Rick
Atchley: Instrumental Music
Sorcery
Witchcraft empowered by music.
The Original Babylon of Harlots is repeated in Revelation
18. Her priests of "lusted after fruits" as any
religious craftsmen, singers, instrument players called
SORCERERS. They are CAST ALIVE INTO THE LAKE OF FIRE.
FIRST: As BEASTS or
Therion they are New Style Musicians or Satyric
Actors. Satyric Drama
One of the three varieties of
the Attic drama. Its origin may be traced back to Pratinas
of Phlius (about B.C. 500). It is probable that,
after settling in Athens, he adapted the old dithyramb with
its chorus of Satyrs, which was customary in his native
place, to the form of tragedy which had been recently
invented in Athens. This new kind of drama met with so much
approval and was so much developed by Pratinas himself as
well as by his son Aristeas, by Choerilus, by Aeschylus, and
the dramatists who succeeded him, that it became the custom
to act a satyric drama after a set of three tragedies. The
intensity of the preceding plays was thus relieved, while
the chorus of Satyrs and Sileni, the companions of Dionysus,
served to indicate the original connection between that
divinity and the drama. The material for a satyric drama,
like that for a tragedy, was taken from an epic or legendary
story, and the action, which took place under an open sky,
in a lonely wood, the haunt of the Satyrs, had generally an
element of tragedy; but the characteristic solemnity and
stateliness of tragedies was somewhat diminished, without in
any way impairing the splendour of the tragic costume and
the dignity of the heroes introduced. The amusing effect of
the play did not depend so much on the action itself, as was
the case in comedy, but rather on the relation of the chorus
to that action.
Strab. 10.3.10 And on this account Plato, and even
before his time the Pythagoreians, [Puthagoreioi] called
philosophy music;1
and they say that the universe is constituted in accordance
with harmony,2
assuming that every form of music is the work of the
gods.
And in this sense, also, the Muses
are goddesses,
and Apollo is
leader of the Muses, and poetry as a whole is laudatory of
the gods.
And by the same course of reasoning
they also attribute to music the upbuilding of morals,
believing that everything which tends to correct the mind
is close to the gods.
When Paul wanted everyone to pray for
peace and silence to prevent and outbreak of WRATH the
word is Orge or Orgy. Work (ergon) and a musical
instrument (organon) are all ORGY words.
Now most of the Greeks assigned to Dionysus,
Apollo, Hecate, the Muses, and above all to
Demeter, everything of an orgiastic or Bacchic or
choral nature, as well as the mystic element in
initiations; and they give the name "Iacchus" not
only to Dionysus but also to the leader-in-chief of the
mysteries, who is the genius of Demeter. And
branch-bearing, choral dancing, and initiations are
common elements in the worship of these gods. As for the
Muses and Apollo, the Muses preside over the choruses,
whereas Apollo presides both over these and the
rites of divination [mantikos
daimonion].
But all educated men, and especially the musicians, are
ministers of the Muses; and both these and those who have
to do with divination are ministers of Apollo;
and the initiated and torch-bearers and hierophants, of Demeter;
and the Sileni and Satyri and Bacchae,
and also the Lenae and Thyiae and Mimallones and Naοdes
and Nymphae and the beings called Tityri, of Dionysus.
1
Plat. Phaedo 61.
2
Philolaus, Fr. 4 (Stobaeus 1. 458-460)
See also Athenaeus 14.632b-c
Aristot. Met. 1.5,
Sextus Empiricus Adv. Math. 4.6
Cp. Plat. Tim. 32c, 36d, 37a,
41b, Plat. Rep. 617b,
Plat. Epin. 991e.
Satyri Satu^ros
, ho,
Dor. Tituros
(q.v.), Satyr, first in Hes.
(
b. a
fabulous
people in Ethiopia,
D.S.1.18.
II. in pl., a play in which the Chorus
consisted of Satyrs, Satyric drama, forming the
fourth piece of a Tragic tetralogy, hotan
Saturous
poiēs
Ar.Th.157;
poētai
saturōn
Menedēmon
epegrapsen
Lukophrōn]
D.L.2.140; en
Omphalē
Saturois
Str.1.3.19. [Sa^tu^ros;
so that when the 1st syll. is long, Dor. Tituros
(q.v.) should prob. be restored.]
SECOND: The Serpent,
Beast, Serpo, Herpo in the Garden of Eden.
elelizō
(A), Ep. redupl. of helissō
(v. infr.), rare in pres., as Pi.O.9.13;
impf.
III. cause
to vibrate,
megan
d'
elelixen
Olumpon,
of Zeus, ib.
1.530, cf.
8.199;
phormigga
e.
make its strings quiver,
Pi.O.9.13;
asteropan
elelixais
Id.N.9.19:Med.,
hippon
. . agōniō
elelizomenos
podi
mimeo
Simon.29:Pass.,
quake,
tremble, quiver,
elelikhthē
guia
Il.22.448;
elelikto,
of a
brandished spear,
13.558;
amphi
de
peplos
elelizeto
possin
h.Cer.183;
megas
d'
elelizet'
Olumpos
h.Hom. l.c.;
phormigx
elelizomena
Pi.P.1.4.
