATIC FIT OF ECSTASY AS FALSE TEACHERS LOVE TO CLAIM.

God's glory FILLED the house with a CLOUD: h6051

Ezek. 30:18 At Tehaphnehes also the day shall be darkened, when I shall break there the yokes of Egypt: and the pomp of her strength shall cease in her: as for her, a cloud shall cover her, and her daughters shall go into captivity.
    Ezek. 30:19 Thus will I execute judgments in Egypt: and they shall know that I am the LORD.

Hos. 6:4 O Ephraim, what shall I do unto thee? O Judah, what shall I do unto thee? for your goodness is as a morning cloud, and as the early dew it goeth away.
   Hos. 6:5 Therefore have I hewed them by the prophets; I have slain them by the words of my mouth: and thy judgments are as the light that goeth forth.

Hos. 6:6 For I desired mercy, and not sacrifice;
        and the knowledge of God more than burnt offerings.


The Veil (Vail) which cut off access to God, His mercy and His Word is the Hebrew:

6531. perek, peh´-rek; from an unused root meaning to break apart; fracture, i.e. severity: cruelty, rigour.
6532. poreketh, po-reh´-keth; feminine active participle of the same as 6531; a separatrix, i.e. (the sacred) screen:--vail.

THIS HAPPENED WHEN THE ISRAELITES REFUSED TO LISTEN TO GOD'S VOICE

2Cor. 3:11 For if that which is done away was glorious, much more that which remaineth is glorious.
2Cor. 3:12 Seeing then that we have such hope, we use great plainness of speech:
2Cor. 3:13 And not as Moses, which put a vail over his face,
        that the children of Israel could not stedfastly look to the end of that which is abolished:
2Cor. 3:14 But their minds were blinded:
        for until this day remaineth the same vail untaken away
        in the reading of the old testament; which vail is done away in Christ.
2Cor. 3:15 But even unto this day, when Moses is read, the vail is upon their heart.
2Cor. 3:16 Nevertheless when it shall turn to the Lord, the vail shall be taken away.
2Cor. 3:17 Now the Lord is that Spirit: and where the Spirit of the Lord is, there is liberty.
2Cor. 3:18 But we all, with open face beholding as in a glass the glory of the Lord,
        are changed into the same image from glory to glory,
        even as by the Spirit of the Lord.

The Kabod or glory of God means that "You are not able to come into my presence."  When Israel rose up in musical idoaltry the people became STRANGERS.  Thereafter only the High Priest could come close to God once a year.  God is not getting sexually aroused as all pagan musical idolaters believed.

1.  Kabad (h3513) A primitive root; to be heavy, that is, in a bad sense (burdensome, severe, dull) abounding with, more grievously afflict, boast, be chargeable, be grievous, harden,

Ge 18:20  And the LORD said, Because the cry of Sodom and Gomorrah is great, and because their sin is very grievous;

Isaiah 47:5 Sit thou silent, and get thee into darkness, O daughter of the Chaldeans (astrologer, etc.): for thou shalt no more be called, The lady of kingdoms.
Isaiah 47:6 I was wroth with my people, I have polluted mine inheritance, and given them into thine hand:
        thou didst shew them no mercy;
        upon the ancient hast thou very heavily laid thy yoke.
Isa 6:10  Make the heart of this people fat, and make their ears heavy, and shut their eyes; lest they see with their eyes, and hear with their ears, and understand with their heart, and convert, and be healed.

H3514 kôbed ko'-bed From H3513 ; weight, multitude, vehemence:--grievousness, heavy, great number Vehemence of fire, Isa 30:27, multitude, Nah 3:3, Heaviness, grievousness of war, Isaiah 21:15

Polluted is:

Chalal [h2490] to wound, to dissolve; fig. to profane (a person, place or thing),  denom. (from 2485) to play (the flute): defile, gather the grape thereof, take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute,

2.  "At the calf of Beth-aven the inhabitants of Samaria tremble, for its people will mourn over it and wail over it, over its kabôd which has gone into exile. The thing itself shall be carried to Assyria, as tribute to the great king. Ephraim shall be put to shame, and Israel shall be ashamed of its idol."  - Hosea 10:5-6

The True House of Israel which existed at the Tabernacle until the mortal sin of David.

"I will be for them a sanctuary in small measure in the lands where they have gone."      - Ezekiel 11:14-16

"From now on, Ezekiel affirms, it will be among the exiles that Yhwh's presence is manifested at all, albeit in small measure. Yhwh will henceforth be found in the midst of the true house of Israel, which now consists of the community in exile (11:15). Far from abandoning the exiles, Yhwh has abandoned Jerusalem."

This means that YOU will never be able to approach God again: you are SENTENCED to exile BECAUSE of the musical idolatry at Mount Sinai and BECAUSE you demanded a king of whom I WARNED you would take you into exile and death.

When God's glory in PITCH BLACKNESS too thick to enter except once a year by the High Priest, when the glory removes to OUTSIDE in the COURT it is bright and shiny.

Ezek. 1:28 As the appearance of the bow that is in the cloud in the day of rain, so was the appearance of the brightness round about. This was the appearance of the likeness of the glory of the LORD. And when I saw it, I fell upon my face, and I heard a voice of one that spake

Ezek. 10:4 Then the glory of the LORD went up from the cherub, and stood over the threshold of the house; and the house was filled with the cloud, and the court was full of the brightness of the LORD’S glory.
Ezek. 10:18 Then the glory of the LORD departed from off the threshold of the house, and stood over the cherubims.

5051. núnogahh, no´-gah; from 5050; brilliancy (literally or figuratively):—bright(-ness), light, (clear) shining.

Jer. 13:16 Give glory to the LORD your God, before he cause darkness, and before your feet stumble upon the dark mountains, and, while ye look for light, he turn it into the shadow of death, and make it gross darkness.

