Charismatic Worship

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Grace Centered Worship
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Charizo or Charismatic Worship and homosexuality: From Apollo, Apollyon or Abbadon: erotic sense, grant favours to a man, gratify or indulge a humour or passion, Glossei (tongues and blowing the flute), hedonistic, perverted. See John Wesley It is important to note that the Bible uses common words and gives them an uncommon meaning. Faith and Grace are "goddesses" constructed around human attributes. "Faith only" or "Grace centered" intends to PERMIT violating the Will of God believing that "to sin makes grace abound." Charis in the Biblical sense means to have divine influence on our heart.

Charismatic worship makes all of the "sounds" in Revelation 14 which are all signs of doom. Another angel speaking to those still spiritually "alive" commanded "preach the gospel."

See Rubel Shelly On Isaiah 5

The effeminate connection:

Vineyard New Wineskin Worship
See Charismatic and Homosexual connection among the Greeks
Effeminization of Church and Christianity
Music and Effeminate Worship

Number Two

Dionysia Drama Theater Music

Jesus said that worship is in THE NEW PLACE of the human SPIRIT which is the human MIND. Worship happens IN TRUTH according to Paul when we Teach that which has been taught or give heed to the inspired Word.

ALL external worship is PAGAN and Perverted.

A Cappella Worship Leader
Aquinas, Thomas Praise Singing.
Praise Songs as Christian Voodoo
Ancient Pagan Praise Leader
Music as Brainwashing
Musical Performers Dancing as Perversion
Latter Rain, praise teams, praise singing, charismatic
Praise Worship Ploughs the Ground Hosea 10:ll
Rubel Shelly Praise and Thanksgiving
Rubel Shelly Psalm 106
See how CHARISMATIC music was born of sodomy preferably in the form of Pederasty. YOU ARE HERE
See that ZOE is Eos or Helios or Aphrodite or Lucifer: the singing and harp-playing prostitute.
See how it works out when the "children and effeminate rule over you."
See more notes on a cappella.
See Edward Fudge on A Cappella
fix See the Orthodox view and warning about shamanism and demonism

THERE IS NO SPEAKING OF GIBBERISH IN THE BIBLE! Babbling was induced by drugs, wine, body movements and especially music.

Clement in Stromata1 notes that:

Euphorus and many other historians say that there are seventy-five nations and tongues, in consequence of hearing the statement made by Moses: "All the souls that sprang from Jacob, which went down into Egypt, were seventy-five."

According to the true reckoning, there appear to be seventy-two generic dialects, as our Scriptures hand down.

The rest of the vulgar tongues are formed by the blending of two, or three, or more dialects. A dialect is a mode of speech which exhibits a character peculiar to a locality, or a mode of speech which exhibits a character peculiar or common to a race.

The Greeks say, that among them are five dialects-the Attic, Ionic, Doric, Aeolic, and the fifth the Common;
and that the languages of the barbarians, which are innumerable,
........are not called dialects, but tongues.

See that TONGUES are always DIALECTS where MY language is more important to me than, say Koine Greek, which was almost a universal language in Corinth.

See Charismatic Music as ancient Pagan superstition Heresy means LIFTING you up with SONG to steal you for THEIR use and profits. That's why they are called Latter Day Profits.

Charis, outward grace or favour (as we say well or ill favoured), grace, lovelines, impulses of kindness, favour. The word eusebeia means reverence towards the gods or parents, piety or filial respect,

For ye are not come unto the mount that might be touched, and that burned with fire, nor unto blackness, and darkness, and tempest, Heb 12:18

And the sound of a trumpet, and the voice of words; which voice they that heard intreated that the word should not be spoken to them any more: Heb 12:19

THE "HARPS" IN REVELATION WERE SIGNS OF DOOM:

Rev 14:[2]ASV I heard a sound from heaven,
        like the sound of many waters,
        and like the sound of a great thunder.
        The sound which I heard was like that of harpers playing on their harps
2 kai ēkousa phōnēn ek tou ouranou “hōs phōnēn hudatōn pollōn” kai hōs phōnēn brontēs megalēs, kai hē phōnē hēn ēkousa hōs kitharōdōn kitharizontōn en tais kitharais autōn.
Sound Latin: Voco to call upon, summon, invoke; to call together, convoke,
                        1. To cite, summon into court, before a magistrat
                        3. In gen., to call, invite, exhort, summon, urge, stimulate
                        b. Of inanimate or abstract subjects, to invite, call, summon, incite, arouse:

Commanded by Christ for the Qahal, synagogue or church in the wilderness.
Num. 10:7 But when the congregation is to be gathered together,
        ye shall blow,
        but ye shall not sound an alarm.

[7] quando autem congregandus est populus simplex tubarum clangor erit et non concise ululabunt

Congrego “in Academiā congregati,” Academia where Plato taught; whence his scholars were called Academici, and his doctrine Philosophia Academica, in distinction from Stoica, Cynica, etc.

Simplex I. In gen., simple, plain, uncompounded, unmixed, free from complication. direct, guileless, artless,
“Cyrenaica philosophia, quam ille et ejus posteri simpliciter defenderunt,” Cic. de Or. 3, 17, 62:
Cynĭcus , i, m., = kunikos (doglike).
I. Subst., a Cynic philosopher, a Cynic, Cic. de Or. 3, 17, 62; id. Fin. 3, 20, 68; Hor. Ep. 1, 17, 18; Juv. 13, 121: “nudi dolia,” i. e. of Diogenes, id. 14, 309.—Hence, adj.: Cynĭcus , a, um, Cynic: “institutio,” Tac. A. 16, 34: “cena,” Petr. 14; and in * adv.: Cynĭcē , after the manner of the Cynics, Plaut. Stich. 5, 4, 22.—
II. Suffering by spasmos kunikos, spasmodic distortion, Plin. 25, 5, 24, § 60; cf. Cels. 4, 2, 2

Cano  melodious sounds, like a cock
Canis a. A shameless, vile person, Plaut. Most. 1, 1, 40; Ter. Eun. 4, 7, 33
b. fierce or enraged person, Plaut. Men. 5, 1, 14; 5, 1, 18; Hyg. Fab. 3; cf. Cic. Rosc. Am. 20, 57; S
2. As the regular designation of the hangers-on or parasites of an eminent or rich Roman; a follower, dog, creature
called also viperius,” id. Am. 3, 12, 26: “Tartareus,”
trĭformis , e, adj. ter - forma, I. having three forms, shapes, or natures; threefold, triple, triform (poet.): “Chimaera,” Hor. C. 1, 27, 23: “canis,” i. e. Cerberus, Sen. Herc. Oet. 1202: “Geryon,” id. Agam. 841: diva, i. e. Diana, who was also Luna and Hecate, Hor. C. 3, 22, 4; called also triformis dea, Ov. M. 7, 94: “mundus, because composed of air, earth, and water,”

Chĭmaera , ae, f., = Khimaira (lit. a goat),
I. a fabulous monster in Lycia, which vomited fire; in front a lion, in the hinder part a dragon, and in the middle a goat; slain by Bellerophon, Cic. N. D. 1, 38, 108; 2, 2, 5; Lucr. 5, 903; 2, 705; Tib. 3, 4, 86; Verg. A. 6, 288; Hor. C. 1, 27, 24; 2, 17, 13; 4, 2, 16; Ov. Tr. 4, 7, 13; 2, 397; Sen. Ep. 113, 8; Hyg. Fab. 57; Serv. ad Verg. A. 5, 118; 6, 288; its figure, used to adorn a helmet, Verg. A. 7, 785.— 

kunikos 1 [kuôn] I. dog-like, Lat. caninus, Xen. II. Kunikos, ou, a Cynic, as the followers of the philosopher Antisthenes were called, Plut.

The trumpet could SOUND but not in the anxiety arousing form of going to war or celebrating victory.