(In
Hom. elel-
may have been substituted for
ewel-
（
wewel-
in
elelikto);
cf.
helissō.)
elegos ,
ho,
A.song,
melody, orig. accompanied by the flute, cf.
aluros
e.
E.Hel.185
(lyr.),
IT146
(lyr.);
Asias
e.
iēios
Id.Hyps.Fr.3(1)iii9; so
Elegoi,
title of a
nomos
aulōdikos,
Plu.2.1132d; of the
song
of the nightingale,
Ar.Av.218(pl.);
elegon
oiton,
of the halcyon,
E.IT1091
(lyr.); later,
lament, song of mourning,
A.R.2.782.
II. poem in
elegiac distichs,
Call.Fr.121;
hilaroi
e.
AP10.19 (
Apollonid.). (Commonly
derived from
e
e
legein,
to cry woe! woe!
EM326.49.)
Eur. Hel. 185 Chorus
Beside the deep-blue water [180] and on the tangled
grass, I happened to be drying purple robes in the
sun's golden blaze near the young reed shoots; from
my mistress, from where she cried aloud her misery,
[185] I heard a sound, a mournful song not fit for
the lyre, because she was then shrieking, lamenting
with her wails; just as a Naiad nymph, who sends a
song of woe ringing over the hills, cries out, under
the rocky hollows, with screams [190] at the rape of
Pan.
THIRD:
1.
Israel fell from grace beyond redemption
because of Instrumental-Trinitarian-Perverted
Idolatry at Mount Sinai.
2. The
NOBILITY turned the REST of God into a day
of the Worship as the ABOMINATION they
brought from Egypt.
3. The
REST of God is Sabbath or the Greek PAUO and
demands STOPPING anything beyond Rest,
Reading and Rehearsing the Word delivered by
Moses.
4. The
Civil-Military-Clergy were abandoned behind
closed gates to engage in the Lust of Blood
and Flesh and the HOLOCAUST of INFANTS and
GOATS.
5. The
Godly Jews were never gathered to engage in
group singing with or without instruments:
this was outlawed for the SYNAGOGUE
as A School--only of the Word-only.
6. Any
kind of musical or theatrical performance
would MARK the Effeminate and their refusal
to HEAR the Word of God.
7. Even
worse any kind of self-exhibition especially
SINGING is that which MARKS and produces ALL
of the data defining:
Abomination, Witchcraft, the
BEASTS, Demon worship,
Viper,Sorcery, Charming,
Soothsaying, enchantment,
harlots, beguile, serpents, vipers,
Serpo, Herpo, inducing wine-drinking,
Cunning Craftsmen or Sophists,
Rhetoricians, Dogs or Catamites,
magic, Voodoo in primitive
America, Melodies to
deceive, Deceiver, Cunning
Crafts, Techne. religious craftsmen,
Lucifer, Locusts,
Apollyon, Levi-Leviathan
Paul commanded SPEAKING the
Biblical Text (Word of Christ, SPIRIT
Paul commanded that ODE and PSALLO be IN the heart
or mind and therefore SILENT as in 1 Corinthings
14
Paul absolutely SILENCED anything beyond SPEAK or READ as
commanded for the Church in the Wilderness and exampled by
Jesus.
Acts 8:28 Was returning, and sitting
in his chariot read Esaias the prophet.
Acts 15:21 For Moses of old time hath
in every city them
that preach him,
being read
in the synagogues every sabbath day.
2Cor. 3:14 But their minds were blinded:
for until this day
remaineth the same vail untaken away
in the reading
of the old testament; which vail is done away in Christ.
Col. 4:16 And when this epistle is read among you,
cause that it be read
also in the church of the Laodiceans;
and that ye likewise
read the epistle from Laodicea.
The word that is employed for this "anaginosko, anagnosis)
is the technical term for the cultic reading aloud of the Old Testament in the
synagogue. By applying this terminology to the reading of
his own epistles he not only ascribes the same authority
to the apostolic word as to the Old Testament
writings...he also combines a quotation from the Old
Testament with a word of Jesus and introduces the whole
with the familiar formula: 'for the Scripture says.'"
(Ridderbos, Hermon, Paul, P. 483 an Outline of His Theo.,
Eerdmans)
Suneimi A.ibo) go or come
together, assemble (eimi
3. attend, associate with,
a teacher, X.Mem.1.2.8,24,
etc.; also of the teacher, Id.Cyr.3.1.14,
Pl.Tht.151a,
etc.; of a fellowpupil, emoi
sunōn
pote
peri
mathēmata
hoi sunontes
followers,
partisans, associates, disciples, Antipho 5.68,
Pl.Ap.25e,
Tht.168a,
FIFTH:
Paul SILENCED Psallo because when used by
pagans.