FULFILMENT OF THE PROPHETIC EVENT

FIRST THE WARNING SIGN OF THE HARPS:

Rev. 15:1 And I saw another sign in heaven, great and marvellous,
        seven angels having the seven last plagues;
        for in them is filled up the wrath of God.

MARK or Sema 5. token by which any one's identity or commission was certified, min ereeine kai êitee s. idesthai Il.6.176 , cf. 178; s. lugra, of written characters or symbols, ib.168; mark, token on the lot of Ajax, 7.189; so, device or bearing on a shield, by which a warrior is known, freq. in A.Th., as 387, 404, E.El.456 (lyr.); of the seal set on a box, tônd' apoiseis s. S.Tr.614; mark made by an illiterate person,

G4592 semeion say-mi'-on Neuter of a presumed derivative of the base of G4591 ; an indication, especially ceremonially or supernaturally

Sêmeion 2. sign from the gods, omen Kathair-eô to s. to take it down, strike the flag, as a sign of dissolving an assembly, And.1.36; to tês ekklêsias, 3. of sorcerers, bring down from the sky, selênên.  V. less freq. like the simple [heresy] hairein, take and carry off

Morris Silver: 4. A more subtle and controversial example is provided in the Bible. I find it difficult to believe that Israelites in the time of Ezekiel or of Manasseh placed idols in or around the Jerusalem Temple. The key is the idiomatic meaning of the rare Hebrew word semelsemel in 2 Chron. 33.7, 15, concerning Manasseh, as "slab-image"; 2 Kings 21.7 uses instead the word pesel translated as "graven image.") The phrase including semel in Ezekiel 8.3 has been translated as "seat of the image of jealousy that provokes jealousy" or as "seat of the infuriating image that provokes fury. "image, likeness." (Myers translates

Some commentators consider hmqnh to be a later gloss to clarify the meaning of "image of jealousy." But how does it clarify? I propose the translation "seat of the commercial agent." It is well known that, for reasons of economic efficiency, ancient temples were commercial centers (see ESoA, Chap. 1). The rage of Ezekiel and his circle at the presence of a commercial agent in the courtyard of the Temple would be explained by their well-documented loathing for commercial life... This line of interpretation finds support in the LXX and Old Latin versions which may be translated as "statue/image of the trader/buyer." [acquire, buy, produce and procreate.

Torczyner suggests that the compound term sha mala was transmitted from Assyrian (not Babylonian) into Hebrew as semel, with sh being prono

Rev. 15:2 And I saw as it were a sea of glass mingled with fire:
        and them that had gotten the victory over the beast, and over his image,
        and over his mark, and over the number of his name,
        stand on the sea of glass, having the harps of God.

"Like the incense, however, the harps are only symbolic,
reflecting the Jewish temple worship.
The fact that both hands of the elder were occupied
does not present an insuperable barrier to prostration in worship." (William S. Smith,)

"Jamison-Fausett-Brown notes that: "In the Jewish temple, musical instruments and singing resounded during the whole time of the offering of the sacrifices, which formed the first part of the service. But at the offering of incense, solemn silence was kept ("My soul waiteth upon God," Ps 62:1; "is silent," Margin; Ps 65:1, Margin),

    Duwmiyyah (h1747) doo-me-yaw'; from 1819; stillness; adv.
    silently; abstr. quiet, trust: - silence, silent, waiteth.

"The people praying secretly all the time. The half-hour stillness implies, too, the earnest adoring expectation with which the blessed spirits and the angels await the succeeding unfolding of God's judgments. A short space is implied; for even an hour is so used (Re 17:12 18:10,19).

Holding is: 1907.  epecho, ep-ekh´-o; from 1909 and 2192; to hold upon, i.e. (by implication) to retain; (by extension) to detain; (with implication, of 3563) to pay attention to: — give (take) heed unto, hold forth, mark, stay.

3563. nous, nooce; probably from the base of 1097; the intellect, i.e. mind (divine or human; in thought, feeling, or will); by implication, meaning:  mind, understanding. Compare 5590.

Rev. 15:3 And they sing the song of Moses the servant of God, and the song of the Lamb,
        saying, Great and marvellous are thy works,
        Lord God Almighty; just and true are thy ways, thou King of saints.
Rev. 15:4 Who shall not fear thee, O Lord, and glorify thy name? for thou only art holy:
        for all nations shall come and worship before thee; for thy judgments are made manifest.

SECOND, THE SEVEN PLAGUES POURED OUT AS AT THE TEMPLE.

The laded burden Jesus died to remove is specificially identified in Hebrew and Greek as aa SONG delivered as a doom. This outlaws "creating spiritual anxiety through religious ceremony."  The Rest specificiallly outlaws "music' when we meet to learn of Him.  Paul outlawed self-pleasing which is also creating mental excitement which destroys the unique teaching role of the ekklesia or church. The literacy of the early churches is proving in that singing as an ACT of liturgy was not added until the year 373.

Rev. 15:5 And after that I looked, and, behold,
        the temple of the tabernacle of the testimony in heaven was opened:
Rev. 15:6 And the seven angels came out of the temple,
        having the seven plagues, clothed in pure and white linen,
        and having their breasts girded with golden girdles.

I find it more than funny that the Greek for Plague is Play-Gay!

G4127 plēgē play-gay' From G4141 ; a stroke; by implication a wound; figuratively a calamity:--plague, stripe, wound (-ed).

The faithful have to go OUTSIDE of the massed multitudes (beasts) to suffer reproaches with Jesus Chrict:

Is. 53:5 But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed.

