- The priests could not
"contribute
as a worshiper."
- God shut off the Holy Place which as a
symbolic form of the long-future church.
- The Incense altar was cut off so most
priests could not MEDIATE in prayer.
- The bread
of fellowship was removed.
- The Menorah or "seven spirits OF God in
forms of Divine Knowledge"
was removed.
- The Most Holy Place exiled the symbolic
presence of God by the Ark of the Covenant.
- The Grace
of God was exiled under the Mercy Seat.
- God's place of worship was guarded by
Cherubim
- As the Garden of Eden was guarded
- As the Covenant of Grace broken because of
musical idolatry
- As David was exiled from Gibeon
All
"Civilians" not part of the Monarchy were always PUT OUTSIDE the Camp
when they heard the loud "noise."
- However, the people who were present and not part of the
Temple- State prayed
directly
to God.
- God heard from HEAVEN and not from
inside the House He did not need or want.
- This would be so until Jesus returns. God
did not command nor need mediators between Himself and righteous people.
Everyone not
connected to this Federal Government, which replaced tribal or
"congregational" authority,
attended "synagogue" on all Sabbath days: this was on many first days
and all seventh days. The Synagogue was "the church in the
wilderness" according to Timothy who denied that God promised David a
Temple.
The final
straw was when the elders fired God and demanded a national king so
they could worship like the nations.
And
said unto him, Behold, thou
art old, and thy sons walk not in thy ways: now make us a king
to
judge us like all the nations. 1 Sam 8:5
Gowy
(h1471) go'ee; rarely (short.) goy go'-ee; appar. from the same root
as 1465 (in the sense of massing); a foreign nation; hence a Gentile; also (fig.) a troop of
animals, or a flight
of
locusts: - Gentile, heathen,
nation, people
And
that which cometh into your
mind shall not be at all, that ye say, We will be as the heathen,
as
the families of the countries, to serve wood
and stone. Eze.20:32
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. 1 Sam 8:7
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. 1 Sam 8:8
Now
therefore hearken unto
their voice: howbeit yet protest solemnly unto them,
and shew them
the manner of the king that shall reign over them. 1 Sam 8:9
BECAUSE
GOD ABANDONED THE NATION TO WORSHIP THE STARRY HOST, WHY BE SURPRISED
THAT WHAT DAVID COMMANDED VIOLATED THE UNCHANGELABLE LAW OF MOSES?
"The
book of Psalms contain
new
doctrine
after the Law of Moses.
And after the writing of Moses, it is the second book of doctrine...
(David) first gave to the Hebrews a new style of psalmody, why which
he abrogates the ordinances established by Moses with respect to
sacrifices,
and
introduces the new hymn and a new style of jubilant praise in the worship of
God;
and throughout his whole
ministry he teaches very many other things that went
beyond
the law of Moses." (Fragment of Commentary by Hippolytus, bishop of
Rome, Ante-Nicene, V, p. 170)
"The trained musicians
which
eventually appear around the time of David and Solomon mark
a distinctive
change
in the
history of Jewish music.
Before this time much of the music was made
by
women." (Zondervan
Pict., Music p. 313).
"Women
and girls
from the different ranks of society were proud to enter the service of the gods
as singers
and musicians. The
understanding of
this service was universal: these singers constituted the 'harem of the gods'." "The Catholic Johannes Quasten in Pagan and Christian
Music tells it
like it
is)
God
then defines the
monarchy as quite identical to the Babylonian Harlot seen again in Revelation
18:22.
Here
is Apollo's sun chariot.
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 [musical]. 1
Sam 8:12
And
he will take your daughters
to be confectionaries, and to be cooks,
and to be bakers.
1 Sam 8:13
chamman,
the King James Version
"images," "idols"; the Revised Version (British and American)
"sun-images" (Leviticus 26:30; 2 Chronicles 14:5; 34:4,7; Isaiah
17:8; 27:9; Ezekiel 6:4,6):
This
worship may originally
have come
from
Babylonia, but the
reverence of the sun under the name Baal-hamman had long been common in
Palestine
before Joshua and the Israelites entered the country. These
sun-images were probably obelisks or pillars connected with the
worship of some local Baal. The chariot
and horses of
the sun, mentioned (2
Kings 23:11) as having an honored place at the western entrance of
the Jerusalem Temple, represented not a local but a foreign cult. In Babylonian temples, sacrifices
were made to the sun-chariot, which
seems to have had a special significance in time of war (Pinches,
HDB, IV, 629; see also CHARIOTS OF THE SUN).
Because the worship to which Israel
was ABANDONED
is seen as that of Apollo or Apollyon and the Muses called Locusts in
Revelatin 17-18 we know that there has only been one enemy of God in
all ages.
What would Jesus
think? The
False preachers also missed that the Spirit OF Christ spoke ONLY
through the prophets: it is a lie that the "holy spirit" guided the
elders and preachers to lie about all of the Bible.
So
the children went in and possessed the land, and
thou subduedst before them the inhabitants of the
land,
the
Canaanites, and gavest them into their hands, with their kings, and
the people of the land, that they might do with them as they would.
Neh 9:24
And
they took strong
cities, and a fat land, and
possessed houses
full of all goods, wells
digged, vineyards, and oliveyards, and fruit trees in
abundance:
so they did eat, and were
filled, and became fat, and delighted
themselves
in thy
great goodness. Neh 9:25
Nevertheless
they were disobedient,
and rebelled
against thee, and
cast thy law behind their backs,
and slew
thy prophets which testified
against
them to turn
them to thee,
and they
wrought great
provocations. Neh 9:26
Neither
have our kings, our princes, our priests, nor our
fathers, kept thy law, nor hearkened unto thy commandments and
thy testimonies,
wherewith thou didst testify
against them. Neh 9:34
For
they have not served
thee in their kingdom, and in thy great
goodness that thou gavest them, and in the large and fat land which
thou gavest before them, neither turned they from their wicked works.