The Greek PSALLO
used as THE foundation for imposing any kind of
MUSICAL PERFORMANCE is most often used of an older
male such as Alexander the Great Plucking his lyre to
seduce a young male whos pubic hairs had been plucked
The Evil Psallo
psallo , i,
3, v. n., = psallō. I.
In gen., to play upon a stringed
instrument; esp., to
play upon the cithara, to
sing to the cithara: psallere saltare elegantius, Sall. C. 25, 2
canituri, SING and
cantare marked as SORCERY. saltare
et cantare; Cic. Catil. 2.10.23
Suet. Tit. 3
Sal. Cat. 25 Sempronia: She had
frequently, before this period, forfeited her word, forsworn
debts, been privy to murder, and hurried into the utmost
excesses by her extravagance and poverty. But her abilities
were by no means despicable;3
she could compose verses, jest, and join in conversation
either modest, tender, or licentious. In a word, she was
distinguished4
by much refinement of wit, and much grace of expression.
1
XXV. Sempronia] Of the same gens
as the two Gracchi. She was the wife of Decimus Brutus.
2
Sing, play, and dance] Psallere,
saltare.
As psallo
signifies both to play on a musical instrument, and to sing
to it while playing, I have thought it necessary to give
both senses in the translation.
Not
included by
Paul: PsalmOidia singing TO
a harp.
Not
included by
Paul: PsaltOideo sing to
the harp
2 Chron 5:[13]
it happened, when the trumpeters and singers were as one,
to make one sound to be heard [one tuned note all in
unison]
Not
included
by Paul: Psaltos
sung to the harp, sung OF Translated sing
in Psalm 119:54
Saltatio Dancing was
originally closely connected with religion. Plato thought all
dancing should be based on religion, as it was, he says, among
the Egyptians. It has been shown under Chorus
that the chorus in the oldest times consisted of the whole
population of a city, who met in a public place to offer up
thanksgivings to the god of their country by singing hymns and
performing dances. These dances, which, like all others, were
accompanied by music,
--dēlĭcĭae
, ārum, f. (sing. dēlĭcĭa
, ae, f.; [delicio; that which allures, flatters the senses],
delight, pleasure, charm, allurement; deliciousness,
luxuriousness, voluptuousness, curiosities of art; sport,
frolics, etc. (freq. and class.; for syn. cf.: voluptas,
libido, delectatio, oblectatio, delectamentum, oblectamentum).
The Evil Psallo psallere
saltare
ēlĕgans
I. In the ante-class. period in a bad sense,
luxurious, effeminate, fastidious,
nice: elegans homo non dicebatur cum laude mulier
(Phrynewith
formosa),
Cic. Catil. 2.10.23 In these bands
are all the gamblers,
all the adulterers,
all the unclean and shameless citizens.
These boys, so
witty and delicate,
have learnt not only
to love and to be loved,
not
only to sing and to dance,
but also to
brandish daggers and to administer poisons;
and unless they are
driven out,
unless they die, even
should Catiline die,
I warn you that the school of
Catiline would exist in the republic.
But what do those wretches want? Are they going to take their
wives with them to the camp? how can they do without them,
especially in these nights? and how will they endure the Apennines,
and these frosts, and this snow?
unless they think that they
will bear the winter more easily
because they have been in the habit
of dancing naked at their feasts. O
war much to be dreaded, when Catiline is going to have his bodyguard
of prostitutes!
Suet. Tit. 3 While yet a boy, he
was remarkable for his noble endowments both of body and mind;
and as he advanced in years, they became still more
conspicuous.
He had a fine person,
combining an equal mixture of majesty and grace;
was very strong, though
not tall, and somewhat corpulent.
Gifted with an excellent memory, and a capacity for all the arts
of peace and war; he was a perfect master of the use of arms
and riding; very ready in the Latin and Greek tongues,
both in verse
and prose; and such was the facility he possessed in both,
that he would harangue
and VERSIFY extempore.
Nor was he
unacquainted with MUSIC,
but could both SING and PLAY
upon the HARP sweetly and scientifically.
I have likewise been
informed by many persons,
that he was remarkably quick in writing
short-hand,
would in merriment and jest engage with his
secretaries
in the imitation of any hand-writing he
saw, and often say, "
that he was admirably qualified for forgery."
The Evil Psallo
includes: Phrȳnē
, ēs, f., = Phrunē.
II. A Roman courtesan, Hor. Epod. 14, 16.
SIXTH
Musical
Worship Teams Mark the Effeminate
See the Nimrod at At Babylon
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
Why Males in the
Post-Biblical Effeminate Church are Disguised as Empty Pews or
Hostile Masculines: it Will Get Worse! "Of the
Effeminate Willow-Creek "Holy Entertainment" System: "The
cost of this approach is hard work and loads of strife with church
insiders." Christianity Today
"Philodemus
considered it paradoxical that music should be regarded as
veneration of the gods while musicians were paid for performing this so-called veneration.
Again, Philodemus held as self deceptive the view that
music mediated religious ecstasy. He saw the entire condition induced by
the noise of cymbals and tambourines as a disturbance of the spirit.