Tuba I. a trumpet, esp. a war-trumpet (straight, while the cornu was curved,
b. Sonorous, elevated epic poetry,
c. A lofty style of speaking

TO CALL PEOPLE TO ASSEMBLY BUT NOT

Concido  I. to cut up, cut through, cut away, cut to pieces, to bring to ruin, destroy, etc. (class. in prose and poetry).
A. Of discourse, to divide minutely, dismember, render feeble
The Greek for melody is Melos limb by limb, dismember especailly a musical member B. esp. musical member, phrase: hence, song, strain, first in h.Hom.19.16
Ululo ,  Howl, Shreik
sing out Cano to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc.
2. Of the faulty delivery of an orator, to speak in a sing-song tone:
“In the lang. of the Pythagoreans, of the heavenly bodies (considered as living beings),” the music of the spheres, Cic. N. D. 3, 11, 27.—
C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,
a. In gen., to sing, to cause to resound, to celebrate in song, to sing of, Lucr. 5, 328
C. Since the responses of oracles were given in verse, to prophesy, foretell, predict.
A. Act.: “bellicum (lit. and trop.) canere, v. bellicus: classicum, v. classicus: signa canere jubet,” to give the signal for battle



Sound. Phone A.  sound, tone, prop., the sound of the voice, whether of men or animals with lungs and throat
I.  mostly of human beings, speech, voice, utterance
of the battle-cry of an army, of the cries of market-people
with one voice,  the notes of the voice,
NEVER USED WITH A LYRE OR HARP
Hom. Il. 15.592 [615] But fain was he to break the ranks of men, making trial of them wheresoever he saw the greatest throng and the goodliest arms. Yet not even so did he avail to break them, for all he was so eager; for they abode firm-fixed as it were a wall, like a crag, sheer and great, hard by the grey sea, [620] that abideth the swift paths of the shrill winds, and the swelling waves that belch forth against it; even so the Danaans withstood the Trojans steadfastly, and fled not
Ouranos vault or firmament of heaven, sky  
Hesperos, hos kallistos en ouranō histatai astēr” 22.318; “ouranos asteroeis” 6.108,al.
2. heaven, as the seat of the gods, outside or above this skyey vault, the portion of Zeus (v. Olumpos),  15.192, cf.Od.1.67,
Heaven-gate, i. e. a thick cloud, which the Hōrai lifted and put down like a trap-door, 5.749, 8.393; so, later, hoi ex ouranou the gods of heaven,

Opora III. metaph., life's summer, the time of youthful ripeness, Pi.I.2.5 ; tereinan mater' oinanthas opōran (v. oinanthē) Id.N.5.6 ; ripe virginity, A.Supp.998, 1015 ; “o. Kupridos”

and I heard the voice of harpers harping with their harps: Rev 14:2
And I heard a sound from heaven
..........like the roar of rushing waters and
..........like a loud peal of thunder. The sound I heard was
..........like that of harpists playing their harps. Rev 14:2NIV

Sound is:

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

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

And there shall be signs in the sun, and in the moon, and in the stars; and upon the earth distress of nations, with perplexity; the sea and the waves roaring; Lu.21:25

Echeion , ( [êchos] ) drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2.

II. in the lyre, = chalkôma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5.

2. Adj. êcheion organon sounding instrument, Ph.1.588, cj.ib.444,510.

Organon, 3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organôn ekêlei anthrôpous, of Marsyas, Pl.Smp.215c ; aneu organôn psilois logois ibid., cf. Plt.268b ; o. poluchorda Id.R.399c , al.; met' ôidês kai tinôn organôn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2.

êchetês A. clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., achetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.

Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]
 
Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?
 
Don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree kardian to agitate one's mind, hêmas edonêsen hê mousikê, II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humnôn rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran te boai kanachai t' aulôn doneontai Id.P.10.39 ; of bees, Choeril.2; rhoizêmasin aithêr doneitai Ar.Av.1183 .--Poet. word, used in Ion., X.Smp.2.8, and late Prose; of medical percussion, Aret.SD2.1 
  • Pi.N.7.81 Pindar, Nemean Odes 7
    • [22] since there is a certain solemnity in his lies and winged artfulness,
    and poetic skill deceives, seducing us with stories,
    and the heart of the mass of men is blind.  Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly.
              On this spot it is fitting to sing with a gentle voice of the king of gods.
    To plough the same ground three or four times [105] is poverty of thought, 
    like babbling "Corinth of Zeus" to children.
    "Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.
     
    Hippolytus V
     
    "Yobal made reed instruments, and harps, and flutes, and whistles, 
            and the devils went and dwelt inside them.
                When men blew into the pipes, the devils sang inside them, 
              And Satan had been made ruler (or prince) of that camp Fol. 12b, col. 2.
    And when the men and women were  stirred up to lascivious frenzy by the devilish playing of the reeds which emitted musical sounds, and by the harps which the men played through the operation of the power of the devils, and by the sounds of the tambourines and of the sistra which were beaten and rattled through the agency of evil spirits, the sounds of their laughter were heard in the air above them, and ascended to that holy mountain.

    Paul showed how true gifts would be exercised IF there happened to be one in Corinth. There was not even the slightest spiritual insight. Therefore, by defining the gifts Paul showed them clearly that they were STILL CARNAL. But, if you had the BEST GIFT it would mean that God had equipped you to go serve others in the model of Paul as the "suffering Servant."

    But covet earnestly the best gifts: and yet shew I unto you a more excellent way. 1Co.12:31

    The charismatic gifts of prophecy or the MANTIC gifts meant that you had been driven over the edge into madness. In this state such as being FILLED with wine meaning "being piped down with wine," people believed that the insane ravings wa proof of the gods inside.

    You may want to click and see how a preacher for a Christian church in the Northwest justifies women musicians 'performing' for the worship service.

    THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. 1Co.13:1

    Plato: Apology of Socrates and Crito crito,17.2 speaking directly to the charismatic prophesying being practiced by the women in Corinth:

    hoi korubantiôntes: here a species of madness seems to be indicated, under the influence of which men

    imagined that they heard the flutes
    that were used in Corybantian revels.
    and the song of the bacchanals in Eur. Bacch. 123-127,
    Corybantes, wearing helms three-rimmed,
    Stretched skins to make my drum's full round;
    Then they, in hollowed caves, lithe-limbed,
    With drums, and, with the flute's shrill sound
    Full Phrygian, bacchic ditties hymned.

    This is Paul's meaning of "clanging brass and tinkling cymbals" which, in church, was equated to speaking in tongues.

    When the Lord is in His Holy Temple (me) the whole earth should keep silence. Why is that so important today when so many lambs are being aggitated so they can be fleeced:

    Trumpet is:

    Salpiqc (g4536) sal'-pinx; perh. from 4535 (through the idea of quavering or reverberation): a trumpet: - trump (- et).

    And this word, Yet once more, signifieth the removing of those things that are shaken, as of things that are made, that those things which cannot be shaken may remain. Heb 12:27

    Wherefore we receiving a kingdom which cannot be moved, let us have grace, whereby we may serve God acceptably with reverence and godly fear: Heb 12:28

    Saleuo (g4531) sal-yoo'-o; from 4535; to waver, i.e. agitate, rock, topple or (by impl.) destroy; fig. to disturb, incite: - move, shake (together), which can [-not] be shaken, stir up.

    The reason you had better serve God with reverence and Godly fear is:

    For our God is a consuming fire. Heb 12:29

    Liddell and Scott note:

    Saleuô [salos]

    I. to cause to rock, make to oscillate, shake to and fro, Eur., Anth.; sa. tous ochlous to stir them up, NTest.:--Pass. to be shaken to and fro, totter, reel, chthôn sesaleutai Aesch.

    Ochlos

    I. a moving crowd, a throng, mob, Pind., Aesch., etc.; ho ochlos tôn stratiôtôn the mass of the soldiers, Xen.; tôi ochlôi in point of numbers, Thuc.; hoi toioutoi ochloi undisciplined masses like these, id=Thuc.
    2. in political sense, the populace, mob, Lat. turba, opp. to dêmos, id=Thuc., Xen.
    3. generally, a     mass, multitude, ochlos logôn Aesch.
    II. like Lat. turba, annoyance, trouble, ochlon parechein tini to give one trouble, Hdt.; di' ochlou einai, genesthai to be or become troublesome, Ar., Thuc.

    Latin: Vulgaritas (volg- ), a-tis, m. [vulgaris] , the great mass, the multitude (postclass.), Arn. 3, 123 and 155

    The leader of the vulgar, charismatic religion as a "spiritual" army:

    Dêmagôgeô , to be a leader of the people, kalôs d. Isoc.2.16 ; têi men exousiai turannôn, tais d' euergesiais dêmagôgôn Id.10.37 ; cf. dêmagôgei: stratêgei, Hsch.: usu. in bad

    Turanneuô: to be a turannos, an absolute sovereign or despot, and in aor. to become such, Hdt., etc.: to be a prince or princess, Eur.

    The dêmagôgeô continued: 2. c. acc. pers., d. andras curry favour with, X.An.7.6.4 , cf. Arist.Pol. 1305b26, al.:--Pass., to be won over, conciliated by popular arts, J.AJ 16.2.5.

    Xenophon, Anabasis

    X.An.7.6.4 [4] When the Lacedaemonians asked what sort of a man Xenophon was, he replied that he was not a bad fellow on the whole, but he was a friend of the soldiers, and on that account things went the worse for him. And they said: "He plays the demagogue, you mean, with the men?" "Exactly that," said Heracleides. [5] "Well," said they, "he won't go so far, will he, as to oppose us in the matter of taking away the army?" "Why," said Heracleides, "if you gather the men together and promise them their pay, they will hurry after you, paying scant heed to him."

    b. = psuchagôgeô, ton pothon, of a work of art, Him.Ecl.31.6; to theatron, of Homer, Id.Or.20.3.