2490.  (by implication) to wound, to dissolve; figuratively, to profane (a person, place or thing), to break (one’s word), to begin (as if by an “opening wedge”); denom. (from 2485) to play (the flute):  take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Of Lucifer [ZOE] the singing and harp playing prostitute in the garden of Eden:

Ezek. 28:16 By the multitude of thy merchandise they have filled the midst of thee with violence, and thou hast sinned: therefore I will cast thee as profane out of the mountain of God: and I will destroy thee, O covering cherub, from the midst of the stones of fire.

In the same way, Jesus CAST OUT the musical minstrels LIKE DUNG from the presence of His healing presence.

G4141 plēssō place'-so Apparently another form of G4111 (through the idea of flattening out); to pound, that is, (figuratively) to inflict with (calamity):--smite. Compare G5180 .

5179. tupos, too´-pos; from 5180; a die (as struck), i.e. (by implication) a stamp or scar. 5180 Tupto beat with a "baton" or stick.

Plêssô, Nic.Al.456, present used by Hom. and Att. writers only in compd. ekpl- (cf. plêgnumi); Att. plêttô Arist.Ph.224a33: fut.

3. strike or stamp as one does a coin, Kuprios charaktêr . . engunaikeioistupois . . peplêktaiA.Supp.283 .

Plague: For those who got a good share of the sacrifices: The MARK of Aphrodite

Homer To Aphrodite

[1] Of Cytherea, born in Cyprus, I will sing. She gives kindly gifts to men: smiles are ever on her lovely face, and lovely is the brightness that plays over it.

Hail, goddess, queen of well-built Salamis [5] and sea-girt Cyprus; grant me a cheerful song. And now I will remember you and another song also.

The GRACE word God replaced is the basis of Charismatic Music: perverse and perverting:

Charis, outward grace or favour  4. love-charm, philtre, V.daimonôn charishomage due to them, their worship, majesty
2. esp. in erotic sense, of favours granted, charites aphrodisiôn erôtôn, Aphroditêsechôn E.Ba.236

Aphrodisios [From Aphroditê] [Or ZOE or Lucifer]
I. belonging to Aphrodite, Plat.
II. Aphrodisia, ta, sexual pleasures,
2. a festival of Aphrodite,
III. Aphrodision, ou, to, the temple of Aphrodite,
IV. gratification, delight, tinos in or from a thing, sumposiou Pi. O.7.5

Pindar, Olympian 1 Of the Cyprian Aphrodite, For me the Muse tends her mightiest shaft of courage. Some men are great in one thing, others in another; but the peak of the farthest limit is for kings. Do not look beyond that! [115] May it be yours to walk on high throughout your life, and mine to associate with victors as long as I live, distinguished for my skill among Greeks everywhere.

Charaktêr 3. metaph., distinctive mark or token impressed (as it were) on a person or thing, by which it is known from others, characteristic, character, plesso

Aeschylus, Foreign maidens, your tale is beyond my belief--how your race can be from Argos. For you are more similar to the [280] women of Libya and in no way similar to those native to our land. The Nile, too, might foster such a stock, and like yours is the Cyprian impress stamped upon female images by male craftsmen. And of such aspect, I have heard, are nomad women, who [285] ride on camels for steeds, having padded saddles, and dwell in a land neighboring the Aethiopians. And had you been armed with the bow, certainly I would have guessed you to be the unwed, flesh-devouring Amazons. But inform me, and I will better comprehend [290] how it is that you trace your race and lineage from Argos.

4. of musical sounds, houtôsi plêgenta houtôs ephthenxato ta phônêenta 

The Muses or sorcerers (Rev 18:23) were known as dirty adulterers (selling at retail) were the "musical worship team" of Apollo (Abaddon, Apollyon). They were sentenced underground as LOCUSTS and have been UNLEASHED out of their SMOKEY exile for these end times. 

Plague: b. sting, plêgeisa hupo skorpiou  Plato, Euthydemus   S. Fr.37, V. an engine of war for discharging arrow

[289e] For not only do these speech-writers themselves, when I am in their company, impress me as prodigiously clever, Cleinias, but their art itself seems so exalted as to be almost inspired. However, this is not surprising; for it is a part of the sorcerer's art,

Sorcerer: Epoide. A song sunt to or over: hence, enchantment. Charm for or against, Pharmaka 

Sophocles, Ajax. To Tecmessa.

Come, take the child right away, shut tight the doors and make no laments before the house. [580] God, what a weepy thing is woman. Quick, close the house! It is not for a skilful doctor to moan incantations over a wound that craves the knife.

Epôid-os , on, epaidô

A.singing to or over, using songs or charms to heal wounds, epôidoi muthoi Pl.Lg.903b .

b. Subst., enchanter, 2.epôidos, ho, verse or passage returning at intervals a BURDEN. 

[290a] and only slightly inferior to that. The sorcerer's art is the charming of snakes and tarantulas and scorpions and other beasts and diseases, while the other is just the charming and soothing of juries, assemblies, crowds, and so forth. Or does it strike you differently? I asked.

Beasts Therion III. as a term of reproach, beast, creature cowardly, hê mousikê aei ti kainon thêrion tiktei

MARK: always a new style of music and drama.

Mousikos  professional musicians, more accomplished in speaking before a mob, elegant, delicate

Kainos a new style of music, a new style of drama, newly-invented, new techniques, sophists, therion to hunt or chase.

Kolax. A flatterer, fawner, parasites: lisping pronounce of korax.

Assemblies ekklêsi-astês a member of the ekklesia synagogue, church 

No, it appears to me, he replied, to be as you say.
Which way then, said I, shall we turn now? What kind of art shall we try?

S. Fr.37 Sophocles, Tracking Satyrs speaks of Hermes who as an infant invented the HARP and used it to steal Apollo's cattle by "making them walk backward." You can read the same story in Homer's Hymn to Apollo.  Hermes is the father of "hermeneutics" thieves, liars and musicians. 