He found it
significant that, on the whole, only women and effeminate men fell into this folly.
Accordingly, nothing of value could be
attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied
much in the same way that food and drink did.
"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'." (End of Quasten)
Delitzsch on Psalms: Moreover,
we must take into consideration the facts that the
compass of the tenor extends even into the soprano,
that the singers were of different ages down to twenty
years of age, and that Oriental, and more particularly
even Jewish, song is fond of falsetto singing.
We therefore adopt Perret- Gentil's rendering, chant
avec voix de femmes, and still more readily Armand de
Mestral's, en soprano; whereas Melissus' rendering,
"upon musical instruments called Alamoth (the Germans
would say, upon the virginal)," has nothing to commend
it.
"Hebrew music... was used in the luxurious
times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and
stretched upon their couches of ivory, were wont at their
banquets to accompany the song with the tinkling of the
psaltery or guitar (Am. v1. 4-6), and amused
themselves with devising musical instruments while their nation
was perishing... music was the legitimate expression of
mirth and gladness, and the
indication of peace and prosperity." (Smith's Bible
Dictionary, Music, p. 590).
Marcus Reciting the book In
that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same
effect as that of acting. There is a persistent association between theatrics,
bad rhetoric and effeminacy.
Rhetoric was forever
at pains to disentangle itself from unwanted associations with female deception and histrionic
art, because it was viewed as the art of socially weak women and slaves,and rhetoricians of all ages have assiduously fought
against any trace of bodily
and vocal practice
associated with these groups.
However, from the
examples that I have just used, it is evident, I
believe, which art of music I consider appropriate in the training of the orator and to what extent.
Nevertheless, I
think that I need to be more explicit in stating that
the music
which I prescribe is not the modern music which has been emasculated by
the lascivious melodies of the effeminate stage and has to no small extent destroyed the amount of manly vigor that we
still possessed.
I refer rather to
the music of old with which people used to sing the praises
of brave men and
which the brave themselves used to sing.
But this fact does
not justify degeneration into sing-song or the
effeminate modulations now in vogue. There is an excellent
saying on this point attributed to Gaius Caesar
while he was still a boy:
"If you are singing,
you sing badly; if you are reading, you sing."
Aristot. Rh.
1404a 8] The poets, as was natural, were the
first to give an impulse to style; for words are
imitations, and the voice also, which of all our parts
is best adapted for imitation, was ready to hand; thus
the arts of the rhapsodists, actors, and others, were
fashioned. [9] And as the
poets, although their utterances were devoid of sense,
appeared to have gained their reputation through their
style, it was a poetical style that first came into
being, as that of Gorgias.5
Even now the majority of the uneducated think that
such persons express themselves most beautifully,
whereas this is not the case, for the style of prose
is not the same as that of poetry.
8]
The poets, as was natural, were the first to give an
impulse to style; for words are imitations, and the
voice also, which of all our parts is best adapted for
imitation, was ready to hand; thus the arts of the
rhapsodists, actors, and others, were fashioned. [9] And as the poets, although
their utterances were devoid of sense, appeared to
have gained their reputation through their style, it
was a poetical style that first came into being, as
that of Gorgias.5
O.E.Payne.North.American.Christian.Convention
All forms of ODE
translated as SINGING is for the PURPOSE of
Deception. There is no musical melody in
Scripture but those who PRACTICE modern melody as high
pitched and repeating are said to intend to HURT or
SEDUCE people. Any form of clergy performance or
self-exhibition was known on clay tablets to mark men
who WANTED to be WOMEN.
Isaiah.3.Children.and.Women.Rule.Over.Them.html
Isaiah 3:4 And I will give children to be
their princes, and babes shall rule over them.
Isaiah
3:4 et dabo pueros principes eorum et effeminati dominabuntur eis
dominabuntur Ruler, MARK
Women or the Effeminate as oratio,
MARK Women or effeminate who
are consilium the
person who forms the purpose,
MARK Women or the effeminate who Teach Over
aedĭfĭco
in
a religious
sense, to build up, instruct, edify.
Isaiah 3:12 As for my people, children are
their oppressors, and women rule over them.
O my people, they
that lead thee cause thee to err, and destroy the way of
thy paths.
mŭlĭer
as a term of reproach, a woman, i. e. a coward,
poltroon: arbĭtror
to make a decision, give judgment or sentence:
OR mŭlĭĕro,
to make womanish, render effeminate
Boys: -Effemino
II. Trop., to make womanish, effeminate,
to enervate: fortitudinis
praecepta
illa
elocutio
res ipsas
effeminat,
Quint. 8 prooλm. § 20.
A. Womanish, effeminate (cf.: mollis,
luxuriosus,
dissolutus):
ne quid
effeminatum
aut molle
sit,
Cic. Off. 1, 35, 129;
cf. id. Tusc. 4, 30:
intolerabile
est servire
impuro,
impudico,
effeminato,
furialis
illa
vox,
religiosis
altaribus
effeminata,
Cic. Planc. 35, 86
B. In mal. part., that submits to unnatural
lust: pathicus,
Suet. Aug. 68;
Rick.Atchley.Advanced.Homilectics.And.Devil.Worship.html
Christians assemble to Read Together the LECTIONS
which were circulated before collected to become "that
which is perfect" the Perfict Will of God if you are A
Christian.