    He uses spectacle of sight, sound and emotion to dominate: theater.

    Theatron [theaomai]

    1. a place for seeing, esp. a theatre, Hdt., Thuc., etc.
    2. collective for hoi theatai, the people in the     theatre, the spectators, "the house, " Hdt., Ar.
    3. =     theama, a show, spectacle, th. genêthênai, theatrizesthai, NTest.

    Theama [theaomai] that which is seen, a sight, show, spectacle, Trag., Thuc., etc.

    Kosmo-phthoros , on, destroying the world, AP11.270.

    Theatrizô 1 2 [theatron] to bring on the stage:-- Pass. to be made a show of, a gazing-stock, NTest.

    Similar to theatrizo:

    Mossunikos , ê, on, made by the Mossunoikoi, mazonomeia Ar.Fr. 417

    These are the MUSES or musicians of Revelation 18:22. They serve Apollo or Abbadon or Apollyon. They are known throughout the literature as the LOCUSTS-musical performers. The Cynics known as "dogs" were intimately involved as sorcerers:

    Kunaô , = kunizô, play the Cynic, Luc.Demon. 21. [homosexuals]

    kumbalizô , play the cymbals, Men.326, LXX Ne.12.27, Arr.Ind. 7.8, Chor.in Rev.Phil.1.10.

    And at the dedication of the wall of Jerusalem they sought the Levites out of all their places, to bring them to Jerusalem, to keep the dedication with gladness, both with thanksgivings, and with singing, with cymbals, psalteries, and with harps. Neh 12:27

    Meceleth (h4700) mets-ay'-leth; from 6749; (only dual) double tinklers, i. e. cymbals: - cymbals.

    Other related words are:

    Drakizô , play the buffoon, Gloss.
    Parasi-tor . a-ri, v. dep. [id.] , to play the parasite, to sponge: parasitarier, Plaut. Stich. 4, 2, 54: parasitando pascere ventres suos, id. Pers. 1, 2, 3 .
    Kômôidoloicheô , play the parasite, peri tina Ar.V.1318 .
    Lumeôneuomai , play or act the lumeôn, Plb.5.5.8.
    Sophistiaô     , play the sophist, Eubulid.1, Plu.2.42a, 545c.
    Kunaô , = kunizô, play the Cynic, Luc.Demon. 21.

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

    The dêmagôgeô continued: 3. c. acc. rei, introduce measures so as to win popularity, ta pros hêdonên tôi plêthei D.H.Dem. 17 ; boulas d. LXX1 Es.5.70(73) .

    Hêdonê , Dor. hadona (or in Trag. chorus hêdona S.OT1339), hê, ( [hêdomai] ) enjoyment, pleasure, first in Simon.71, S.l.c., Hdt.1.24, al.; prop. of sensual pleasure.

    3. Pl., desires after pleasure, pleasant lusts, X.Mem.1.2.23, Ep.Tit.3.3, al.

    Chara , hê: ( [chairô] ):--joy, delight, Voluptous

    II. in causal sense, d. tina make him popular, App.BC5.53, Pun.133.

    THE PUNIC WARS

    20:[133] Carthage being destroyed, Scipio gave the soldiers a certain number of days for plunder, reserving the gold, silver, and temple gifts. He also gave prizes to all who had distinguished themselves for bravery, except those who had violated the shrine of Apollo. He sent a swift ship, embellished with spoils, to Rome to announce the victory. He also sent word to Sicily that whatever temple gifts they could identify as taken from them by the Carthaginians in former wars they might come and take away.

    Thus he endeared himself to the people as one who united clemency with power.

    He sold the rest of the spoils, and, in sacrificial cincture, burned the arms, engines, and useless ships as an offering to Mars and Minerva, according to the Roman custom.

    Saleuô [salos] continued:

    II. intr. to move up and down, to roll, toss, as on the sea, Xen.:--metaph. to toss like a ship at sea, to be tempest-tost, be in sore distress, Soph., Eur.

    2. of a ship also, to ride at anchor: metaph., sa. epi tini to ride at anchor on one's friend, depend upon him, Plut.

    Salos
    I. any unsteady, tossing motion, of an earthquake, Eur.: the tossing or rolling swell of the sea, id=Eur.; so in pl., pontioi saloi id=Eur.

    II. of ships or persons in them, a tossing on the sea, Soph.: --metaph. of the ship of the state, tempest-tossing, id=Soph.; salon echein to be in distress, Plut.

    Charisma to Christ the Spirit meant

    Charisma (g5486) khar'-is-mah; from 5483; a (divine) gratuity, i.e. deliverance (from danger or passion); (spec.) a (spiritual) endowment, i.e. (subj.) religious qualification, or (obj.) miraculous faculty: - (free) gift.

    From this definition it is impossible to have a "miraculous endowment" to speak by inspiration and do so under the bondage of passion or pride.

    The Orphics were those from a vegetarian background in Romas 14. Orpheus was the father of charismatic worship called threskia. This demanded lots of music which drove them into a mad state which was peddled as "spiritual." Orphic "worship" is in force when the church performs rituals believing that they have a beyond- Christ and His Word (the School Book) power over God or can exert a supernatural influence over the audience. This attitude is defined in the Greek literature as sorcery or witchcraft.

    The Dionysiacs were wine drinkers and meat eaters but also musical in the sense of PLEASURING one another and leading themselves "into the presence of the gods" for fun and pleasure.

    In Romans 15 Paul defines a "synagogue" as he does in all of his use of assemblying or gathering. He said that Jesus Christ did not PLEASE Himself and we know that he was attacked with the "pipers" who continued after the Abomination of Desolation. The Jewish clergy truly believed, based on direct testimony, that Dionysus would be their lusted after Messiah. When He would never sing and dance when they piped they murdered Him. Shortly, the Roman government would restrict the Dionysian worship to small groups held in daylight. Much of the music, shouting and instruments were to HIDE the pain of the "initiation."

    Paul insisted that we should not PLEASURE ourselves when we assemble to speak with ONE MOUTH and ONE MIND that which was written as the only way to glorify God. This would allow people with all kinds of background to assemble in the church or "school of the Bible." This you CANNOT REFUSE and follow Christ and follow Paul's direct command.

    Pleasure is.

    Aresko (g700) ar-es'-ko; prob. from 142 (through the idea of exciting emotion); to be agreeable (or by impl. to seek to be so): - please.

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

    h5375: The burden of the beasts of the south: into the land of trouble and anguish, from whence come the young and old lion, the viper and fiery flying serpent, they will carry their riches upon the shoulders of young asses, and their treasures upon the bunches of camels, to a people that shall not profit them. Is.30:6

    Plato Ion 534a continues to speak of the female musical worship team - the Muses:

    "In the same manner also the Muse inspires men herself, and then by means of these inspired persons the inspiration spreads to others, and holds them in a connected chain. For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; [534a] just as

    .... the Corybantian worshippers do not dance when in their senses,

    ... so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession--as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers--that the soul of the lyric poets does the same thing, by their own report.

    For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts [534b] in certain gardens and glades of the Muses--

    like the bees, and winging the air as these do, And what they tell is true. (Plato then explains a lot of musical worship and even preaching)

    "For a poet is a light and winged and sacred thing, and is unable ever to indite until he has been inspired and put out of his senses, and his mind is no longer in him: every man, whilst he retains possession of that, is powerless to indite a verse or chant an oracle. Seeing then that it is not by art that they compose and utter so many fine things about the deeds of men--

    Liddell and Scott

    charis or pleasure includes:

    4. love-charm, philtre, Luc. Alex.5, Merc.Cond.40.

    2. esp. in erotic sense, of favours granted (v. charizomai 1.3 ), alochou charin idein Il.11.243 , cf. A.Ag.1206: more freq. in pl., X.Hier.1.34, 7.6, etc.; biai d' epraxas charitas ê peisas korên; Trag.Adesp.402; in full, charites aphrodisiôn erôtôn Pi.Fr.128 , cf. Pl.Phdr.254a, al.

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

    See how the symposium was often a wine festival of males where the flute-girls were always prostitutes and the male musicians were Sodomites. Paul told the elders to NOT GO NEAR WINE which spoke of these gatherings even when the wine was heavily watered so you didn't have to turn around and puke too often.

    V. daimonôn charis homage due to them, their worship, majesty, A.Ag. 182 (lyr.); athiktôn ch. ib.371 (lyr.); horkôn E.Med.439 (lyr.)

    Daimôn [Perh. from daiô B, to divide or distribute destinies.]

    I. a god, goddess, like theos, thea, Hom., Trag., etc.:--in Hom. also deity or divine power (theos denotes a god in person), Lat. numen; pros daimona against the divine power; sun daimoni with it, by its favour, Il.:--so, kata daimona, nearly = tuchêi, by chance, Hdt.; en tôi d. theôn en gounasi, Soph.