Plague: 2. with acc. of the thing set in motion, konisalon es ouranon epeplêgon podes hippôn struck the dust up to heaven, Il.5.504; Zeus ep' Idai plaxe keraunon (for Idan plaxe keraunôi) Pi.N.10.71:--Pass., plêssontai lineais ortuges en nephelais are dashed against the nets,  

Plague: 3. strike or stamp as one does a coin, Kuprios charaktêr . . en gunaikeiois tupois . . peplêktai A.Supp.283 .

And the first went, and poured out his vial upon the earth; and there fell a noisome and grievous sore upon the men which had the mark of the beast, and upon them which worshipped his image. Rev 16:2

Charagma (g5480) khar'-ag-mah; from the same as 5482; a scratch or etching, i.e. stamp (as a badge of servitude), or sculptured figure (statue): - graven, mark.

Charac (g5482) khar'-ax; from charasso, (to sharpen to a point; akin to 1125 through the idea of scratching); a stake, i.e. (by impl.) a palisade or rampart (military mound for circumvallation in a siege): - trench

For the days shall come upon thee, that thine enemies shall cast a trench about thee, and compass thee round, and keep thee in on every side, Lu.19:43

Noisome is:

Kakos (g2556) kak-os'; appar. a prim. word; worthless (intrinsically such; whereas 4190 prop. refers to effects), i.e. (subj.) depraved, or (obj.) injurious: - bad, evil, harm, ill, noisome, wicked.

Backbiters, haters of God, despiteful, proud, boasters, inventors of evil things, disobedient to parents, Ro.1:30

Musicians were called Parasites because they provided nothing to society and would do anything to keep from working--anything.

Poneros (g4190) pon-ay-ros'; from a der. of 4192; hurtful, i.e. evil (prop. in effect or influence, and thus differing from 2556, which refers rather to essential character, as well as from 4550, which indicates degeneracy from original virtue); fig. calamitous; also (pass.) ill, i.e. diseased; but espec. (mor.) culpable, i.e. derelict, vicious, facinorous; neut. (sing.) mischief, malice or (plur.) guilt; masc. (sing.) the devil, or (plur.) sinners: - bad, evil, grievous, harm, lewd, malicious, wicked (-ness). See also 4191.

Plague: 4. of musical sounds, houtôsi plêgenta houtôs ephthenxato ta phônêenta Plot.3.3.5 .

of the battle-cry, X.An. 1.8.18; of the recitative of the chorus

phthengomai , Od.10.228, 3. of inanimate things, of a door, creak,Ar.Pl.1099; of thunder, X.Cyr. 7.1.3; of trumpets, Id.An.4.2.7, 5.2.14; of the flute, Id.Smp.6.3, Thgn.532; of the lyre, phorminx ph. hironmelos Id.761 , cf. Arist. Metaph.1019b15; of an earthen pot, eitehugieseitesathron ph. whether it rings sound or cracked, Pl.Tht.179d; ph. palamêisito clap with the hands,

The Phorminx is the harp of Apollo, Apollyon, Abaddon.

III. c. acc. pers., sing, or celebrate one aloud ,Pi.O.1.36; also, tell of, recount,t heônerga 

Pindar, Olympian 1 Yes, there are many marvels, and yet I suppose the speech of mortals beyond the true account can be deceptive, stories adorned with embroidered lies; [30] and Grace, who fashions all gentle things for men, confers esteem and often contrives to make believable the unbelievable. But the days to come are the wisest witnesses. [35] It is seemly for a man to speak well of the gods; for the blame is less that way. Son of Tantalus, I will speak of you, contrary to earlier stories. When your father invited the gods to a very well-ordered banquet at his own dear Sipylus, in return for the meals he had enjoyed, [40] then it was that the god of the splendid trident seized you

Plague: II. metaph. in Pass., receive a blow, to be heavily defeated, Hdt.5.120, 8.130, Th.4.108, 8.38; to be stricken by misfortune, sumphorêi peplêgmenon Hdt.1.41 , cf. A.Ch. 31 (lyr.); straton tosouton peplêgmai I am smitten in so great a host, Id.Pers.1015 (lyr.); diantaian domoisi kai sômasin peplagmenous Id.Th.896 (lyr.); phthinasin plêgeisa nosois S.Ant.819 (anap.).

Plague: 2. to be smitten emotionally, himerôi peplêgmenoi A.Ag.544 ; also plêgentes dôroisi touched by bribes, Hdt.8.5; ex erôtos Hermesian. 7.42 ; tên kardian plêgeis hupo logôn Pl.Smp.218a , etc.

Erôs IV. name of the klêrosAphroditês

Plague: 3. Act. of wines, when smelt or drunk, overpower, tên kephalên Gal.18(2).568 , 15.672; shock, kataseismos plêssei [tina] biaiôs Sor.1.72 :-- Pass., plêttomenê hê mêtra Id.2.59 . (Cf. plazô, Lat.plango, Goth. faiflo-kun (redupl.) 'they beat their breasts'.)

Rev. 15:7 And one of the four beasts gave unto the seven angels
        seven golden vials full of the wrath of God,
        who liveth for ever and ever.

The Wrath of God g2372 or fiercenes, indignation was poured out when the Ark of the Covenant as the sign of God's public access was hidden away in a CELLA where the people could never approach Him again with human mediators where the slaughter priests are called Heretics and the loud music men were called Parasites.