Preaching as HOMILECTICS is the ANTITHESIS and, like
Rhetoric, is used by unbelievers to STEAL IN while you
are put to sleep by the Locusts or Muses.
Anyone who claims that they can use RHETORIC or
Hermeneutics OR Homilectios to that which is once
delivered cannot and will never be able to read BLLACK
text on BROWN PAPER.
1.Timothy.2.I.Suffer.Not.Woman.to.Teach.html
Rick
Atchley and the Law of Silence Invented by the Disciples
to permit instruments
It is a fact that Jesus said
that God HIDES from the Wise or the SOPHISTS: that is
why SILENCE is the only "authority" for deliberately
sowing instrumental
discord: God hates
that and the "music
in the temple" in Amos.
Eph 4:14 That we henceforth be no more
children, tossed to and fro, and carried about
with every wind of doctrine, by the sleight of men, and
cunning craftiness [sophos]
,whereby they lie in wait to deceive;
panourg-κma , atos, to, A.
knavish trick, villainy, S.El.1387 (lyr.), LXX Si.1.6
(v.l.); sophistry, Gal.5.251; cf. panourgeuma.
panourg-os (properisp.), on, unning, clever, smart,
kai hupokritikτs legein
Romans 14:1 Him that is weak in the
faith receive ye, but not to doubtful disputations. disceptationibus cogitationum
Forbidden:
Cogitatio
a thinking, considering, deliberating;
thought, reflection,
A.
Concr., a thought, opinion,
judgment; a resolution, design. plan,
project:
phrontides
sophōterai):
ista
cogitatio
de
triumpho,
thought as an intellectual power, the ability
of thinking, power or faculty of thought,
the reasoning power
Forbidden:
sophos
, ē,
on,
A. skilled in any handicraft or art,
clever Margites Fr.2;
but in this sense mostly of poets and musicians, Pi.O.1.9,
P.1.42,
3.113; en
kithara
s.
trained in speaking all the resources that I have, wisdom
overmuch is no wisdom II. of things, cleverly
devised, wise, nomos
[1449a] [1] so
is the Margites to our comedies.
sophia
, music and singing, tekhnē
kai
s.
h.Merc.483,
cf. 511; in
poetry, in divination, cunning, shrewdness, craft.
Romans 14:19 Let us therefore follow after the things which
make for peace,
and things
wherewith one may edify another.
aedĭfĭcātĭo
, loquitur
ad
aedificationem,
Vulg. 1 Cor. 14, 3;
14, 26.ad
aedificationem
Ecclesiae,
Vulg. 1 Cor. 14, 12;
ib. Eph. 4, 12.
Speaking is in "whispering or conversational tones." Logos
is the opposite of music, poetry or rhetoric (sermonizing.
deliramenta,
id. Am. 2, 2, 64:
quas
tu
mulieres
quos
tu
parasitos
loquere,
id. Men. 2, 2, 47:
Rick
Atchley
defining strong delusions and THE meaning of
Lying wonders
Well, we discipled the children
of those progressive churches
for a whole
generation to grow past us Boomers.
They never
heard the sermons we heard.
They never
heard the rationale for a cappella
music.
We
sent them to youth rallies and Church
of Christ events
with some of
the finest Christian bands in the
world.
We discipled our children
to leave our Movement!
Richland Hills &
Instrumental music: A Plea to Reconsider by Dave Miller exposes
the folly of Rick Atchley and the elders. However, Dave
Miller fails to take the high road of universal
knowledge of the Old Testament by agreeing with Rick
Atchley and his enablers that God "commanded
instrumental praise" as an ACT of Worship.
This unawareness exposes the flank to those attacking
with the "law of silence" that "God hath not said 'thou
shalt not do instrumental praise'." Dave Miller
and most of our fellowship gives up the battle by the use of
theology trying to decide which ACTS of Worship God once
enjoyed and which ones He does not lust after anymore.
Summary: Because
finding the truth is not easy when widely distorted, we
should note the premise:
1. Dave
Miller works from the premise that the Monarchy
and the Sacrificial System was God's first PATTERNISM
for "worship with singing and instrumental
music."
2.
However, God changed His mind and began some NEW
ACTS of worship to replace the OLD ACTS
of worship.
3.
Because God LEFT OUT commanding instrumental worship WE
should not use instruments.
4. Dave
Miller agrees with Rick Atchley that there is only a small
number of ANTI-instrumentalists
who believe that God did NOT command the ACT of
singing with instrumental music but changed His Mind.
The
Spiritual truth is taught by the Spirit OF Christ
through the prophets and not through the KIng's Scribes
whom we are told often lied. Not to be trouble:
God abandoned the nation to worship the starry host.