    2. one's daemon or genius, one's lot or fortune, stugeros daimôn Od.; daimonos aisa kakê id=Od.: absol. good or ill fortune, Trag.; esp. of the evil genius of a family, Aesch.

    II. daimones, in Hes., are the souls of men of the golden age, forming the link between gods and men:--later, of any departed souls, Lat. manes, lemures, Luc.

    III. in NTest. an evil spirit, a demon, devil.

    Paul warned the Corinthians against RISING UP TO PLAY which was like the Greek symposium involving food, drink, singing, music and homosexual PLAY.

    But I say, that the things which the Gentiles sacrifice, they sacrifice to devils, and not to God: and I would not that ye should have fellowship with devils. 1Co.10:20

    These were the BULL DEMONS representing the Egyptian trinity:

    Daimonion (g1140) dahee-mon'-ee-on; neut. of a der. of 1142; a doemonic being; by extens. a deity: - devil, god.

    These demons DISTRIBUTED GIFTS. That is why Paul compared the counterfeit gifts in Corinth as out of their own spirit. Jesus defined the Jewish clergy as sons of the Devil because they SPEAK ON THEIR OWN. Therefore, if you had the best singing, dancing, clapping, playing instruments and speaking in "gibberish" every known--even speak the tongues of angels, you should be WATCHED because often the demonic spirits steal in when you OPEN yourself.

    Daimon (g1142) dah'ee-mown; from daio, (to distribute fortunes); a doemon or supernatural spirit (of a bad nature): - devil

    VI. Special usages:

    1. acc. sg. as Adv., ch. tinos in any one's favour, for his pleasure, for his sake, ch. Hektoros Il.15.744 ; pseudesthai glôssês ch. for one's tongue's pleasure, i.e. for talking's sake, Hes.Op.709, cf. A.Ch.266; rarely with Art., tên Athênaiôn charin estrateuonto Hdt.5.99 .

    charis 1 [chairô]

    1. acc. sg. as adv., ch. tinos in any one's favour, for his pleasure, for his sake, charin Hektoros Il.; glôssês charin for one's tongue's pleasure, i. e. for talking's sake, Hes.:--then much like a prep., Lat. gratia, causa, for the sake of, on account of, tou charin; for what reason? Ar.; so, emên charin, sên charin for my, thy pleasure or sake, Lat. mea, tua gratia, Aesch., Eur.:--also, charin tinos as far as regards, as to, epous smikrou ch. Soph.

    2. with Preps., eis charin tinos to do one a pleasure, Thuc.; ouden eis ch. prassein Soph.:-- pros charin prassein ti id=Soph.; pros charin legein Eur., etc.; pros charin boras for the sake of my flesh, for the pleasure of devouring it, Soph.:-- pros charin alone, as a favour, freely, to their heart's content, id=Soph.:-- en chariti for one's gratification, pleasure, en chariti didonai or poiein tini ti Xen., Plat.:-- dia charitôn einai or gignesthai tini to be on terms of friendship or mutual favour with one, Xen.

    V. daimonôn charis homage due to them, their worship, majesty, Aesch.; so, horkôn ch. Eur.; euktaia ch. an offering in consequence of a vow, Aesch.

    If you are doing this it is anti-Christian, anti-direct commandment and anti-human nature.

    Jesus Died to remove both the burdens and the burden laders. Paul defines church or synagogue and outlaws any thing which would create the burden Jesus died to remove which was "spiritual anxiety created by religious rituals." Be sure that you are not BEING USED to perform to validate and pleasure your leader.

    The burden is:

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

    Phoros (g5411) for'-os; from 5342; a load (as borne,) i.e. (fig.) a tax (prop. an individ. assessment on persons or property; whereas 5056 is usually a gen. toll on goods or travel): - tribute.

    The rest God in Christ came to earth to give totally repudiates the ceremonial aspect of Threskia or Thracian or Orpheus or Dionysian "worship."

    Anapauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to REPOSE (lit. or fig. [be EXEMPT], remain); by imp. to REFRESH: - take EASE, refresh, (give, take) rest.

    Pauo (g3973) pow'-o; a prim. verb ("pause"); to stop (trans. or intrans.), i.e. restrain, quit, desist, come to an end: - cease, leave, refrain.

    All things are delivered unto me of my Father: and no man knoweth the Son, but the Father; neither knoweth any man the Father, save the Son, and he to whomsoever the Son will reveal him. Matt 11:27

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

    Take my yoke upon you, and learn of me; for I am meek and lowly in heart: and ye shall find rest unto your souls. Matt 1 11:29

    For my yoke is easy, and my burden is light. Matt 1 11:30

    The apostles were to preach the gospel and make disciples by BAPTIZING them and teaching them what HE had taught.

    A disciple is a student: the students were the only ones called Christians. At baptism God gives us A new, holy spirit or when we request it at baptism He gives us A good conscience or consiousness or a co-perception.

    Then Jesus gathers (synagogues) the twos and threes and teaching ONLY those whose spirit or heart or mind He has personally sprinkled from the UNholy spirit or mind.

    Beginning in the garden of Eden, the serpent diverted the minds of Adam and Eve from the Living Word of God. The serpent was not a snake but a sexual symbol. His/her name was known to be a Musical Enchanter who wholly seduced Eve as one seduces a bride BEFORE her wedding. That is why Cain (meaning a musical note) was OF that evil one.

    Church is ekklesia or synagogue or school of Christ: Charismatic intends to silence the voice of God through His Word.

    See the connection between the Naga Serpent Worship and Speaking in tongues
    See Cattulus for the music, emasculated "priests," and sodomy are eternal MARKS.
    Are self-composed hymns IDOLS?
    See the sexual, voodoo connection with modern hymns.     This proves that such "music" which produced a charismatic worship A. Musical Praise in the Old Testament

    Aristotle, Politics

    [1342a][1] it is clear that we should employ all the harmonies,

    yet not employ them all in the same way, but use the most ethical ones for education,
    and the active and passionate kinds for listening to when others are performing (for any experience that occurs violently in some souls is found in all,

    though with different degrees of intensity--for example pity and fear, and also religious excitement;

    for some persons are very liable to this form of emotion, and under the influence of sacred music we see these people, when they use tunes that violently arouse the soul, being thrown into a state as if they had received medicinal treatment and taken a purge;

    the same experience then must come also to the compassionate and the timid and the other emotional people generally in such degree as befalls each individual of these classes,
    and all must undergo a     purgation and a pleasant feeling of relief; and similarly also the purgative melodies afford harmless delight to people ).

    THIS DEMONIC PURGATION gives meaning to simple Baptism where God gives us A new or holy spirit.

    Exairesis taking out the entrails of victims, the entrails themselves, offal, taking out of patients from a bath,

    Apollo [Abaddon or Apollyon] is the god of harmony and washings.

    katharmos, cleansing, purification, from guilt, purificatory offering, atonement, expiation, purging, evacuation, discharge.

    Therefore those who go in for theatrical music must be set to compete in harmonies and melodies of this kind (and since the audience is of two classes,

    one freemen and educated people,
    and the other [20] the vulgar class composed of mechanics and laborers and other such persons,

    the latter sort also must be assigned competitions and shows for relaxation;
    and just as their souls are     warped from the natural state, so those harmonies and melodies that are highly strung and irregular in coloration are deviations,

    but people of each sort receive pleasure from what is naturally suited to them,

    owing to which the competitors before an audience of this sort must be allowed to employ some such kind of music as this );
    but for     education, as has been said, the ethical class of melodies and of harmonies must be employed.

    I am the Charismatic

    "Charisma is a presence that excites us. It comes from an inner quality - self-confidence, sexual energy, sense of purpose, contentment - that most people lack and want.

    This quality radiates outward, permeating the gestures of Charismatics, making them seem extraodinary and superior. They learn to heighten their charisma

    with a piercing gaze, fiery oratory, an air of mystery.
    Create the charismatic illusion by radiating     intensity while remaining detached.

    Symbol: The Lamp. Invisible to the eye, a current flowing through a wire in a glass vessel generates a heat that turns into candescence. All we see is the glow. In the prevailing darkness, the Lamp lights the way.

    From Way of Life:

    "Shortly after it began to emerge in 1901, Pentecostalism sensed through some strange form of intuition that success would come through emotionally-charged music. The first pattern was jazz. Speaking of the years 1901 to 1914, Howard Goss said, 'Without it (jazz) the Pentecostal Movement could never have made the rapid inroads into the hearts of men and women as it did. Neither could we have experienced a constant victorious revival over the fifty years' (The Winds of Change, p. 212). (see another Winds of Change)

    He also noted: 'It was generally not the conventional church-hymn singing of that era. Entirely unpretentious, there appeared to be neither poetry nor musicianship in the composition. But, there was something far more effective than either.... WE WERE THE FIRST, SO FAR AS I KNOW, TO INTRODUCE THIS ACCELERATED TEMPO INTO GOSPEL SINGING' (Ibid. pp. 207,208).