1) the glow passion, angry, heat, anger forthwith boiling up and soon subsiding again
2) glow, ardour, the wine of passion, inflaming wine (which either drives the drinker mad or kills him with its strength) Isa 51:17,22; Jer 32:1

Is. 51:16 And I have put my words in thy mouth, and I have covered thee in the shadow of mine hand, that I may plant the heavens, and lay the foundations of the earth, and say unto Zion, Thou art my people.
Is. 51:17 Awake, awake, stand up, O Jerusalem, which hast drunk at the hand of the LORD the cup of his fury; thou hast drunken the dregs of the cup of trembling, and wrung them out.
Is. 51:18 There is none to guide her among all the sons whom she hath brought forth; neither is there any that taketh her by the hand of all the sons that she hath brought up. 

Is. 51:22 Thus saith thy Lord the LORD, and thy God that pleadeth the cause of his people, Behold, I have taken out of thine hand the cup of trembling, even the dregs of the cup of my fury; thou shalt no more drink it again: 

THIRD, THE SILENCING OF THE LAMB BY THE PERVERTED

There probably is no exception to the rule that those using music to "silence the lambs" were homosexual like all known priesthoods or religious CRAFTS.

(Phoibos). A special name for Apollo [Abaddon, Apollyon]

Thus Phoebus did our future fates disclose:

A mighty tumult, mix'd with joy, arose.

All are concern'd to know what place the god

Assign'd, and where determin'd our abode.

In humble vales they built their soft abodes,

Till Cybele, the mother of the gods, [Rhea, Zoe]

With tinkling cymbals charm'd th' Idaean woods,

She secret rites and ceremonies taught,

Rev. 17:5 And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.

Galli eunuch priests of Cybele or the Great Mother goddess. 

A form gallantes, as if from gallare, “to rave like a priest of Cybelé,” is cited from Varro (ap. Non. p. 119Non., 5). In their wild, enthusiastic, and boisterous rites the Galli recalled the legends of the Corybantes (q.v.). According to an ancient custom, they were always castrated (spadones, semimares, semiviri, nec viri nec feminae), and it would seem that, impelled by religious enthusiasm, they performed this operation on themselves Semivir half-man or half beast: umanly, womash, effeminate Spadons, castratus (A Cappella]  

Chrysostom's Commentary on Galatians: Galatians 5:1.-"With freedom did Christ set us free; stand fast therefore.115 ."  Ver. 12.

"I would that they which unsettle you would even cut themselves off." And he says well "that unsettle you."  "A man that is heretical after the first and second admonition refuse." (Tit. iii: 10) If they will, let them not only be circumcised, but mutilated. 

Where then are those who dare to mutilate themselves; seeing that they draw down the Apostolic curse, and accuse the workmanship of God, and take part with the Manichees? ... But if you will not allow this,  why do you not mutilate the tongue for blasphemy, the hands for rapine, the feet for their evil courses, in short, the whole body? 

For the ear enchanted by the sound of a flute hath often enervated the soul;
and the perception of a sweet perfume by the nostrils hath bewitched the mind, and made it frantic for pleasure.

Heredotus 2.51.LI. These customs, then, and others besides, which I shall indicate, were taken by the Greeks from the Egyptians. It was not so with the ithyphallic images of Hermes; the production of these came from the Pelasgians, from whom the Athenians were the first Greeks to take it, and then handed it on to others. [2]  For the Athenians were then already counted as Greeks when the Pelasgians came to live in the land with them and thereby began to be considered as Greeks. Whoever has been initiated into the rites of the Cabeiri, which the Samothracians learned from the Pelasgians and now practice, understands what my meaning is. [3]  Samothrace was formerly inhabited by those Pelasgians who came to live among the Athenians, and it is from them that the Samothracians take their rites. [4]  The Athenians, then, were the first Greeks to make ithyphallic images of Hermes, and they did this because the Pelasgians taught them. The Pelasgians told a certain sacred tale about this, which is set forth in the Samothracian mysteries.

Commentary LI. Hermeô. The ithyphallic Hermes, as a god of fruitfulness, was represented at the street corners in Athens (Thuc. vi. 27. 1); Pausanias (iv. 33. 4) says the rest of Greece learned this form of statue from the Athenians. It is true that there were no such statues in Egypt.

Homer to Hermes.
[1] Muse, sing of Hermes, the son of Zeus and Maia, lord of Cyllene and Arcadia rich in flocks, the luck-bringing messenger of the immortals whom Maia bare, the rich-tressed nymph, when she was joined in love with Zeus, [5] --a shy goddess, for she avoided the company of the blessed gods, and lived within a deep, shady cave. 

Hermes Commentary: (hermeneutics) is the god of thieves: he used music to steal the "cattle" of the  older "gods." He claimed to be the "messenger of the gods." He is like the descendants of Cain who used instruments without authority to steal other people's "cows." 

"Candidates for initiation into the KABIRI were crowned with a garland of olive and wore a purple band round their loins. The dancing was then begun.

In fact, homosexuality was part of the ritual, what the historians in their scholarly dungeons called their "most immoral tendencies." The purpose was to evoke a passage beyond earth to a higher life. That is, "to lead the worshipers into the presence of the gods."

That is, in their mystical dances, continued leaping into the air achieves a shamanic state of trance, a transfer of consciousness analogous to the transformation of the

magician into a bird whereby the apprentice masters his powers to join a gay brotherhood

"who, by nature, are superior to other men." 
"Smiths and shamans are from the same nest," also declares a Yakut proverb from early North America, cited by the mythologist Mircea Eliade. 15

According to Herodotus, they surfaced some 2,000 years after that as an effeminate priesthood in what is now southern Russia and present-day Ukraine. They were called the ENAREE, "endowed by the goddess Venus with the gift of prophecy." Source

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

Tinnulus, tinkling, shrill-sounding, cymbala, shrill noise of the Gadian maidens.

          of speakers ((rhetores) tumidi et corupti et tinnuli, jingling. 

      Chorda a string for a musical instrument. A cord for binding slaves.