The FACT
is that the Law of Moses was IMPOSED because of
transgression which was MUSICAL IDOLATRY.
Stephen and many prophets say that God TURNED THEM
OVER to worship the starry host. Is it really true
that worship of the Starry Host quarantined to Jerusalem
which was called "Sodom" was God's APPROVED PATTERNISM for
worship with singing and instrumental music? No.
The
failure of both extremes is that it never understood the
Mount Sinai event and the separation of people into TWO
THREADS: The Civil-Military-Priestly complex, and the
Qahal, Synagogue or Church in the wilderness. That
continued throughout that period where the decent people
were quarantined from the sacrificial system.
Apis
the golden calf or calves represented Osiris, Isis and
Horus: the pagan trinity of father, mother and son.
Horus was
the posthumous son and heir of the god Osiris,
the primordial king and giver of life. He was invited by
his uncle, Seth, to spend a day. Seths real motive was
not to show him hospitality but to disqualify him
from inheriting his fathers royal power. To this
end, while Horus slept Seth committed an act of sodomy
upon him. Since sodomy was inflicted as a punishment
on a defeated enemy and was a symbol of
domination, Seth could then claim that he had conquered
Horus and demand the kingship in his place.
Historically,
the rape of males was more widely recognized in ancient
times. Several of the legends in Greek mythology
involved abductions and sexual assaults
of males by other males or gods. The rape of
a defeated male enemy was considered the special
right of the victorious soldier in some
societies and was a signal of the totality of the
defeat. There was a widespread belief that a male
who was sexually penetrated, even if it was by forced
sexual assault, thus "lost his manhood," and could no
longer be a warrior or ruler. Gang rape of a male was
considered an ultimate form of punishment and, as such,
was known to the Romans as punishment for adultery and
the Persians and Iranians as punishment for violation of
the sanctity of the harem (Donaldson, 1990). Donaldson, Donald. (1990).
"Rape of Males," in Dynes, Wayne, ed. Encyclopedia of
Homosexuality. New York: Garland Publications.
h2490
Chalal to polute or profane the Sabbath or holy
things: no singer, instrumentalists or speaker could enter
into the type of the body or Church of Christ. It has the
samemeaning as David's "praise" word meaning "to make self
vile." As king this was to threaten the enemy with sodomy
as the unique way to prove superiority. What
connection does that have to usurping clergy? Can't say.
|
Ezek 20:22
Nevertheless I withdrew mine hand, and wrought that
it should not be polluted in the sight of the
heathen, in whose sight I brought them forth. ht for my
names sake,
Ezek 20:23 I
lifted up mine hand unto them also in the
wilderness,
that I would scatter
them
among the heathen,
and disperse them through the
countries;
Ezek 20:24 Because
they had not executed my judgments,
but had despised my statutes,
and had polluted my
sabbaths,
and their eyes were after their fathers
idols.
Ezek.
20:25 Wherefore I gave them also statutes that
were not good, and judgments whereby they should
not live;
Ezek. 20:26 And I polluted them in their own
gifts, in that they caused to pass through the fire
all that openeth the womb, that I might make them
desolate, to the end that they might know that I am
the LORD.
Ezek. 20:27 Therefore, son of man, speak unto the
house of Israel, and say unto them, Thus saith the
Lord GOD; Yet in this your fathers have blasphemed
me, in that they have committed a trespass against
me.
Ezek. 20:28 For when I had brought them into the
land, for the which I lifted up mine hand to give it
to them, then they saw every high hill, and all the
thick trees, and they offered there their
sacrifices, and there they presented the provocation
of their offering: there also they made their sweet
savour, and poured out there their drink offerings.
However,
the
people's "congregation" was put outsidethe
gates during this slaughter of innocent animals and
the Levitical Warrior Musicians made NOISE and not
music. Their service was "hard bondage" as
they served the priests survive the holocaust quite
identical to Hiram's system over at Tyre. The
congregation consisted of King, Priestly class and
the princes. Even so, the recorded events may be
separated by several centuries.
No
singer or instrumental noise maker could come NEAR
the Holy things.
No "civilian" not of the Tribe of Levi and not on
duty could come near the slaughter and burning
court.
At
the same time--contrary to Rick Atchley--God commanded the Qahal,
synagogue or church in the wilderness
for the citizens.
It was the synagogues that
remained after AD.70, NOT the Temple! The original
purpose of the synagogue was primarily for Scripture-reading and exposition
of the passages read (Lk.4:16-22;
Mt.13:54; Mk.1:21-22; Jn.6:59).
That element was the reading and
exposition of Scripture.
Worship in the Early Church involved "Word-of-God"
services. Ralph Martin very appropriately called
the reading and exposition of
Scripture "the centre of gravity
of the synagogue's service, with the blessings
and prayers gathered around it"
These
sacrificial
systems are identical to all other Sabazianism or
Star worship of which Jerusalem ruled by the moon
and planets was the QUARANTINED CENTER off limits to
the general population who always met in synagogues
as "schools of the Bible." That is why God lumps
Hagar, Egypt, Mount Sinai, The Law, Jerusalem and
Sodom.