    "The Pentecostal leader should know for he was the most prominent among the early founders of the Movement. He was the leading organizer of a nation-wide gathering of Pentecostals held at Hot Springs, Arkansas in April, 1914. He was elected General Superintendent of the Pentecostal Church Incorporated and served as the General Superintendent of the United Pentecostal Church until 1951" (Wilson Ewin, The Pied Piper of the Pentecostal Movement, Wilson Ewin, 1986, pages 49-51).

    The following is a description of an interracial convention of Pentecostals in Cleveland, Tennessee, in September 1929:

    "The spirit moved some to dance, others to speak in the unknown tongue, to shout, to jerk, or to fall in a dead trance. Mourners in ever-increasing numbers fell on their knees, elbows in a folding chair, at the altar, while the exhorters clapped hands to the time of the music ... After half an hour of this, the singing came to an end. Also the instrument strummers, worn out, dropped out one by one, leaving only the piano player and a tambourine whacker, whom I could not see, to carry on the STEADY AND ALMOST TERRIFYING RHYTHMIC NOISE. Terrifying because it impressed me as being the production of the wild, subconscious human animal, one which we seldom come upon in such frightfully self-regimented herds.

    But the extreme mesmeric orgies of such primitive groups have been often enough described. And after all, my purpose is simply to make clear HOW THE INDIGENOUS SONG MERGES INTO THE HYPNOTIC RHYTHMIZING USED IN THIS INDIGENOUS TYPE OF RELIGIOUS PRACTICE" (George Pullen Jackson, White Spirituals in the Southern Uplands).

    See how the frontier Awakenings had developed an orgasmic blend of Voodoo and frontier ballads.

    TWILA PARIS, popular CCM singer, has been associated with the charismatic-oriented Youth With A Mission (YWAM) since 1976. In an interview with a YWAM leader in New Orleans in 1987, I was told that a large number of the short-term workers with YWAM are Roman Catholics.

    PAT BOONE is a member of Jack Hayford's Foursquare Pentecostal Church. In 1996 Boone released an album of heavy-metal rock songs under the title "Pat Boone in a Metal Mood -- No More Mr. Nice Guy." There were songs by openly demonic rock groups such as Alice Cooper, Guns N' Roses, Ozzy Osbourne, and Judas Priest. On April 15, 1997, Boone's pastor joined him on a Trinity Broadcasting Network broadcast with Paul Crouch and defended his heavy metal album.

    Of the Bacchus worship which the Jews tried to force upon Jesus as a "mark" to identify Him as their hoped-for god of wine and war, and those alluded to by Paul to the Ephesians (Chapter 5) when he demanded the sober use of the Word of God as the preaching material while the "singing and melody" remain in the heart, Livy wrote of a continual warfare to put down this "marking" religion even in his day:

    "The making of inquisition concerning clandestine meetings was decreed to both the consuls. A Greek of mean condition came, first, into Etruria,

    not with one of the many trades which his nation, of all others the most skillful in the cultivation of the mind and body, has introduced among us,
     
    but a low operator in sacrifices, and a soothsayer;
    nor was he one who, by open religious rites,
    and by publicly professing his calling and teaching,
    imbued the minds of his followers with terror,
    but a priest of secret and nocturnal rites.
     
    These mysterious rites were, at first, imparted to a few,
    but afterwards communicated to great numbers, both men and women.
     
    To their religious performances were added the pleasures of wine and feasting,
    to allure a greater number of proselytes.

    When wine, lascivious discourse, night, and the intercourse of the sexes had extinguished every sentiment of modesty, then debaucheries of every kind began to be practiced, as every person found at hand that sort of enjoyment to which he was disposed by the passion predominant in his nature.

    Nor were they confined to one species of vice---the promiscuous intercourse of free-born men and women;
    but from this store-house of villainy proceeded false witnesses,
    counterfeit seals (marks), false evidences, and pretended discoveries.

    From the same place, too, proceeded poison and secret murders, so that in some cases, not even the bodies could be found for burial. (Ac 19:19; Rev 9:21; 18:23; Rev 21:8. Rev 18 connects this to the musicians of the end-time Babylonian Whore religion)

    Many of their audacious deeds were brought about by treachery, but most of them by force;
     
    it served to conceal the violence, that, on account of the loud shouting, and the noise of drums and cymbals,
     
    none of the cries uttered by the persons suffering violence or murder could be heard abroad.

    Music is still used to silence the voice of those suffering violence by the introduction of neo-Bacchus or Dionysus "wineskin" worship. See the attempt to "Mark" Jesus with the Seal of Dionysus to "triumph over" Him with Music.

     
    THERE ARE ALWAYS TWO FORCES IN THE WORLD.

    The "system" under the Monarchy period was a RELIGION. The elders wanted a king like the nations. God understood that to mean "so we can worship like the nations." But, remember that because of the musical idolatry at Mount Sinai God had TURNED THEM OVER to worship the starry host including Saturn whose Chaldee number is 666. The king and the Temple-State was not a Spiritual religion.

    The 'people's congregation' was the synagogue where "loud instruments and making a joyful noise before the Lord" was outlawed. You know, this was not worship but a Warrior's panic song. Therefore, the singers and noise makers were under te king and the commanders of the army. Numbers 10:7 outlaws this "triumph over" when the people's congregation was assembled only for instruction.

    The WORSHIP of the pagan world was Threskia named after the Thracian Orpheus. To be countercultural Jesus said: "I will build my ekklesia." That means that the Christian assembly is a SYNAGOGUE where "there was never a praise service in the synagogue." This quarantined the people from the predominately homosexuality projected by the image of a CHURCH named after CIRCE the holy whore of John's Revelation. The rise of THRESKIA form of worship involves snake handling, speaking in tongues and, for the first time in history, a separation of the Godhead into a pagan trinity. It may be for the best that modern Charismatics began in the mountains where people needed validation to be "tribal leaders." It is confusing that those who build on mountain superstition and voodoo tend to leave the rattlesnakes in the woods.

    Bestia Mortale writes:

    "The male gods can also be folded together into primal archetypes. The ithyphallic (sporting a hard-on) lover god

    is represented by Pan among goat-herding people,

    [The beast in Revelation whose ten horns or pan pipe are the musical agents using Satan's music to ascend to their own little mountain.]

    bull-foot Dionysos among cow-herders
    and Hermes among     shepherds.

    Poseidon and Zeus can easily be conflated as earth/sea and sky versions of a supreme god. Since Zeus and Dionysos were sometimes also viewed as two aspects of the same god, you can find in them a father/lover/son counterpart to the threefold goddess. Zeus and his mother, Rhea, were said to couple in the guise of snakes, and Rhea was Dionysos's chief protector in babyhood. Kerényi writes:

    We must here recognize a basic scheme in which either a female or a male trinity predominates.... Records exist of the worship of a trinity in which [Poseidon] is not included, a cult of Zeus as "Heavenly God" (Hypsistos), as God of the Underworld (Chthonios), and, under a third aspect, without a name.

    This was th Abomination of Desolation in the Jerusalem Temple.

    "It is interesting in this context to consider the male-child archetypes expressed in Eros, Pan, Dionysos and Hephaistos, and their close ties both to ithyphallic male sexuality and to sacrificial death. Eros, in the Orphic tradition, was the first god, born when Nyx (" Night"), the great dark bird-mother, conceived by the Wind and bore the silver egg of the world. Most beautiful of the gods, he was clearly connected with phallicism, but at the same time was often represented as a child with a clear connection to darkness. Even in his role of inspiring the first primal union of earth and sky, he is sometimes represented as descending into the underworld to accomplish it. [This ties THEM to Lucifer or Zoe. Lucifer was LIGHT born of DAWN]

    The Jews believed that Dionysus was to be their messiah. They piped hoping he and others would sing and dance. His sexual activity would have identified him as their expected, sexual and warrior messiah. Since Jesus refused to bow and John didn't wear SOFT clothing they decided to murder them.

    Words associated with the charismatic and musical pagan rituals:

    Liddell and Scott malakos, soft: of persons

    b. faint-hearted, COWARDLY, Th.6.13, X. HG4.5.16 (Comp.), etc.
    c. morally weak, lacking in self-control,     hêdonas, not to give in from weakness or want of spirit,

    Hêdonê [hêdomai]

    1. delight, enjoyment, pleasure, Lat. voluptas, Hdt., etc.; hêdonêi hêssasthai, charizesthai to give way to pleasure, Thuc., Plat., etc.:--often with Prepositions in adv. sense, pros or kath' hêdonên legein to speak so as to please another, Hdt., attic; kath' hêdonên kluein, akouein Soph., Dem.; kath' hêdonên or pros hêd. esti moi Aesch.; ho men esti pros hêd. that which is agreeable, Dem.; en hêdonêi esti tini it is a pleasure or delight to another, Hdt., etc.