Neh 9:35
Behold, we are
servants this day,
[and so are you]
and for
the land that thou gavest
unto our fathers
to eat the fruit thereof and the good
thereof,
behold, we are servants
in it: Neh 9:36
And it yieldeth
much increase unto the kings whom
thou hast set
over us
because of our sins:
also they have dominion over our bodies, and over our cattle,
at
their pleasure,
and we are in great distress. Neh 9:37
They
have sown wheat, but shall reap thorns:
they have put
themselves to
pain, but
shall not profit:
and they shall be ashamed
of your revenues
because of the fierce anger of the Lord.
Je.12:13
WITH
MOST OF THE BIBLE REPUDIATING THAT WHICH THE NACC WANTS TO RESTORE,
WHAT WAS IT GOD ABANDONED ISREAL TO TO "WORK OUT THEIR OWN CAPTIVITY
AND DEATH?"
Here is what taking money for the
INSTITUTE to deprove the DESTITUTE
mean and what the Musical Sowers of Discord want to steal from
you. Sabbath meant REST: it limited travel so they could not
attend the Canaanite rituals where sabbath WORSHIP was a product of
Babylon where the "seventh" meant that God's "agents" rested while the
people as "labor saving devices" created as "watchtower slaves."
BECAUSE OF musical idolatry at Mount
Sinai God turned the nation over to worship the starry host. This was Sabazianism which is
the same Dionysus "new wineskin" worship they brought from Egypt.
Strabo
Geography
[10.3.18] Just as in all other respects the Athenians
continue to be hospitable to things foreign, so also in their
worship of the gods; for they welcomed so many of the foreign rites
that they were ridiculed therefore by comic writers; and among these
were the Thracian
and
Phrygian rites.
For instance, the
Bendideian rites
are mentioned by Plato,1 and the Phrygian by Demosthenes,2 when he
casts the reproach upon Aeschines' mother and Aeschines himself that
he was with her when she conducted initiations,
that he
joined her in leading
the Dionysiac
march, and that
many a time he cried out "evoe
saboe," and
"hyes
attes, attes hyes"; for these words are in the ritual of Sabazius
and
the Mother.
10.3.19] Further, one might also find, in
addition to these facts concerning these genii and
their various
names, that they were called, not only ministers of gods, but
also gods themselves. For instance, Hesiod says
that five daughters
were born to Hecaterus and the daughter of Phoroneus, from whom
sprang the mountain-ranging
nymphs,
goddesses, and the breed
of Satyrs,
creatures worthless and unfit
for work, and
also
the Curetes, sportive gods, dancers.
Abandonment
to the worship of the goyim or gentiles was
condemnation to the Babylonianism and Egyptian worship out of which
they came. Therefore, it comes as no surprise that the
worship of the Israelite Nation was the same superstitious paganism:
"In the cultic
practices,
humans fulfilled their destiny: to
take care of the gods' material needs. They therefore provided the gods with
houses (the
temples)
that were richly
supplied with lands, which people cultivated for them.
"In
the temple the god was
present in--but not bounded by--a statue
made of precious
wood overlaid with gold. For this statue
the temple
kitchen
staff prepared daily
meals from
victuals
grown or raised on the temple's fields, in its orchards, in its
sheepfolds, cattle pens, and game preserves, brought in by its fishermen, or delivered by farmers owing it as a temple
tax. The statue
was also clad in costly
raiment, bathed,
and escorted to bed in the bedchamber of the god, often
on top of the temple
tower,
or ziggurat.
To see to all of this
the god
had priests
trained as cooks, bakers, waiters, and bathers, or as encomiasts (singers of praise) and musicians to make
the god's meals festive, or as elegists to soothe
him in times of stress
and grief. This included "holy prostitutes."
IS THE NACC RIGHT THAT RELIGIOUS MUSIC WAS USED
EVEN BEFORE ISRAEL?
Certainly,
we are told that Lucifer the "singing and harp playing prostitute"
brought it with him / her / it into the garden of Eden:
"Orpheus was the first who introduced
the rites of father
Liber (the wineskin god) into Greece; and he
first celebrated them on a mountain of Boeotia, very near to Thebes,
where Liber was born; and because this mountain continually resounded with the strains of the lyre,
it was called Cithearon (lyre). Those sacred
rites are even now called orphic,
in which he himself was lacerated and torn in
pieces." (The Divine Institutes, Ante-Nicene Fathers, VII, p.
38).
"It
is fabled of Orpheus, a
most celebrated musician, that such was the enchanting harmony of his
lyre,
that he built
the city
of Thebes by it:
the
stones and timbers danced
to the melody;
and by the power of his harmony rose up, and took their respective places in
the
different parts of the wall that was to defend the city. (Clark, II
Chron 34:12)
As the Jews came to worship the bronze serpent and even the Ark of the
Covenant, Israel too quickly forgot that it was God and not the music
Who caused the walls of Jericho to come down:
"The OT retains
vestiges of the magic
use of music,
which
antedates most of the biblical narratives by many centuries. The
collapse of Jericho's wall, after the ritual sounding of the ram's
horns, is mythologically akin to the Greek legend of Amphion of Thebes, whose lyre-playing moved the stones to rebuild the broken wall.
(International Dictionary of the Bible, p. 458, Abingdon). (See Homer
Odyssey XI.260 ff)
We think
that God was
removing the CANDLESTICKS of Divine knowledge just like the end time
Mother of Harlots (Revelation 17) who uses singers and instrument
players as SORCERERS who HAD deceived the whole world. The candles will
NEVER shine in that church again (Rev. 18)
"The
LORD reigns, let the nations tremble; he sits enthroned
between the cherubim, let the earth
shake." - Psalm 99:1
"As Jehovah was surrounded by figures of cherubim in His Sanctuary on
earth, so He is, according to Scripture, surrounded in reality by
cherubim in His Court above. The function ascribed to these heavenly
servants of God's Majesty is that of throne-bearers, or 'carriers',
of
His Divine Majesty." - J.P. Arendzen, "Cheribim",
Catholic Encyclopedia
"He [Yahweh] rode upon a cherub and flew upon the wings
of the wind [spirit?]." - Psalm 18:10
That means that YOU as a singer or
musician as a Levitical Warrior dare to
come into God's presence you would be INSTANTLY executed for your
arrogant
presumption.
David Faust: 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 with
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.