Sirach in Ecclesiasticus 48:
|
 |
David Faust of the NACC thinks this is something
worth trying to impose in what they call ANTI-instrumental
churches of Christ:
I . In the Old Testament the Lord
didn't merely "permit" the use of musical instruments
as aids to worship. He commanded
their use.
2. In the old
Testament the Lord didn't merely "permit' the use of
musical instruments as aids to worship. He blessed their use.
Second
Chronicles
5:14 adds an important point about the dedication of
the temple. After the instrumentalists and the singers
joined together in united praise to the Lord, the next verse
says, "Then the temple of
the Lord was filled with a cloud, and the priests
could not perform their service because of the
cloud, for the glory of the Lord filled the temple of God"
God's "glory" in the form of a cloud was an expression of
God's joy, pleasure, approval, and
delight.
The "congregation" as in all
of these rituals included only the priests, kings and the
kings Levitical Warrior musicians. The people were EXCLUDED or
quarantined outside the camp which is where Paul said we have
to go to find Jesus and suffer reproaches.
The shofars were tuned to one note so the Levites made
ONE SOUND which is to blow a blast of a single note and hold
it. If you have 120 of these people making a crashing
sound of ONE NOTE the effect is spiritual terror. This was an
expression of outright panic and proof of INSECURE
relationship with God. Even if a singer or blower stumbled
into the Holy Place he would be instantly executed as defined
by the law. Therefore, not in the vilest Jezebel temple
could a singer of musician enter into the presence of the
"god." No one did WORSHIP in a pagan temple. David Faust
and the NACC discorders portray God as literally having an
orgy because ALL musical forms induce endorphins and a sexual,
climax type experience says the Vineyard lady and the New
Wineskinners.
By bringing male and female musical performers (called
hypocrites, pharisees and Scribes by Jesus) who claim to bring
you into the presence of God, they are fulfilling the FULL
MARK of the Abomination of Desolation.
David Faust's NACC: 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 and instrumental
accompaniment
Both the affirmation
and the agreement of those not versed in the Old
Testament misses the point that ALL of the Monarchy under
human kings was the final step in God's
sentencing them to return to Assyria and Babylon.
The reason for the curse of the Law of Moses and later the
King set over them was musical idolaltry at Mount Sinai.
Since the
proof texts -- all of which lie to God and about God are at
the END of Israel's "idolatry of nationhood" with kings to
carry out the curse -- it would be a good idea to return to
the beginning for the reason for the curse of
the sacrificial system. Those who think that
God wanted, needed or approved of slaughtering innocent
animals with loud "exorcism" noise--never music--have a
diminished view of God as holy or wholly
Spirit who owns all of the cattle on a thousand hills and
said "If I got hungry I would not tell YOU."
IT
IS HOPELESS TO DISCUSS THE PROOF TEXTS USED BY BOTH
SIDES WITHOUT KNOWING THE STORY LINE WHICH PROVES THAT
BOTH SEE A CURSE AS A PATTERNISM FOR ACTS OF WORSHIP.
It is important to return to Mount Sinai to
see that God gave Israel The Book of the Covenant:
this was the Abrahamic Covenant restated. The
Israelites refused to listen to the voice of God and
demanded Moses as a mediator. They subscribed to the
Covenant but while Moses was up on the mountaing getting
the 70 laws in writing, the people returned to their
musical idolatry of the Egyptian trinity under Apis the
golden calf (or calves). God "turned them over to
worship the starry host" (Acts 7 and many other passages).
The Covenant of Grace was withdrawn and God gave them The
Book of The Law (the Second Law) to legislate for the
lawless until they were returned to captivity and death.
At the same time, the qahal, synagogue or church in the
wilderness was defined to INCLUDE rest, reading and
rehearsing the Word of God. It excluded both vocal and
instrumental rejoicing. The faithful Israelites never
forgot that until an Jewish "Atchley" imposed an organ in
a German synagogue in 1815 and also used the LAW and sowed
discord.
The Bible
makes it perfectly clear that the later abandonment to a Goyim
or national temple state was against God's will and
that included all of the worship under the Monarchy and
especially at the Temple which was against God's will. He
never commanded animal sacrifices.
How did this fall from Grace into pagan
idolatry happen. First, remember that SABBATH means
rest and never meant a day of worship other
than as a school of the Bible which continued under the ekklesia
or New Testament assembly. You will notice that a musical
instrument is a MACHINE for doing hard work:
"making music" is the most works-intesive ACT anyone could
perform and it is therefore ceremonial legalism and making
war on God's people to who He gave REST.
The curse because of musical idolatry was
Sabazianism or worship of the starry host as Amos and
Stephen confirm. This pagan system was quite identical to
the wild excesses of the Greeks some of which was learned
from Babylon.
MUSICAL
INSTRUMENTS ARE MACHINES FOR DOING HARD WORK AND MAKING
WAR.