    2. a pleasure, a delight, Soph., Ar.
    3. in pl.     pleasures, pleasant lusts, Xen., NTest.
    d. =     pathêtikos, PHib.1.54.11 (iii B.C.), 1 Ep.Cor.6.9, Vett.Val.113.22, D.L.7.173.

    Pathêtikos [pathein]

    1. subject to feeling, capable of feeling a thing, c. gen., Arist.
    2.     impassioned, pathetic, id=Arist.:--adv., pathêtikôs legein id=Arist.

    legô1 [!lech] [Pass. is only found in 3rd sg. epic aor2] part. to lay asleep, lull to sleep, lexon me Il.; elexa Dios noon id=Il.: --Pass. and Mid. to lie asleep, to lie, Hom.

    1 Cor 6: [9] Or don't you know that the unrighteous will not inherit the Kingdom of God? Don't be deceived. Neither the sexually immoral, nor idolaters, nor adulterers, nor male prostitutes, nor homosexuals, [10] nor thieves, nor covetous, nor drunkards, nor slanderers, nor extortioners, will inherit the Kingdom of God. [11] Such were some of you, but you were washed. But you were sanctified. But you were justified in the name of the Lord Jesus, and in the Spirit of our God.

    e. of MUSIC, soft, EFFEMINATE, m. harmoniai Pl.R.398e , 411a, cf. Arist.Pol.1290a28; tuned to a low pitch, opp. suntonos, chrôma m. Cleonid.Harm.7, etc.

    harmonia [harmozô]

    3. a frame: metaph., dustropos gunaikôn harm. women's perverse temperament, Eur.
    III. harmony, as a concord of sounds, first as a     mythical personage, Harmonia, Music, companion of Hebe, the Graces and the Hours; child of the Muses, Hhymn., Eur.

    hêdonê [hêdomai]..... [German Site]

    1. delight, enjoyment, pleasure, Lat. voluptas, Hdt., etc.; hêdonêi hêssasthai, charizesthai to give way to pleasure, Thuc., Plat., etc.:--often with Prepositions in adv. sense, pros or kath' hêdonên legein to speak so as to please another, Hdt., attic; kath' hêdonên kluein, akouein Soph., Dem.; kath' hêdonên or pros hêd. esti moi Aesch.; ho men esti pros hêd. that which is agreeable, Dem.; en hêdonêi esti tini it is a pleasure or delight to another, Hdt., etc.

    2. a pleasure, a delight, Soph., Ar.
    3. in pl. pleasures, pleasant lusts, Xen., NTest.

    hêssaomai [Note that middle forms such as hêttêsomai can have passive sense.]

    1. Pass. to be less than another, inferior to him, c. gen. pers., Eur., Xen., etc.; c. gen. rei, hê. rhêmatos to yield to the power of a word, Thuc.; ho hêttôito wherein he had proved inferior, Xen.

    2. as a real Pass. to be defeated, discomfited, worsted, beaten, hupo tinos Hdt., attic; also c. gen. pers., Eur., etc.;-- hêssasthai machêi or machên Hdt., Dem.

    3. to give way, yield, to be a slave to passion and the like, c. gen., hêssêmenos erôtos Eur.; tôn hêdonôn Xen.:--also c. dat. to be overcome by, hêdonêi hêssômenoi Thuc.

    The BEAST in the Greek language in the book of Revelation is identified as PAN. His HORNS were musical instruments. Using the power of Pan's perverted sexuality and music ten or so of his AGENTS would ascend to their little mountain kingdom to rule.

    "Both Pan and Hephaistos were such ugly newborns that the mother goddess abandoned them. This is in itself a theme -- consider how many gods were abandoned as infants for one reason or another, then found and cared for by shepherds or animals. The practice of exposing unwanted children clearly carried a heavy cost in sadness that found expression in such stories. Pan was explicitly an ithyphallic god, while Hephaistos was principally the divine artisan, misshapen, dwarfish and sometimes explicitly chthonic. At the same time, however, many aspects of Hephaistos's role hearken back to the earlier Daktyloi, the phallic child-consorts of the great mother Rhea.

    "Dionysos, of course, explicitly combined all these aspects: at once the ecstatic ithyphallic god of orgy, the divine infant Iakchos and the sacrificial god who was torn to pieces to be resurrected.

    Sex is always a popular element of ritual, and certainly seems to have been practiced in Greece. In spite of the damper put on it by patriarchal prudery, matter-of-fact enjoyment of orgiastic ecstasies seems to have persisted through classical times.

    "Look at the burgeoning creativity of surviving Greek drama, music and poetry, all of which emerged from ritual roots. It makes sense that the same artistic creativity flourished within the lost rituals themselves, generating protean, changeable, ever-new forms. Resource

    For some reason an ugly little boy-girl who can switch hit can sing and be worshipped by both males and females. Even if they look normal they carry some characteristic which both attracts and repulses us. We will pay handsomely for buffoons and jesters. In Of Gods and Men, H. Bamford Parkes notes that the world's OLDEST PROFESSION of the priesthood:

    "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." (Of Gods and Men, H. Bamford Parkes, 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.

    Gregory Nazianzen. Oration XXXIX

    I. Again My Jesus, and again a mystery; not deceitful nor disorderly, nor belonging to Greek error or drunkenness (for so I call their solemnities, and so I think will every man of sound sense); but a mystery lofty and divine, and allied to the Glory above. For the Holy Day of the Lights, to which we have come, and which we are celebrating to-day, has for its origin the Baptism of my Christ, the True Light That lighteneth every man that cometh into the world, and effecteth my purification, and assists that light which we received from the beginning from Him from above, but which we darkened and confused by sin.

    Nor is our commemoration one of Dionysus, and the thigh that travailed with an incomplete birth, as before a head had travailed with another;

    When Paul said "don't get drunk with wine" the word drunk most often is associated with getting PIPED DOWN or FLUTED down with passion and pride. Then they were ready to sing and make melody in the EXTERNAL sense. Therefore, Paul insisted that the singing and melody be "in the heart" to prevent CHURCH doing more harm than Good.

    Christianity is not after the disorder of paganism,

    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.

    Orpheus and the Thracian orgies are the ONLY source of worship called threskia. The Lebian singers contributed the idea of turning the poems of Homer into singing and playing instruments.

    Singing or musical prophesying (crying, Lord, Lord) was a certain MARK of perverted attempts to engage a Holy God in sexual intercourse:

    "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)

    As in Old Testament examples, words like "sing," "speak," "teach," "admonish," and "lips" all clearly refer to vocal music. Note that this is proved, not just by the word "sing," but also by other words. (oratory) produces endorphins which produce the effects of FIGHT, FLIGHT or SEXUALITY.

    "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.

    "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.

    See Plato's comments here.

    After this their happiness depends upon their self-control; if the better elements of the mind which lead to order and philosophy prevail, then they pass their life here in happiness and harmony-masters of themselves and orderly-enslaving the vicious and emancipating the virtuous elements of the soul; and when the end comes,

    "they are light and winged for flight, 1 Corinthians14:23,

    having conquered in one of the three heavenly or truly Olympian victories; nor can human discipline or divine inspiration confer any greater blessing on man than this.

    If, on the other hand, they leave philosophy and
    lead the lower life of ambition, then probably,
    after wine or in some other careless hour,

    the two wanton animals take the two souls when off their guard and bring them together, and they accomplish that desire of their hearts which to the many is bliss; and this having once enjoyed they continue to enjoy, yet rarely because they have not the approval of the whole soul.

    Socrates. And of madness there were two kinds; one produced by human infirmity, the other was a divine release of the soul from the yoke of custom and convention.

    Phaedrus. True. 1 Corinthians 14:23,

    Socrates. The divine madness was subdivided into four kinds,

    prophetic,
    initiatory,
    poetic,
    erotic,

    having four gods presiding over them;

    the first was the inspiration of Apollo, 1 Corinthians 14:23,
    the second that of Dionysus,
    the third that of the Muses,
    the fourth that of Aphrodite and Eros.

    In the description of the last kind of madness, which was also said to be the best, we spoke of the affection of love in a figure, into which we introduced a tolerably credible and possibly true though partly erring myth, which was also a hymn in honour of Love, who is your lord and also mine, Phaedrus, and the guardian of fair children, and to him we sung the hymn in measured and solemn strain.

    thought that madness was neither shameful nor disgraceful;
    otherwise they would not have connected the very word     mania with the noblest of arts, that which foretells the future, by calling it the manic art.

    No, they gave this name thinking that mania, when it comes by gift of the gods, is a noble thing,

    but nowadays people call prophecy the mantic art,
    tastelessly inserting a T in the word.
    So also, when they gave a name to the     investigation of the future
    which rational persons conduct through observation of     birds and by other signs, since they furnish mind (nous) and information (historia) to human thought (oiesis) from the intellect (dianoia) they called it the oionoistic (oionoistike) art, which modern folk now call oionistic making it more high-sounding by introducing the long O.