Lucky for Disciples of Christ they
do
not live on a desert island
although they mostly live on a DESSERT fellowship. Those who
have read the Bible and repudiated instruments prior to the Disciples
and the NACC know better:
No Levite, used as Warrior Noise makers and
later under the king and commanders of the army could come near the
holy places of the sanctury or they would be executed. The
patternism
is
that if a musician
enters into the body of Christ as fulfilment of the
Holy Place he / she / it is worthy of death. The symbols of
the
Holy Place define the church: only priests of God who have accepted the
blood of Christ and been washed are permitted into the church. The
table of bread represents the fellowship of believers so added to the
church. The lampstands represents the seven spirits of Christ resting
on the one Branch (Isaiah 11). The incense altar looks into the Most
Holy Place. There we individually offer up the "fruit of the
lips" as figured by the incense. The singers and slaughter
priesthood are OUTSIDE on the far side of the sacrifice and washing.
Num 18:2 And thy brethren
also of the tribe of Levi, the
tribe of thy father,
bring thou with thee, that they may be joined unto thee, and minister unto thee:
but thou and thy sons with thee shall minister BEFORE
the tabernacle of witness.
[never IN]
H8334 sharath
shaw-rath' A primitive root; to attend as a menial
or worshipper; figuratively to contribute
to:--minister (unto), (do) serve (-ant, -ice, -itor), wait on.
Their "service" is defined
as "hard bondage" and music is defined as a work of human hands.
Num 18:3 And they shall
keep thy charge, and the charge of all the tabernacle:
only
they shall not
come nigh the vessels of the sanctuary and the
altar,
that
neither they, nor ye also, die.
Contrary
to being a spiritual worship service the "congregation" could not come
near the instrumental noise makers:
the sacrificial system had been imposed and if it were not performed it
would bring down God wrath as punishment due for NOT performing what
they had been abandoned
to.
Therefore, the instrumental sectarians personify legalism.
Num 18:6 And I, behold, I
have taken your brethren the Levites from among
the
children of Israel:
to you they are given as a gift for the LORD,
to do
the service of the tabernacle
of the congregation.
Num 18:7 Therefore thou and thy
sons with thee shall keep your priest’s
office for every thing of the altar,
and within the veil; and ye shall
serve:
I have given your priest’s office unto you as a service of gift:
and
the stranger that cometh nigh shall be put to death.
NOTHING IN THE MONARCHY WAS COMMANDED
BUT WAS A CURSE.
Alfred
Edersheim defining The Flute around the Temple notes:
The
flute (or reed pipe) was played in the Temple on twelve special
festivities.
These
were: the day of killing the first, and that of killing the
second Passover, the first day of unleavened bread,
Pentecost, and the
eight days of the Feast of Tabernacles. Quite in accordance with the
social character of these feasts, the flute was
also used by the festive pilgrim-bands on their journey
to Jerusalem, to accompany 'the Psalms of Degrees,'
or rather of 'Ascent'
(Isa 30:29), sung on such occasions.
Isaiah
30 declares that Tophet (from Tambourine) once King
Solomon's music
grove became the model of HELL ITSELF was prepared for the king of
Babylon as "Lucifer." Because Lucifer brought wind, string
and
percussion instruments into the garden of eden and wholly seduced Eve
and is defined as "the singing and harp playing prostitute" where
serpent means a Musical Enchanter, God uses wind, string and percussion
instruments to DRIVE all of those who fall into musical idolatry into
hell. Isaiah is addressed to all NATIONAL systems of which
Israel
and Juday were part:
Must ye always
rejoice, and go into my holy places
continually, as they
that keep
a
feast?
and must ye go
with a pipe,
as those that rejoice into the mountain of the Lord,
to the God of
Israel Isaiah 30:29 LXX
"The
ritual
observances at the Hebrew and at a Canaanite sanctuary were so
similar that to the mass of the
people Jehovah worship and Baal worship were not separated by
any well-marked line...
NOTE
THAT PSALM 87 IS ONE OF THE PARADE OR "GOING IN PROCESSION" TO
JERUSALEM PSALMS.
Psalm 87 has the same meaning as Psalms 30 and Psalm 30 uses this as
prophecy that God will drive them into a type of hell to the beat of
wind, string and percussion instruments.
"Many
of the Psalms are expressive of the parade dance, or dance procession, in a way which show it
to have been the
characteristic form of the festival (Psalms 30:12, 87:7, 149:3, 150:4;
Is. 30:29) and
that this was where many
of the Psalms were used." ( W. O.
E. Osterley, The Sacred Dance (Cambridge:
N. P., 1923), p. 94)
ISAIAH 30: DOES THE NACC WANT TO USE
THIS TO PROMOTE INSTRUMENTAL SECTARIANISM?
Peter Lange writes of Isaiah 30: "But the skeleton comes alive and does an
ecstatic dance of death in
one of Isaiah's greatest poems, a religious
song meant to accompany
a human sacrifice at the
Jerusalem Tophet.
Isaiah began preaching in Judah at almost the exact time that the first
sacrificial
urns
were planted in
the Carthaginian
Tophet.
"What's
amazing about Isaiah's song is its explicit ritual
content, and the undeniable authorship of Yahweh in
the torture and immolation of the Assyrian victim, who is probably the
great Assyrian conquerer Sennacherib. The Assyrians were
threatening the existence of Judah
during Isaiah's lifetime, and they succeeded in annihilating
the northern kingdom of Samaria (Israel
proper). These verses
served as the centerpiece of Paul Mosca's Ph.D. thesis at Harvard in
1975, Child;
Sacrifice
in Israelite and Canaanite Religion."
David Faust and other seekers to
subvert
peaceable non-instrumental churches use Hezekiah's Animal Sacrifice
"contract" with God as proof that God Commanded Instrumental praise and
in the words of Rick Atchley, we should not be disobediend.
However, the picture below defines the INSTRUMENTAL worship carried on
BEFORE and AFTER Hezekiah where son Manasseh picked up the idolatrous
worship Hezekiah momentarily removed from the temple and afterward went
throughthe city to shut down the idolatrous Shrines.
This is the Molech of which Amos
speaks so that no Bible student could say that "they just had a bad
mental attitude."