                          

                Ludretius 2         

                          Entwined by elements more crook'd, and so
                          Are wont to tear their ways into our senses,
                          And rend our body as they enter in.
                          In short all good to sense, all bad to touch,
                          Being up-built of figures so unlike,
                          Are mutually at strife- lest thou suppose
                          That the shrill rasping of a squeaking saw
                          Consists of elements as smooth as song
                          Which, waked by nimble fingers, on the strings
                          The sweet musicians fashion organicus

Rev. 18:22 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;
Rev. 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.

Corrumpo "selling learning at retail."

          Tumidis. swollen or swelling with passionate excitement, bombastic, pompous,

Rev. 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. 

And to the yoke the savage lions brought.

Let us the land which Heav'n appoints, explore;

Appease the winds, and seek the Gnossian shore.

If Jove assists the passage of our fleet,

The third propitious dawn discovers Crete.'

 

Thus having said, the sacrifices, laid

On smoking altars, to the gods he paid:

A bull, to Neptune an oblation due,

Another bull to bright Apollo slew;

A milk-white ewe, the western winds to please,

And one coal-black, to calm the stormy seas.

The Silencing of the Lambs

2380.  thuo, properly, to rush (breathe hard, blow, smoke), (by implication) to sacrifice (properly, by fire, but genitive case); by extension to immolate (slaughter for any purpose)

1) to sacrifice, immolate
2) to slay, kill
        a) of the paschal lamb
3) slaughter
Thusia Thuo

Pindar Pythian 5. [63] It is Apollo who dispenses remedies [Manteuma oracles]  to men and women for grievous diseases, [65] and who bestowed on us the cithara, and gives the Muses' inspiration to whomever he will, bringing peaceful concord into the mind, and who possesses the oracular shrine; wherefore he settled the mighty descendants of Heracles and Aegimius in Lacedaemon [70] and in Argos and in sacred Pylos. But it is my part to sing of the lovely glory that comes from Sparta, [74] where the Aegeidae were born, and from there [75] they went to Thera, my ancestors, not without the gods; they were led by a certain fate. From there we have received the feast with its many sacrifices, and at your [80]  banquet, Carneian Apollo, we honor the well-built city of Cyrene, which is held by foreigners who delight in bronze, the Trojan descendants of Antenor.  

Grievous is Barus A.heavy in weight, b. aeiresthai, 1. of sound, strong, deep, bass, opp.  esp. of musical pitch, low, opp. oxus, barutatêchordê Pl.Phdr.268e ; on a lower note, aulein

Plato Phaedrus [268e] notes. He would not say roughly, “You wretch, you are mad,” but being a musician, he would say in gentler tones, “My friend, he who is to be a harmonist must know these things you mention, but nothing prevents one who is at your stage of knowledge from being quite ignorant of harmony. You know the necessary preliminaries of harmony, but not harmony itself.”

Disease Nosos 2.disease of mind, esp. caused by madness, passion, vice.

Mysteries Musterion mueo  Orgia, Threskia, Thhrêsk-eia, Ion. thrêsk-eiê , hê, ( [thrêskeuô] ) religious worship, cult, ritual,   Apollônos SIG801 D (Delphi., i A.D.); hê peri tinos th. ib. 867.48 (Ephesus, ii A.D.):  3. in bad sense, religious formalism, anti hosiotêtos

Acts 26:5 Which knew me from the beginning, if they would testify, that after the most straitest sect of our religion I lived a Pharisee. 

Rene Girard: 5.4.2 Behind the anthropological predilections against the victim's perspective, there is a very practical, quasi-historical reason: namely, the victim is shunned and often killed. In the ancient world, the role of music during ritual sacrifice was often to drown out any cries from the victim. ⁽⁴⁵⁾ It is crucial that the victim not be heard. The practical mechanics of making victims means that it is unusual for the victim's perspective to survive. In the world of ancient ritual it was probably impossible.

Note 45. The Greek verb myo means to close the mouth or shut the eyes. There is debate about whether myo plays a crucial role in the etymology of other significant words such as myth, mystery, and even music. These etymologies make sense within the Girardian hypotheses. Myth means to close ourselves to the victim and tell the tale according to the perpetrator's perspective; mystery cults are based on the silence of the victims; music derives from drowning out the voice of the victim.

3466. musth/rion musterion, moos-tay´-ree-on; from a derivative of mu/w muo (to shut the mouth); a secret or “mystery” (through the idea of silence imposed by initiation into religious rites): — mystery.

Ant-ôidos, on, singing in answer, responsive, êchô logôn antôidos Ar.Th.1059 ; a. pani krekôn keladon AP7.196 (Mel.); melos a. êchein, of birds, Ael.NA4.16.

Psal-mos way the word is used: not what it meant: II. mostly of musical strings, pêktidôn psalmois krekon humnon Telest.5 , cf. Diog.Trag.1.9, Aret.CA1.1.

pêktidôn psalmois krekon humnon

Pêktidôn  Pêktis
I. an ancient harp used by the Lydians, Hdt., etc.
II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx),  surinx 2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. surizô11.2 , surigmos:--the last part of the nomos Puthikos was called suringes, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.

Aeschylus, Eumenide

[328] Chorus This is our song over the sacrificial victim--frenzied, maddened, destroying the mind, [330] the Furies' hymn, a spell to bind the soul, not tuned to the lyre, withering the life of mortals.

A sign of perversity was NOT singing TO the lyre: in modern "worship music" the instruments do not play the melody but provide a voodoo-derived backrgound.

Choros
epi de tôi tethumenôi
tode melos, parakopa,

330

paraphora phrenodalês,
humnos ex Erinuôn⁺,
desmios phrenôn, aphor-
miktos, auona brotois.