    All such charismatic rituals have their source in Apollo or Abbadon whose seeker center used music and speaking in tongues to SEDUCE the person looking for an answer. The concept of charismatic ecstasy such as speaking in tongues has a historical and modern research intention to PLEASURE the one who has introduced you into the 100% demonic activity. Kildahl notes that when the person "falls out of love" with the facilitator they quit speaking in tongues.

    Hermes (Mercury) was the father of musical instruments, thieves and liars. See also Clement Stromata I

    The devil is called "thief and robber; "having mixed false prophets with the prophets, as tares with the wheat.

    "All, then, that came before the Lord, were thieves and robbers; "not absolutely all men, but all the FALSE PROPHETS, and all who were not properly sent by Him.

    For the false prophets possessed the prophetic name dishonestly,

    being prophets, but prophets of the liar.
    For the Lord says, "Ye are of your father the devil; and the lusts of your father ye will do. He was a murderer from the beginning, and abode not in the truth, because there is no truth in him. When he speaketh a lie, he speaketh of his own; for he is a liar, and the father of it."

    But among the lies, the false prophets also told some true things. And in reality they prophesied "in an ecstasy, as" 192 the servants of the apostate. And the Shepherd, the angel of repentance, says to Hermas, of the false prophet:

    Note: 192 [The devil can quote Scripture. Hermas, p. 27, this volume. See, on this important chapter, Elucidation XIII., infra.]

    "For he speaks some truths. For the devil fills him with his own spirit, if perchance he may be able to cast down any one from what is right."

    For anyone who speaks in a tongue [a] does not speak to men but to God. Indeed, no one understands him; he utters mysteries with his spirit. 1 Cor 14:2

    All things, therefore, are dispensed from heaven for good, "that by the Church may be made known the manifold wisdom of God, according to the eternal foreknowledge, which He purposed in Christ." Eph. iii. 10, 11

    Nothing withstands God: nothing opposes Him: seeing He is Lord and omnipotent.

    The Judas bag is from the Greek: The naked, dancing, singing, perverted team was charismatic

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

    It is made up of two words:

    1. Glossa (from Strong's g1100) means "speaking in tongues" especially an unacquired one.
    2.     Kosmos (g2889) means the "orderly arrangement" or the "adorning" world. this is derived from (g2864 or Komizo which means "to carry off."
    Kosmos     (g2889) kos'-mos; prob. from the base of 2865; orderly arrangement, i.e. decoration; by impl. the world (in a wide or narrow sense, includ. its inhab., lit. or fig. [mor.]): - adorning, world.

    The Judas Bag was always attached to the spotted flute case. So the MYSTERY is that Judas was given the SOP (from which melody is derived) and the SATAN ENTERED him just as pagans believed the demons entered into the musical instruments and spoke from the gods.

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

    The Pythagoreans discovered mathematical formulae for the musical harmonies. They believed in the harmony of the sounds produced by the movement of the stars.

    Therefore, they spoke of cosmic harmony of the spheres, each of which has a different sound, but all together creating a harmonious sound. If you delete the half-poetic, mythological elements from such ideas, then you can say that they had a universal, ecstatic interpretation of reality." (Tillich, Paul, A History of Christian Thought, Touchstone, p. 333).

    The god of Judas is the:

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

    Kraeteo (g2902) krat-eh'-o; from 2904; to use strength, i.e. seize or retain (lit. or fig.): - hold (by, fast), keep, lay hand (hold) on, obtain, retain, take (by).

    Rulers of the darkness of this world (Gk: Kosmokrator 2888) meaning "holders of this world, or Lord of the world. This is used of Satan and his angels (John 12:31; 2 Corinthians 4:4).

    That this condemns both music and speaking in tongues:

    The Sicilians, close to Italy, were the first inventors of the phorminx, which is not much inferior to the lyre. And they invented castanets. In the time of Semiramis queen of the Assyrians, they relate that linen garments were invented. And Hellanicus says that Atossa queen of the Persians was the first who composed a letter. These things are reported by Seame of Mitylene, Theophrastus of Ephesus, Cydippus of Mantinea also Antiphanes, Aristodemus, and Aristotle and besides these, Philostephanus, and also Strato the Peripatetic, in his books Concerning Inventions.

    Note: 185 "King of the Egyptians" in the mss.. of Clement. The correction is made from Eusebius, who extracts the passage.

    I have added a few details from them, in order to confirm the inventive and practically useful genius of the barbarians, by whom the Greeks profited in their studies.

    And if any one objects to the barbarous language, Anacharsis says, "All the Greeks speak Scythian to me." It was he who was held in admiration by the Greeks, who said,

    "My covering is a cloak; my supper, milk and cheese."
    You see that the     barbarian philosophy professes deeds, not words.

    The apostle thus speaks: "So likewise ye, except ye utter by the tongue a word easy to be understood, how shall ye know what is spoken? for ye shall speak into the air.

    There are, it may be, so many kind of voices in the world, and none of them is without signification. 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." And, "Let him that speaketh in an unknown tongue pray that he may interpret."

    The Vulgate makes the TWO-FOLD function of the assembly (synagogue) clear: we are to worship IN SPIRIT and we are to speak OUTWARDLY in TRUTH or UNDERSTANDING:

    1 Cor [14] For if I pray in another language, my spirit prays, but my understanding is unfruitful.

    That is, if I pray in my favorite minor dialect my spirit prays. That is proper when we worship in the new PLACE of the human spirit. However, my on personal understanding is unfruitful in that those in Corinth who spoke Koine Greek did not profit from it. Therefore, the praying in spirit in ANOTHER LANGUAGE would be translated or interpreted in the language of the assembly:

    [15] What is it then? I will pray with the spirit, and I will pray with the understanding also. I will sing with the spirit, and I will sing with the understanding also.

    If you speak in tongues meaning "a minor dialect" those who do not know your home dialect will not profit from your outward prayer or song:

    [16] Otherwise if you bless with the spirit, how will he who fills the place of the unlearned say the "Amen" at your giving of thanks, seeing he doesn't know what you say? [17]

    See more from a study on Psallo: not a musical but a warfare word of Abaddon.

    The Greek word "psallo" translated as melody is not a musical word. It speaks of the twanging bowstring sendind a singing arrow into your heart. The father of external melody was Apollo or Abbydon. It means to TWANG a bow WITH THE FINGERS and not with a plectrum.

    In the same way the "musical" word in the Bible speaks of, in the first definition, only two trying to work in harmony.

    Sumphônia , hê, concord or unison of sound, harmonian,
    2. of     two sounds only, musical concord, accord..
    3. harmonious union of many voices or sounds,     concert, hoi tôn s. logoi, the Pythagoraen doctrine of the music of the spheres

    III. band, orchestra, but used of a musical instrument in LXXDa.3.5; so Lat. symphonia, of a kind of drum, Isid.Etym.3.22.14, but of a wind instrument, Plin.HN8.157; symphoniae et cymbala strepitusque, Cels.3.18.10; êkouse sumphônias kai Chorôn Ev.Luc.15.25 .

    Chrêstêrios is associated with the musical symposiums because the "musicians" provided other services:

    Chresis (g5540) khray'-sis; from 5530; employment, i.e. (spec.) sexual intercourse

    For the zeal (jealousy) of thine house (temple) hath eaten me up; and the reproaches of them that reproached thee are fallen upon me. Psalm 69:9

    Cherphah (h2781) kher-paw'; from 2778; contumely, disgrace, the pudenda: - rebuke, reproach (-fully), shame.

    Note: male, malak, homosexual,

    Charizesthai erastais Pederasty musicians, odes, Mousa paidikee, which are mere play for him. A nomos for cinaedi by a Sybarite Hemitheon is mentioned by Lucian adv. ind. 23 (cf. Pseudo-Lucian 3).

    This word regularly appears with:

    Erôs , ôtos, ho, acc. erôn for erôta Alex.Aet.3.12 , AP9.39 (Musicius) : in Ep. and Lyr. usu. eros (q. v.) : (heramai, eraô A):--love, mostly of the sexual passion, thêlukratês e. A.Ch.600 (lyr.) ; erôs' erôt' ekdêmon E.Hipp.32 ; e. tinos love for one, S.Tr.433 ; paidôn E. Ion67

    "The cinaedi was a group of men--apparently, a large group--that during the early Roman Empire adopted a "lifestyle" characterized by flamboyant and often effeminate dress, make-up, hairdos, and other affectations. Surviving literary sources describe them, almost always in vitriolic terms,

    mainly as gender transgressors who foreswore the ordinary conduct expected of males.

    Interestingly, the ancient authors are far less concerned with the cinaedi's actual homosexual practices than with the clothing and make-up.