Isaiah
proves that if you "worship" God with this instrumental noise, God will
use the SAME instruments to "drum" you into Topheth or "hell."
and
the Lord shall make his glorious voice
to be
heard
and the wrath
of his
arm,
to make a display
with
wrath
and anger and devouring
flame:
he shall lighten terribly, and his wrath
shall
be as water and violent hail. Isaiah 30:30 LXX
For by the
voice of the Lord
the Assyrians shall be overcome, even
by
the stroke where with he shall smite them. Isaiah 30:31
LXX
And it shall
happen to him from
every side, that they from whom their hope of assistance was, in
which he trusted, themselves shall war against him in turn with drums and with harp.
Isaiah 30:32 LXX
For thou shalt
be required
before thy time: has it been prepared for thee also to reign? nay, God has prepared for
thee
a deep
trench, wood piled fire and much wood: the wrath
of the Lord shall be as a trench kindled with sulphur.
Isaiah 30:33 LXX
For Tophet is ordained of old;
yea, for the king it is
prepared; he hath made it deep and large: the pile
thereof is fire and much
wood;
the breath (divine inspiration,
spirit) of the Lord, like a stream of
brimstone, doth kindle
it. 30:33KJV
And
it shall come
to pass in that day that the Lord shall give thee rest from thy sorrow and
vexation, and from thy hard
serviture wherein thou
didst serve them. Isaiah 14:3LXX
And
thou shalt take
up this lamentation against the king of Babylon, How has the extortioner ceased, and the taskmaster ceased Isaiah 14:4 LXX
All
your pomp has been brought down
to the grave (Sheol or hell),
along with the noise
of your harps; maggots are spread out beneath
you and worms
cover you. Isaiah 14:11NIV
How
you have fallen
from heaven, O morning star, son of the dawn! You have been cast down
to the earth, you who once laid low the nations! Isaiah 14:12
You
said in your
heart, "I will ascend to
heaven; I will raise my
throne above the stars of God; I will sit enthroned on the mount of
assembly, on the utmost heights of the sacred mountain. Isaiah 14:13
CLICK
TO READ ISAIAH 30 WHICH PROVES THAT MUSIC IS THE MARK OF GOD REPAYING
HIS ENEMIES.
David Faust: So it's not a
surprise to read in Psalm 87 how God's people will respond
with music when the Lord establishes His messianic
kingdom (Psalm 87:5-7). Psalm 87 talks about God's love for Mount
Zion. It fore- tells how one day Gentiles would flock into
the kingdom of God.
Let's repeat: "Many
of the Psalms are expressive of the parade dance, or dance procession, in a way which show it
to have been the
characteristic form of the festival (Psalms 30:12, 87:7, 149:3, 150:4;
Is. 30:29) and
that this was where many
of the Psalms were used." (W. O. E.
Osterley, The Sacred
Dance
(Cambridge:
N. P., 1923), p. 94)
David Faust: if I were alone on my
"desert island," Psalm 87:7 would imply to me that instrumental music
is not only permissible but to be expected in the Messianic
kingdom-that is, assuming the Bible I happen to have on that desert island is the King
James Version!
The
Jewish people sometimes had some trouble understanding Messianic
prophecies about the nature of God's kingdom, but this one shouldn't
have given them any trouble. They were used to the idea
that God could be praised
with musical
instruments.
The force of this is pretty strong, unless you deny the messianic
implications of Psalm 87.
Yes,
most religionists still have trouble with the nature of the kingdom!
The "civilians" never once in the Bible ever sang congregationally with
instrumental accompaniment. The Levitical Warrior Singers served the
king and commanders of the army. That was at the unwanted temple as the
Civil-Clergy complex like all nations. If you were not of
Levi and NOT on assignment making war or slaughtering animals or going
in procession to burn infants YOU would not be permitted to either sing
or play in a religious sense.
Jesus warned of anyone
who wanted to locate the kingdom "out there" or "over here" where we
have the best preacher and the loudest music: he said "the kingdom of
God is WITHIN you." That is why the sinful woman understood that
worship is not in her PLACE or in ZION but worship is in the PLACE of
the human spirit devoted solely to the Word.
David Faust: The New International
version says it differently. It translates Psalm 87:7, "As they
make music they will sing . ... it doesn't use the word
"instruments," but it still distinguishes between "making
music" and "singing. " I checked with one of our Hebrew
scholars at CCU,
who
informed me that the word the King James uses for players on
instruments'
actually
means "to whirl, dance,
or writhe. "
We have noted the actual meaning above:
Players
is the
Hebrew: Chalal (h2490) khaw-lal'; a
prim.
root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. 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): - begin (* men
began), defile, * break, defile, * eat (as common things), * first, * gather
the grape
thereof, * take
inheritance, pipe,
player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.
The same
meaning is:
Players in this
verse in Hebrew: Nagan (h5059) naw-gan';
a prim. root; prop. to thrum,
i. e. beat a
tune with the fingers; espec. to play on a stringed instrument;
hence
(gen.) to make music: - player on instruments, sing to the stringed
instruments, melody, ministrel, play (-er, -ing..
Naga
(h5060) naw-gah'; a prim. root; prop. to touch,
i. e. lay the hand upon (for any purpose; euphem., to lie with a
woman); by impl. to reach (fig. to arrive, acquire); violently, to
strike (punish, defeat, destroy, etc.): - beat, (* be able to) bring (down), cast, come (nigh), draw near (nigh),
get up, happen, join, near, plague,
reach (up), smite, strike, touch.
And the play of David
The
word PLAY was confessed by
David to MAKE SELF VILE and he did it to be honored
by the CAMP
FOLLOWER GIRLS:
lu-do to sport, to play on an instrument of music, to make or compose music
or song:
C.
Ludere aliquem
or aliquid, to play, mock, imitate, to imitate work, make
believe work,
[PARASITES]
2
Peter 2:13 And shall receive
the reward of unrighteousness, as they that count
it pleasure to riot in the day time. Spots they are
and blemishes, sporting
themselves with their own deceivings while they
feast with you;
Truphaô , ( [truphê] ) A. live softly,
luxuriously,
fare sumptuously, paison,
paison
paizô [pais]. to
play (on an instrument), to sport, play, jest,
joke, to make sport of one, mock him,
B. To sport, dally, wanton (cf. "amorous play,"
Ov. A. A. 2, 389 Ovid's Art of Love: Book II
It
is true that to sing and play included almost by definition dancing.