Thuo thuô  I. Act. to offer part of a meal to the gods, Hom. (who used the word only in the sense of offering or burning, never = sphaxai, to slaughter for sacrifice)

Nor of the hermaphrodite god, nor a chorus of the drunken and enervated host; nor of the folly of the Thebans which honours him; nor the thunderbolt of Semele which they adore.

Nor is it the harlot mysteries of Aphrodite, who, as they themselves admit, was basely born and basely honoured; nor have we here Phalli and Ithyphalli, shameful both in form and action; nor Taurian massacres of strangers nor blood of Laconian youths shed upon the altars, as they scourged themselves with the whips; and in this case alone use their courage badly, who honour a goddess, and her a virgin.

For these same people both honour effeminacy, and worship boldness.

V. And where will you place the butchery of Pelops, which feasted hungry gods, that bitter and inhuman hospitality? Where the horrible and dark spectres of Hecate, and the underground puerilities and sorceries of Trophonius, or the babblings of the Dodonaean Oak, or the trickeries of the Delphian tripod, or the prophetic draught of Castalia, which could prophesy anything, except their own being brought to silence?

See John Mark Hicks on the Lord's Supper as a sacrificial feast with "god" incuding jubilating. This of course defines the orgy.

Nor is it the sacrificial art of Magi, and their entrail forebodings, nor the Chaldaean astronomy and horoscopes, comparing our lives with the movements of the heavenly bodies, which cannot know even what they are themselves, or shall be.

Nor are these Thracian orgies, from which the word Worship (Threskia) is said to be derived; nor rites and mysteries of Orpheus,

whom the Greeks admired so much for his wisdom that they devised for him a lyre which draws all things by its music.

Nor the tortures of Mithras which it is just that those who can endure to be initiated into such things should suffer; nor the manglings of Osiris, another calamity honoured by the Egyptians; nor the ill-fortunes of Isis and the goats more venerable than the Mendesians, and the stall of Apis, the calf that luxuriated in the folly of the Memphites, nor all those honours with which they outrage the Nile, while themselves proclaiming it in song to be the Giver of fruits and corn, and the measurer of happiness by its cubits.

See how the Covenant of Grace was lost because of musical idolatry at Mount Sinai.

"Singing served as a means of inducing ecstatic prophecy (speaking in tongues).

Thus the essential relationship between music and prophecy can be clearly seen.

This relationship also explains why the expression for "making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67. The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

Melos, B. esp. musical member, phrase: hence, song, strain, 3. melody of an instrument,
Para-kopê , hê, metaph.,   A. parakoptô 11 ) infatuation, frenzy, A.Ag. 223 (lyr.), Eu.329 (lyr.); estinhogelôs p. tis kai apatê Pr.965a14 ; luttakai p. D.S.15.7, cf. Dsc.4.68; p. phrenôn J.BJ1.25.4 : pl., Demetr.Lac.Herc.1012.30, Iamb.Myst.3.25.  2. delirium, Hp. Aph.6.26 : in pl., enupnia kai p. Plu. 2.1123b [dream from a god]

FOURTH, THE REMOVAL OF THE ACCESS TO THE CANDLESTICK

Rev. 15:8 And the temple was filled with
       smoke from the glory of God, and from his power;
       and no man was able to enter into the temple,
       till the seven plagues of the seven angels were fulfilled.

2586.  kapnos, kap-nos´; of uncertain affinity; smoke: -- smoke.
2585. kapeleuo, kap-ale-yoo´-o; from kapelos (a huckster); to retail, i.e. (by implication) to adulterate (figuratively):  corrupt.
kapno-mantis , eôs, ho, smoke-diviner,

Mantis [mainomai]

I. one who divines, a seer, prophet, Hom., etc.:--as fem. a prophetess, Trag., Thuc.

2. metaph. a diviner, foreboder, Soph.

II. a kind of grasshopper, 

Kapn-eios (sc. ampelos), hê, vine. A. with smokecoloured grapes.

Papyri 1.59001.Date: 273BC ; Location: Phil

Dionusiôi ek tôn huparchontôn

Dionusiôi of Dionysus, III. Dionusion, to, fruit of kissos, kissos sacred to Dionysus,oinopos dark-complexioned, wine, black mixed with red. Achne, that which comes to the surface, foam, CHAFF.

Symol of a drakon A. dragon, serpent,

interchangeable with ophis which is the serpent in Revelation. Metaphor ptênon argêstên ophin, of an arrow, A.Eu.181 

Dionusiôi ek tôn huparchontôn

huparchô begin, take the initiative,

Flute-Players Plato Cratylus

Such causes as these are like far-fetched explanations; I mean stating the middle term in too remote a form, e.g., the dictum of Anacharsis that there are no flute-players among the Scythians because there are no vines.146

1,13,n146. The full chain of implication is something like "flute-playing--thirstywork--heavy drinking--wine--grapes-- vines." Anacharsis was a Scythian ethnologist of the sixth century B.C. (Herodotus iv. 76).

kat-auleô , charm by flute-playing, katauloumenos drinking wine to the strains of the flute, katauloumenon subdued by a flute accompaniment, be piped down, ridiculed

katapsallô , play stringed instruments to, [sumposion], resound with music, to be buried to the sound of music, dêmiourgos is drummed out,

The Scythians in their drinking-bouts twang their bows, to keep their courage awake amidst the dreams of indulgence; but he would resign his whole being, now to pleasure, and now to action; and though he never let thoughts of the one intrude upon the pursuit of the other, yet when the time came for preparing for war, he showed as much capacity as any man. Demetrius By Plutarch

Some used wine to assist in the euphoric experience, as Paul implied in Ephesians 5:18. Whether from literal intoxication or emotional exhilaration, when worshipers fell into a state of euphoria, it was as if they had been drugged. They assumed they were in contact with God. (MacArthur, John, Charismatic Chaos, p. 164. Zondervan)

Nietzsche once wrote, "For art to exist, for any sort of aesthetic activity to exist, a certain physiological precondition is indispensable: intoxication."