    Frier's most immediate interest is in how the external style of the cinaedi was related to the group's self-definition and to the perception of others. Bruce Frier, professor, classical studies and law "Style and Remembrance: The Golden Age of the Roman Cinaedi"

    "We know of pederasty in Thera from the ancient rock inscriptions (7th century?) that, due to their content and the location where they were found, appear to point to a connection with gymnastics and cultic ritual (IG XII 3.536-601, 1410-1493, also Hiller v. Gaertringen, Thera I 152, III 67); the crude oifein is found only in Nos. 536-538, for example in 537 ton deina] nai ton Delfinion h(o) Krimoon te(i)de ooiphe, paida Bathukleos. Similar forms are also found elsewhere, whether under Dorian influence or as an old legacy from the age of knighthood. Plato, in Symp. 182b, and

    Xenophon, in Symp. 8.32, say that pederasty was the usual custom in Elis and Thebes, and Plato adds that charizesthai erastais was not considered dishonorable because the people there were too inarticulate to persuade with words.

    1. Strabo, Geography book 14, chapter 1, section 41 7.14.41

    Well-known natives of Magnesia are: Hegesias the orator, who, more than any other, initiated the Asiatic style, as it is called, whereby he corrupted the established Attic custom; and Simus the melic poet, he too a man who corrupted the style handed down by the earlier melic poets and introduced the Simoedia, just as that style was corrupted still more by the Lysioedi and the Magoedi, and by Cleomachus the pugilist, who, having fallen in love with a certain cinaedus and with a young female slave who was kept as a prostitute by the cinaedus, imitated the style of dialects and mannerisms that was in vogue among the cinaedi. (7.79)

    Charizesthai

    under certain moral understandings, also under the laws; from this also is the reason that they are not called the two loved ones or the two loving ones, but rather always the loving and the loved, the loved and the loving. Lover and beloved, from the side of the lover: being moved, in- voluntary longing, seeking, mood of nature, yearning after possession, high passion for completing his physical-sexual and sexual-psychical, that is, his whole (Platonic) existence, Eros, the force of love.

    On the other hand, from the side of the beloved:
    offering, gratifying, favoring, satisfying a nature, approved and conceived in life and knowledge through the idea prevailing according to moral conditions (    charizesthai), and by Plato especially sharply and thus clearly declared, described, and treated. (2: 221&endash;23) Resource

    Hêdonê [hêdomai]
    1. delight, enjoyment,     pleasure, Lat. voluptas, Hdt., etc.; hêdonêi hêssasthai, charizesthai to give way to pleasure, Thuc., Plat., etc.:--often with Prepositions in adv. sense, pros or kath' hêdonên legein to speak so as to please anothe

    The worship in Israel had been their sentence when they rose up to PLAY at Mount Sinai. This was musical idolatry of the Egyptian Trias. "Play" includes instrumental music and sexual perversion.

    And he said, Amos, what seest thou? And I said, A basket of summer fruit. Then said the Lord unto me, The end is come upon my people of Israel; I will not again pass by them any more. Am 8:2

    And the songs of the temple (with asherah poles) shall be howlings in that day, saith the Lord God: there shall be many dead bodies in every place; they shall cast them forth with silence. Am 8:3

    Hear this, O ye that swallow up the needy, even to make the poor of the land to fail, Am 8:4

    Saying, When will the new moon (Jubilee) be gone, that we may sell corn? and the sabbath, that we may set forth wheat, making the ephah small, and the shekel great, and falsifying the balances by deceit? Am 8:5 (Or books or make it to the next show and tell?)

    The "basket" was empty of the Word but it still carries signs of judgment. This is repeated in a Revelation Parallel.

    Kelumb (h3619) kel-oob'; from the same as 3611; a bird-trap (as furnished with a clap-stick or treadle to spring it); hence a basket (as resembling a wicker cage): - basket, cage.

    Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog.

    For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet. Ps.22:16

    Yea, they are greedy dogs which can never have enough, and they are shepherds that cannot understand: they all look to their own way, every one for his gain, from his quarter. Is.56:11

    And I will appoint over them four kinds, saith the Lord: the sword to slay, and the dogs to tear, and the fowls of the heaven, and the beasts of the earth, to devour and destroy. Je.15:3

    Paul insisted that a believer must obey Jesus and worship God IN THE SPIRIT. That is the new place. Why? Because "outside" are the dogs always looking for a scrap of bread or your tithe and offering. When they get you involved in musical or charismatic "worship" they fulfill the universal understanding that "singers and musicians were the harem of the gods." Therefore, when they USE you and stroke you into a Wimber "sexual climax" you are allowing THE DEVIL to use you just as the "fallen angels" used and abused both male and female in the beginning.

    The empty baskets of Amos were like the traps of the false prophets used to catch men:

    For among my people are found wicked men: they lay wait, as he that setteth snares; they set a trap, they catch men. Je 5:26

    As a cage is full of birds, so are their houses full of deceit: therefore they are become great, and waxen rich. Je 5:27

    They are waxen fat, they shine: yea, they overpass the deeds of the wicked: they judge not the cause, the cause of the fatherless, yet they prosper; and the right of the needy do they not judge. Je 5:28

    The prophets prophesy falsely, and the priests bear rule by their means; and my people love (ahab includes sexually) to have it so: and what will ye do in the end thereof? Je 5:31

    The word "charisma" or charismatic comes from the name of the Greek goddess Charis, who personified grace, beauty, purity, and altruism. Possession of these faculties came to be known as charisma. [Footnote: The Greek word is charizesthai, and it means favor or gift of divine origin. You might grasp that the charismitic revival is GRACE CENTERED meaning that they worship the charismatic.

    The Greeks do not seem to have associated this with the kind of demagogic and irrational leadership of which Plato wrote in his Gorgias, although they were well aware of the rhapsodic "Dionysian" aspect of life;

    Plato was a member of the Elysian mystery cult. For Aristotle the megalopsychos was the great man who dares to live alone in secret worship of his own soul.

    The Romans called the hero's charismatic power facilitas and believed it was derived from the gods.]

    Later usages derive from St. Paul, who saw it as a gift of grace from God: "To one there is given through the spirit the message of wisdom, to another the message of knowledge by means of the same spirit, to another faith by the same spirit, to another gifts of healing by that one spirit, to another miraculous powers, to another prophecy" (1 Corinthians 12:8-10).

    The most primitive form of charisma occurs in shamanism. This is the religion of the small tribal unit and the witch doctor. The shaman-- "one who is excited, moved, raised" (Lindholm 1990, 158)--becomes master of the "techniques of ecstasy" (Eliade 1964). Typically he (or she, for among the !Kung fully 10 percent of women become shamans; Lindholm 1990, 163) is identified early as one with a "shadowed heart."

    The shaman is not psychotic but is disturbed in some way--the "disease of God," as the Koreans put it (La Barre 1980, 58)--showing peculiar behaviors from birth and experiencing spirit possession, trance, and epileptic seizures while a youth. Such a youth is apprenticed to a senior shaman, who trains him in occult practices.

    After hearing a call from a god or a spirit, the trainee withdraws into the desert or the woods to meditate in solitude, often undergoing some kind of spiritual test, such as a journey to the underworld.

    This culminates in a spiritual rebirth from which the shaman emerges with an inner strength and an uncanny sensitivity, emotional intensity, and detachment. Transformed, the graduate shaman returns to the tribe to claim his place as tribal witch doctor (Kopp 1972, 31-32).

    Weber wondered whether charisma might arise from some mental illness, but he rejected the notion (Weber 1968a, 499). Instead, he spoke of an "emotional seizure" that originates in the unconscious of the leader and results in three "extraordinary" emotions: ecstasy, euphoria, and political passions.

    These emotions arouse similar feelings in others, who become followers (Weber 1968b, 273-74); the greater the leader's emotional depth and belief in his calling, the greater is his appeal and the more intense is his following (Weber 1968a, 539). Weber also associated a particular calling with each extraordinary emotion.

    The first involves two kinds of leaders--the shaman and the "exemplary" prophet--who use ecstasy as a tool of salvation and self-deification.

    To produce ecstasy they may use alcohol and other drugs, music and dance, sexuality, or some combination of these; in short, orgies (Weber 1968b, 273).

    They also may provoke hysterical or epileptoid seizures (Weber 1968b, 273). This may seem like a mental disturbance or possession

    However, in time this facade of competence became less stable. Their confidence began to give way to vain boasting and a naive sense of invincibility. Unrealistic, grandiose fantasies appeared in their conversations, along with a streak of exhibitionism.

    So "brittle" did their confidence and self-certainty become that they were sometimes unable to admit to a gap in their knowledge;

    their need to appear strong was so shallow as to render them unable to ask for information, assistance, or advice.

    They were reluctant to seek therapy but had been forced to do so because of having been compromised by various fraudulent or sexually perverse behaviors.

     

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