Therefore, you cannot make MUSIC without moving the body together.
That is why there is NO MUSIC word used in connection with
the
Spiritual worship of God.
Here is the
approved pattern of David!
"The trained musicians which
eventually appear around the time of David and Solomon mark
a distinctive
change
in the
history of Jewish music.
Before this time much of the music was made
by
women." (Zondervan
Pict., Music p. 313).
"Before the establishment of
the kingdom under
Saul, it was the women who, as in every young
civilization,
played a major part in the performance of music. Such figures as
Miriam, Deborah, Jephtha's daughter, and the
women hailing the young
hero David have become almost archetypes of female
musicians. Characteristic of all
these cases is
the familiar picture of a female
chorus, dancing
and singing, accompanied by frenzied drum-beating. This is the scene known to the entire
Near East, and not even the severe rule of Islam could wholly suppress
this age-old
practice." (Int Dict of
the Bible, Music, p. 457).
But, the point is that
this has nothing to do with the church or instrumental music.
You
have to go to the next word to fins SHIYR used with
but NOT MEANING to
play an instrument. Then you have the musical ladies who were always
prostitutes out to meet the warriors who had pledge celebacy until
victory. IF you are going to use this to mean INSTRUMENTAL MUSIC then
you are caught up with the SINGERS AND PLAYERS who are clearly
identified as PROSTITUTES: that was why the Psalmist's JOY was in
Jerusalem which is identified by John as SODOM. Whirling,
dancing
and writhing was what David did when he "made himself vile" (that
praise word) and WENT NAKED: not to worry, Michal, he would become more
vile and be honored by the camp followers.
Paul speaks of
Mount
Sinai when the people REFUSED to hear the voice of god. They went on to
rise up in PLAY or perverted Musical Idolatry. God will shake
the
world again and WE had better be reverent and listening and NOT engaged
in musical self-idolatry. The MARK if you want to use it to SOW DISCORD
is what they tried to INDUCE into Jesus whom they hoped was Dionysus:
Choreia,
A. dance, esp. choral dance with
music chorous choreias tôi Dionusôi
[new wineskins god]
2. of any circling motion,
as
of the stars planêtôn te kai aplanôn choreiais [Wandering
Stars]
Choros performed round the altar
of Dionysus, 2. from the Dionysiac Chorus
arose the Attic Drama, which consisted at first of tales inserted in
the intervals of the Dance (epeisodia ), II. a
chorus, choir, i. e. a band of dancers and singer
Jude speaks of Enoch to define the
"wandering stars" who seduced
mankind using mixed-sex choirs, musical instruments, jewelry, putting
on of apparel and other seductive things. Once the holy Sethites fell
away from the Living Word they could never recover. They knew that they
were doomed for burning but gain some comfort in trying to seduce many
others to fall. Perhaps that is why there is an irrational lust by
the
instrumentalists to force others to CONFORM or CONFIRM.
It is a fact that the MUSIC word not used of the church
ever, DEMANDS dancing.
- E.Ba.
866 Euripides, Bacchae .... Our Annotated and linked Text
-
- Chorus
Shall I move my white foot in the night-long
dance, aroused to a frenzy,
[865] throwing my head to the dewy air, like a fawn sporting
in the green pleasures of the meadow, when it has escaped a fearful
chase beyond the watchers [870] over the well-woven nets, and the
hunter hastens his dogs [Catamites]
on their course with his call, while she, with great exertion and a
storm-swift running, rushes along the plain by the river, rejoicing
[875] in the solitude apart from men and in the thickets of the
shady-foliaged woods.
-
- What
is wisdom? Or what greater honor do the gods give to mortals than to hold one's hand
[880] in strength over the head of enemies? What is good is always
dear.
- Empaiktês
,
ou, ho,
A. mocker, deceiver, LXX Is.3.4, 2 Ep.Pet.3.3, Ep.Jud. 18.
-
- Ar.Th.975 Aristophanes,
Thesmophoriazusae
- Chorus [966] but since we want
something fresh, we are going through the rhythmic steps
of the round dance for the first time.
-
- Chorus Start off [970] while
you sing
to the god of the lyre and to the chaste goddess armed with the
bow.
Hail! thou god who flingest thy darts so far, grant us the victory! The homage of our song
is also due to Here, the goddess of marriage, [975] who interests
herself in every chorus and guards the approach to the nuptial couch.
-
Chorus
I also pray Hermes, the god of the
shepherds, and Pan and the beloved Graces to bestow a benevolent
smile [980] upon our songs. Let us lead off anew, let us double our
zeal during our solemn days, and especially let us observe a close fast
- Empaigma , atos, to, jest, mocking, delusion, LXX Is.66.4; magikês empaigmata technês [cunning, craftsman]
-
For
all those things hath mine hand made, and all those things have been,
saith the Lord: but to this man will I look, even to him that is poor
and of a contrite spirit, and trembleth at my word.
Isa 66:2
-
He
that killeth an ox is as if he slew a man; he that sacrificeth a lamb,
as if he cut off a dogs neck; he that offereth an oblation, as if he
offered swines blood; he that burneth incense, as if he blessed an
idol. Yea, they have chosen their own ways, and their soul delighteth in their abominations. Isa 66:3
Isa 66:4
I also will choose their delusions, and will bring
their fears upon
them; because when I called, none did answer; when I spake, they did
not hear: but they did evil before mine eyes, and chose that in which I
delighted not.
-
-
Taaluwwl (h8586) tah-al-ool';
from 5953; caprice (as a fit coming on), i. e.
vexation; concr. a tyrant: - babe,
delusion.
-
-
- And
I will give children (including females) to be their princes,
and babes (tyrants) shall rule over them. Is.3:4
Isa 66:15 For, behold,
the LORD will come with fire, and with his chariots
like a
whirlwind, to render his anger with fury, and his rebuke with
flames of
fire.