Dionysus was associated with the "personal delivery from the daily world through physical or spiritual intoxication," according to Encyclopedia Mythica.

Her. What is the meaning of Dionysus and Aphrodite?

Soc. Son of Hipponicus, you ask a solemn question; there is a serious and also a facetious explanation of both these names; the serious explanation is not to be had from me, but there is no objection to your hearing the facetious one; for the Gods too love a joke.

Dionusos is simply didous oinon (giver of wine), as he might be called in fun,-

and oinos is properly oionous, because wine makes those who drink, think (oiesthai) that they have a mind (nous) when they have none. The derivation of Aphrodite, born of the foam (aphoros), may be fairly accepted on the authority of Hesiod.

Her. Still there remains Athene, whom you, Socrates, as an Athenian, will surely not forget; there are also Hephaestus and Ares.

"But perhaps nothing was more characteristic of the mystery religions than what they called ecstasy. Believers in the mystery religions sought to cultivate a magical, sensuous communion with the divine. They would do almost anything to get themselves into a semiconscious, hallucinatory, hypnotic, or orgiastic spell in which they believed they were sensually in contact with deity. Some used wine to assist in the euphoric experience, as Paul implied in Ephesians 5:18. Whether from literal intoxication or emotional exhilaration, when worshipers fell into a state of euphoria, it was as if they had been drugged. They assumed they were in contact with God. (MacArthur, John, Charismatic Chaos, p. 164. Zondervan) 

Some used wine to assist in the euphoric experience, as Paul implied in Ephesians 5:18. Whether from literal intoxication or emotional exhilaration, when worshipers fell into a state of euphoria, it was as if they had been drugged. They assumed they were in contact with God. (MacArthur, John, Charismatic Chaos, p. 164. Zondervan)

Nietzsche once wrote, "For art to exist, for any sort of aesthetic activity to exist, a certain physiological precondition is indispensable: intoxication."

Dionysus was associated with the "personal delivery from the daily world through physical or spiritual intoxication," according to Encyclopedia Mythica.

FIFTH, THOSE MARKED WILL SUFFER FROM EVIL, WEEPING SORES

Rev. 16:1 And I heard a great voice out of the temple saying to the seven angels,
        Go your ways, and pour out the vials of the wrath of God upon the earth.
Rev. 16:2 And the first went, and poured out his vial upon the earth;
        and there fell a noisome and grievous sore upon the men which had the mark of the beast,
        and upon them which worshipped his image.

1668.  helkos, hel´-kos; probably from 1670; an ulcer (as if drawn together):  sore.
1669.  helkoo, hel-ko´-o; from 1668; to cause to ulcerate, i.e. (passively) be ulcerous: -- full of sores.

Rev. 9:9 And it shall become small dust in all the land of Egypt, and shall be a boil breaking forth with blains upon man, and upon beast, throughout all the land of Egypt.
Ex. 9:10 And they took ashes of the furnace, and stood before Pharaoh; and Moses sprinkled it up toward heaven; and it became a boil breaking forth with blains upon man, and upon beast.
Ex. 9:11 And the magicians could not stand before Moses because of the boils; for the boil was upon the magicians, and upon all the Egyptians

1670. helkuo, hel-koo´-o; or helko hel’-ko; probably akin to 138; to drag (literally or figuratively):  draw. Compare 1667.
138.  haireomai, hahee-reh´-om-ahee; probably akin to 142; to take for oneself, i.e. to prefer: - choose. Some of the forms are borrowed from a cognate eºllomai hellomai which is otherwise obsolete.

142 is OUTLAWED by Paul in Romans15:1:

142. airo, ah´-ee-ro; a primary root; to lift up; by implication, to take up or away; figuratively, to raise (the voice), keep in suspense (the mind), specially, to sail away (i.e. weigh anchor); by Hebraism (compare 5375) to expiate sin:  away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up)

AIRO is often linked with AEIDO or singing all of which pointed to enchantment or sorcery.

The Levitical Warrior Musicians imposed grevious toils and made even the Israelites into slaves.

4190. poneros, pon-ay-ros´; from a derivative of 4192; hurtful, i.e. evil (properly, in effect or influence, and thus differing from 2556, which refers rather to essential character, as well as from 4550, which indicates degeneracy from original virtue)

"And Euripides does likewise, in his Bacchae, citing the Lydian usages at the same time with those of Phrygia, because of their similarity:

But ye who left Mt. Tmolus (Sardis was on this mt.), fortress of Lydia,
revel-band of mine, women whom I brought from the land of barbarians as my assistants and travelling companions,

There are, it may be, so many kinds of voices in the world, and none of them is without signification. 1 Corinthians 14:10

Therefore if I know not the meaning of the voice, I shall be unto him that speaketh a barbarian, and he that speaketh shall be a barbarian unto me. 1 Corinthians 14:11

uplift the tambourines native to Phrygian cities, inventions of mine and mother Rhea.

And again, happy he who, blest man, initiated in the mystic rites, is pure in his life, . . . who, preserving the righteous orgies of the great mother Cybele, and brandishing the thyrsus on high, and wreathed with ivy, doth worship Dionysus.

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.

Rubel Shelly says: "Come Holy Spirit, come, make us truly new creatures in Christ"

The abomination of desolation in the temple was an image of Zeus. His "SON" was believed by the Jews to be the Messiah. They tried to INITIATE Jesus by piping hoping to get Him to fall under the spell and sing and dance the Bacchus song and choral. If he BOWED DOWN then he would be Dionysus: if He didn't they would murder him.

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