David
Faust: But again, I figure were on common
ground here because most of us in the Christian churches aren't big on "whirling,
dancing, or writhing" in public worship assemblies
either.
I
believe that all of the NACC operatives who sow discord under the
banner of "unity" are OBLIGATED to do in church exactly what they teach
or be condemned.
But, David
was big: said he made himself Vile but would be honored by the camp
follower slave girls. If David Faust is correct about Psalms 87 then he
is COMMANDED to do the whirling dance in the "worship services."
This was the whirling dervish dance which imitated a cow
slinging out a calf or the whirling planets or stars which David's
kingdom worshipped. If Psalm 87 is prophetic of the kingdom
then I find it strange that dancing is not demanded. After all the word
MUSIC in the ancient world DEMANDED dancing or moving togethe
2 Sam 6:5
And David and all the house of Israel PLAYED
before the Lord
on all
manner of instruments made of fir wood,
even on harps,
and on psalteries, and on timbrels,
and on cornets, and on cymbals.
The
word PLAY was confessed by
David to MAKE SELF VILE and he did it to be honored
by the CAMP
FOLLOWER GIRLS:
lu-do to sport, to play on an instrument of music, to make or compose music
or song:
C.
Ludere aliquem
or aliquid, to play, mock, imitate, to imitate work, make
believe work,
[PARASITES]
2
Peter 2:13 And shall receive
the reward of unrighteousness, as they that count
it pleasure to riot in the day time. Spots they are
and blemishes, sporting
themselves with their own deceivings while they
feast with you;
Truphaô , ( [truphê] ) A. live softly,
luxuriously,
fare sumptuously, paison,
paison
paizô [pais]. to
play (on an instrument), to sport, play, jest,
joke, to make sport of one, mock him,
B. To sport, dally, wanton (cf. "amorous play,"
Ov. A. A. 2, 389 Ovid's Art of Love: Book II
Or when she combs or when she
curls her hair,
Commend her curious art and
gallant air.
Singing, her voice, dancing, her steps, admire;
Applaud
when she
desists, and still desire.
Let all her words and actions
wonder raise;
View her with raptures, and with raptures praise
Fierce as Medusa though your mistress prove,
These arts will teach the stubborn beauty love.
Be cautious lest you overact
your part,
And temper your HYPOCRISY with ART;
Let no false
action give your words the lie,
For once
deceiv'd, she's ever after shy.
David
was wearing
the Ephod which was a feminine garment for the priesthood which was
like ALL national priesthoods and NOT an approved PATTERNISM. No one
doubts that he WENT NAKED. Other words define the naked PLAY:
Nu-do I. to make naked or
bare; to strip, bare, lay bare,
expose to view, uncover (syn.: exuo, detego, revelo).
Scurra , ae, m. 1. A city buffoon,
droll, jester (usually in the suite of wealthy
persons, and accordingly a
kind of parasite; syn.: -Of
the clown in a pantomime, Juv. 13, sannio, parasitus)
Sannio , I. one who makes mimicking
grimaces, a buffoon
Parasi-tus , i, m., = parasitos, lit. one who
eats with
another; hence,
parasitus Phoebi, a player, actor [For APOLLO or Apollyon
and his MUSES]
II. In
partic., in a
bad sense, one who, by flattery and buffoonery, manages to live at
another's expense, a
sponger, toad-eater, parasite
Jesus consigned the "pipers, singers and dancers" to the Agora or
marketplace. This was the ONLY arena for singing, dancing,
playing instruments, eating of meats, drinking of wine, offering
sacrifices, buying human bodies and radishes. The PSALLO rope has the
second major meaning as a polluted cord which plucked those who tarried
and refused to go to the ekklesia for verbal instruction only. They
would be MARKED as polluted.
THE
CROOKED GENERATION JESUS CAME TO SAVE US FROM
Again,
David Faust: Using my "desert island"
principle, since I read this in my Old Testament, where I would find
any evidence in the New Testament
that God now frowns upon using musical 'instruments as an aid
to worship? it seems to me that there's a burden of proof on my
non-instrumental friends to show where the New Testament plainly disallows something
God so plainly and warmly blessed in the past.
- In fact, based on facts, God would
have had to violate
all of the Old Testament and proven Himself carnal and able to be
pleased and tickled and forced to COMMAND any kind of music.
He would also have had to prove Himself the Mother Goddess
because you didn't worship masculine gods with feminine and effeminate
music.
- It is clearly stated that the Law was
given because
of transgression. God abandoned them to worship the starry host (Acts
7) because of their musical
idolatry
at Mount Sinai. Therefore, all of the "proof texts" are dredged up from
the sacrificial system which God imposed but did not need nor want.
We have shown throughout that the "civilians" were not
permitted into this "quarantined" system. We have quoted Nehemiah to
prove that the clergy was imposed
and cursed
and fleeced
them because of their sin. If anyone wants to fleece you then
I have just the people for you.
- The
sacrificial system effectively ended when the death and captivity
penalty was carried out and a tiny remnant returned to Jerusalem.
- The
Jews had been cured of the CURSE
of animal sacrifices and the synagogue
as the church in the wilderness and always the ONLY worship place for
the people was the only thing leff to give attention to the Word of God.
- The Jerusalem temple and
the priesthood was still afflicted with Zeus-Dionysus worship in
the temple. They would undersand true
"musical" performance to be avoided. This was part of the Abomination of
Desolation. The priestly class were "hired hand" and the temple was
HEROD'S temple used to appease the Jews. The priesthood were
so utterly perverted that Jesus spoke to them only in parables to
prevent them from knowing what was happenig. I find it
astounding that the "rise" of the new style music which began to be
pushed with the Restoration Forums there was an obcession with creating
GYMNASIA!
in Jerusalem, which “attracted the noblest
young men of Israel...subduing them under the petaso”
(2
Macc. 4:12). In the traditional Latin
translation the above phrase is rendered “to put in brothels”
(Riley:15). The gymnasia
were notorious throughout the ancient world for their association with homosexual practices.
In fact, Flaceliere concludes from Plutarch’s writings that
from the beginning of its acceptance in Greece, “the
development of homosexuality was connected to the rise of
gymnasia...[which usually contained] not only a statue or Hermes,
but also one of Eros” (Flaceliere:65).
The 'Jews' at the time of Jesus were
probably Cainites, Kenites
or Arabs.
Most of the Israelites had fled when as part of the
Abomination of Desolation the men were required to "wear the hat of
hermes." That is, they were initiated into cult of the false "logos"
which meant sodomy. That is why the weaping or woes
accompanied
the dance when that generation PIPED. Wine, women and music
went
directly into the Temple holy places. First Maccabees defines
the
Abomination of Desolation which involved Zeus and Dionysus worship. All
priesthoods were homosexual.
They
claim they
are Jews #2453 Ioudas -
Judas; in Hebrew 3063 - Yehudah - a descendant of
Judah. The
paid their way into the Herodian
ruling class. The Saducean priesthood during the first century
were not of Aaron but consisted of four families: Boethus,
Hanan,
Kimchit, and Phiabi. They
intermarried with the Herodians, the Royal Rulers of the State of
Israel, who were, themselves Edomites (Idumeans)
from the Petra
region (or Edom) and descendants of Esau (or Seir,
which means
"shaggy, he-goat, devil"), thus the "synagogue of
Satan" leaders claimed to be Jews but were Edomites
appointed by
the Herodian rulers under Rome;
Herod Antipas, for instance, and Pontius Pilate held the same
governmental position for Rome, the reason for much rivalry between
them); since Esau was "red and hairy" his nickname was Edom, and he
lived in Seir where Ham's
descendants settled.
Unless Stephen was lying on his "death bed" then that which the NACC
wants to impose was that of Dionysus and others which they brought with
them out of Egypt. If they were SENTENCED to worship the
starry host then don't be surprised that Plutarch and others agrees.
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.
And I suppose that their Sabbaths have some
relation to Bacchus; for even now many call the Bacchi by the name of Sabbi, and
they make use of that word at the celebration of Bacchus's orgies.
And this may be discovered out of Demosthenes
and Menander. Nor would it be out of place, were any one to say that
the name Sabbath was given to this feast from the agitation and excitement
[Greek omitted] which the priests
of
Bacchus display.
So in the nocturnal ceremonies of Bacchus (as the fashion is amongst us), they make use of music, and call the god's nurses [Greek omitted].
High
up on the wall of their
temple is a representation
of the thyrsus and
timbrels, which surely suits no other
god than Bacchus.
John
refused to baptize the "generation of vipers" and promised them a
baptism of spirit and fire: the spirit OF fire and burning. Jesus used
parables to HIDE the truth from those who had lived by perverting the
knowledge of God (Isa 48). Peter said save yourselves from
this
CROOKED generation.
When Israel ROSE UP
TO PLAY at Mount Sinai it was the MUSICAL
IDOLATRY of the Egyptian TRIAD. The symbol of Osiris was the APIS
bull and that of Isis the Hathor Cow. Miriam would have automatically
been a PROPHETESS of Hathor. She WAS punished for presuming to be a
prophetess in the sense of SPEAKING FOR GOD. All rejections of God's
Word was CROOKED:
Deut
32:5 THEY have CORRUPTED themselves, their SPOT
(blemish )is
not the spot of HIS CHILDREN: they are a PERVERSE (distorted,
false)
and CROOKED
(a twisted vine) generation.
Deut
32:6 Do ye thus requite (repay) the Lord, O FOOLISH people
and unwise? is not he thy father that hath bought thee? hath he not
made thee, and established thee?
Foolish is the
Hebrew:
Nabal (h5036)
naw-bawl'; from 5034; STUPID; wicked (espec.
impious): - fool (-ish, -ish man, -ish woman), VILE person.
Nebel (h5035) neh'-bel; or nebel nay'-bel; from 5034; a SKIN- BAG
for liquids (from COLLAPSING when EMPTY);
hence a vase (as similar in
shape when full); also a LYRE (as having a body of like form): -
bottle, pitcher, PSALTERY,
vessel, VIOL
The
crooked men were devoted to
skolion singing in the symposia where perverted males met with
harppluckers and flute-girls (synonym for prostitute)
Skolios
MEANING: ithunei skolion makes
the crooked one straight, Hes.Op.7;
s. kai phoberos
Hes.Op.7;
Hesoid Works and Days:
(ll. 1-10) Muses of Pieria who give glory through song, come hither, tell
of
Zeus your father and chant
his
praise. Throug him
mortal men are famed or un-famed, sung
or unsung alike, as great Zeus wills. For easily he makes
strong,
and easily he brings the strong man low; easily he humbles the proud
and raises the obscure, and easily he straightens the crooked and
blasts the proud, -- Zeus who thunders aloft and has his dwelling
most high.
Attend
thou with eye and ear,
and make judgements straight with righteousness. And I, Perses, would
tell of true things.
(ll.
11-24) So, after all,
there was not one kind of Strife
alone, but all over the earth there are two. As for the one,
a man
would praise her when he came to understand her; but the other is
blameworthy: and they are wholly different in nature.
For one fosters
evil war and battle,
being cruel: her no man loves; but perforce, through the will
of the deathless
gods
Phoberos,
I. Act., causing fear, terrible.
Phobos personified as son of Ares, Apollo or Apollyon
things which are fearful to the
multitude 3. Rhet., of style, impressive,
awe-inspiring, Pomp.3 ; Homêros paizôn
2.caused by fear, troubled, panic, anxious
thoughts phobos b.
with Verbs, , Klazo
Klazo
1. of birds, scream, 2.
of dogs, bark, bay, 3. of
things, as of arrows in the quiver, clash, rattle
eklage salpinx [war trumpet]. . aoidan;
[song, spell, incantation] of the sea, roar,
of the musician, kitharai klazeis paianas
[title of Apollo, Apollon, healer, saviour, choral song] melpôn [the
melody word ] of Pan on his pipes, h.Pan.14;
klazeis melisma luras (of the tettix LOCUSTS)
Strabo
aTRUE GEOGRAPHER:
Proving that all music is LEGALISTIC WORK
[10.3.16]
Also
resembling
these rites
are the Cotytian and the Bendideian rites practiced among the Thracians,
among whom the Orphic rites had their beginning.
Now the Cotys who is worshipped among the Edonians,
and also the instruments used in her rites, are
mentioned by Aeschylus; for
he says,
O
adorable Cotys
among the Edonians, and ye who hold mountain-ranging
instruments;
And
he mentions immediately
afterwards the attendants of Dionysus:
one, holding in his hands the bombyces (reed flute),
toilsome
work of the turner's
chisel, fills full the fingered melody, the call that brings
on frenzy,
while another causes to resound the bronze-bound cotylae. (cupped cymbals or vases)
"and
again,
stringed [psalmos or twitched]
instruments raise their shrill cry, [Alalazo: rais the war-cry]
and frightful mimickers from some place unseen bellow like bulls,
and the semblance of drums, as of subterranean thunder,
rolls along, a terrifying sound.
Alalazo
2.
generally, cry, shout aloud, Pi.l.c., E.El.855;
esp. in orgiastic rites, A.Fr.57;
of Bacchus and Bacchae, E.Ba.593
sound loudly, psalmos d'alalazei A.Fr.57
; kumbalon alalazon1 Ep.Cor.13.1
That is why people
who boast about INFILTRATING and DIVERTING intend to SOW DISCORD and
MAKE WAR against God's people. However, JESUS gets the last
TOSS,
wrasslers!
Mark
5:38
where Jesus cast
out the Musical Minsters like dung just as He assigned the Pipers who
tried to force this LAMENTING SINGING and DANCING to the Agora where
all of the perverted worship took place. In Euripides in the
Bacchae which defines the NEW WINESKIN worship as prophesied in
Revelation 17-18.
These
people plagued places like corinth? How is it that there is no
condemnation of music invented by Apollyon?
While
women were famed for their wildness in the
Bacchic cult and in certain other mystery cults,
other aspects of their worship were more traditional. Of
special importance to the study of the situation Paul addresses is the concept of clamor, noisy
outbursts of religious pandemonium.
Strabo
(first century) explains how popular writers describe the
phenomenon Paul defined as "madness" in Corinth
They
represent
them, one and all, as a kind of inspired people and as subject to Bacchic
frenzy, and, in the guise
of
minister, as inspiring
terror at the
celebration of the sacred rites by means of war-dances accompanied by uproar
and noise and cymbals and drums
and also by flute
and outcry
. . . (Georg., X, 3:7)
The 'sounding gong
and tinkling
cymbal' used in such
worship are mentioned in a derogatory sense in 1 Corinthians 13:1;
but the religious
outcry itself is dealt
with more directly. It is essential that we understand that
much of the shouting involved in the rite was the
specific function of
women.
Euripides
describes the advent of Dionysiac religion to Thebes thus:
'This city, first in Hellas, now shrills and echoes to my women's
cries,
their ecstasy of
joy' (Bacchae, 11, 20-24)
If Jesus exampled and
Paul commanded the word SPEAK for the ekklesia. And SPEAK is
defined as the OPPOSITE of poetry or Music. Then, why is this
not
a law against music.
Flashback to Romans 15.
After defining the charismatic and musical SECTS in Rome, Paul outlawed
dialog or discourse about their PREFERENCES because church is a SCHOOL
OF THE BIBLE and has no roles for performance speakers, singers,
musicians, jesters, buffoons, prostitutes or Sodomites ALL of whom
prowled the paganism out of which many had come.
Romans
XV. debemus autem nos firmiores inbecillitates
infirmorum sustinere et non nobis placere
Rom
8:1There is
therefore now no condemnation to them which are in Christ Jesus, who
walk not after the flesh, but
after the spirit
Outlawed: Placeo
to please, to be pleasing or
agreeable, to be welcome,
acceptable,
to satisfy
(class.).
1. In scenic lang., of players or pieces
presented, to please,
find favor, give
satisfaction: scenico
placenti
Outlawed:
Scaenicus
I. of or
belonging to the stage,
scenic, dramatic,
theatrical
I.
Lit.: poëtae, dramatic
poets, ludi, stage-plays,
theatrical representations, : fabula, a drama,
organa,
Suet. Ner. 44 : coronae, id. ib. 53 :
habitus, id.
ib. 38 : gestus, Cic. de Or. 3, 59, 220 : modulatio
Comedy. Orator
Poi-êtês II.
composer
of a poem, author,
p. kômôidias
Pl.Lg.935e; p. kainôn dramatôn,
b. composer of music,
2. author of a speech
Outlawed: Organum
Vitr. 10, 1.--Of musical
instruments, a pipe,.
Gen. 4, 21; id. 2 Par. 34, 12 et
saep.--Of
hydraulic engines, an organ, water-organ: organa
hydraulica,
Gen
4:21 And his
brother's name was Jubal:
he was the father of all such as handle
the harp and organ.
H8610
manipulate,
figuratively to use
unwarrantably:--catch,
handle, (lay, take) hold (on,
over), stop, surely, surprise, take.
H8608
taphaph to drum,
that
is, play (as) on the tambourine:taber,
play with timbrels.
H8611
tôpheth to'-feth From the
base of H8608 ; a smiting,
that
is, (figuratively) contempt:--tabret.
MEANING HELL
Outlawed:
Modulatio.
In partic., a rhythmical measure, modulation;
hence, singing and playing, melody, in
poetry
and
music, Quint. 9,
4, 139: modulatione produci aut corripi (verba), id. 9, 4, 89 :
modulatio pedum, id. 1, 6, 2 : scenica,
id. 11, 3, 57: vocis, melody, id. 11, 3, 59 : musica,
Aus. Ep. 25, 13 .
Clement
of
Alexandria:
"After having paid reverence to the discourse about God, they leave
within [at church] what
they have heard. And outside they foolishly amuse themselves with
impious playing,
and amatory
quavering
(feminine vibrato), occupied with flute-playing, and dancing,
and intoxication, and all kinds of trash.
Therefore, the same Paul (I think)
DEFINED
OUT any thing which would create "mental excitement" (Rom 15) or the
laded burden Jesus outlawed meaning "creation of spiritual anxiety by
religious ceremonials.
We are not come
to Mount Moriah: Jesus has been there -- done that.