Because all WORK was outlawed for the
Sabbath intended for rest, reading and rehearsing
the Word it is important to show that music has always
been one of the most works-intensive ACTS of pagan
religion. It's only intent was to exorcise the evil
spirits, call down the good spirits or to induce a form of
madness without which the "prophets" could not hear the
gods.
It was Jubal who taught people to handle
musical instruments: Handle means without authority and
carries the universal meaning of sexuality and perversion?
-Energeo To be in
action, of troups, of making war, of sexual
intercourse, erōt-ikos.
of or caused by love, melos
a love song. Pharmakon 3. enchanted
potion, philtre: hence, charm, spell. Pharmakos A.
poisoner, sorcerer, magician, LXXEx.7.11
(masc.), Ma.3.5
(fem.), Apoc.21.8,
22.15.
Speakers, singers, instrument players and
craftsmen are called sorcerers in Revelation
18:22-23
Rev. 21:7 He that overcometh shall inherit all things; and I
will be his God, and he shall be my son.
Rev. 21:8 But the fearful, and unbelieving,
and the abominable, and murderers, and whoremongers,
and sorcerers,
and idolaters, and all liars, shall have
their part in the lake
which burneth with
fire and brimstone:
which is the second
death.
-Organon [*ergτ] -ergon1.
in Il. mostly of works or deeds of
war, 2. result of work, profit or interest,
I. an organ, instrument, tool, for making or doing
a thing,
3. a musical
instrument, id=Plat. * II.
a work, product, laοnea Amphionos organa the stony works
of Amphion,
i. e. walls of Thebes
3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho
men
di'
organōn
ekēlei
anthrōpous,
of Marsyas, Pl.Smp.215c
; aneu
organōn
psilois
logois
ibid., cf. Plt.268b
; o.
polukhorda
Id.R.399c,
al.; met'
ōdēs
kai
tinōn
organōn
Phld.Mus.p.98K.; of the
pipe,
The god
Hermes taught Amphion music and gave him a
beautiful golden lyre. Both brothers were supposed to
have build the walls of Thebes, while Amphion
played his lyre. The magic of his music caused
the stones to move into place on their own accord.
Solomon makes the same
claim for the temple built by slaves where music
was a work song and the stones just moved
silently into place. The fact is that the loud musical
rhythm relieved the pain of slavery much like: Lift that
Bale or Drive that Nail.
-Orgi-azτ A. celebrate orgia,
E.Ba.415 (lyr.), etc.: c. acc., o. teletκn Pl.Phdr.250c ;
hiera Id.Lg.910c ; thusias, pompas, choreias
Plu.Num.8 : c. dat., pay ritual service to a god or
goddess, tautκi Str.10.3.12 :--so in Med.,
orgiazesthai daimosi, orgia
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
-Orgi-aiτn, ta, secret
rites, secret worship, practised by the initiated, of the
rites of the Cabeiri and Demeter, of Orpheus,
Aphrodite, of Cybele, most freq. of the rites of Dionysus
.2.81, E.Ba.34, al., Theoc.26.13. II.
generally, RITES, orgia Mousτn [Rev 18:22] Ar.Ra.356 . Aphroditκs [ZOE]
-Organ-ikos especially
of war-engines, of speech which is brought to bear on
the mob
of musicians, practical OPPOSITE. logikoi
(theoretical),
Logikos of speech OPPOSITE mousikē,
Plu.Cor.38:
Mousikos OPPOSITE
Epic
logical, l.
sullogismoi, OPPOSITE rhētorikoi,
Rh.1355a13.
OPPOSITE Megaloprepes A. befitting
a great man, magnificent, other than CHRIST.
-Plut. Cor. 38 [2] It is possible also that
statues may emit a noise like a moan or a groan,
by reason of a fracture or a rupture, which is more
violent if it takes place in the interior. But that
articulate speech, and language so clear and abundant and
precise, should proceed from a lifeless thing, is
altogether impossible; since not even the soul of
man, or the Deity, without a body duly organized and
fitted with vocal parts, has ever spoken and conversed.
-Organum
, organon,
Vitr. 10, 1.Of
musical instruments, a pipe, Quint. 11, 3, 20;
9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21;
id. 2 Par. 34, 12
et saep.Of hydraulic engines, an organ, water-organ:
organa
hydraulica,
Suet. Ner.
Used With: Machina
, ae, f. = mechane, I.
a machine, i. e. any artificial contrivance for
performing work,
II.Trop., a device, plan, contrivance;
esp. a trick, artifice, stratagem
-Dis-turbo I.
to drive asunder, to separate by violence,
to throw into disorder,
Music is a WORKS
intensive effort which only a few can perform:
Therefore it is a way to DIVIDE the body.
-Aristotle
Politics 1341b and all the instruments that
require manual skill. And indeed
there is a reasonable foundation for the story that was
told by the ancients about the flute. The tale
goes that Athena found a flute and threw it away.
Now it is not a bad point in the story that
the goddess did this out of annoyance because
of
the ugly distortion of her features; but as a matter of
fact it is more likely that it was because
education in flute-playing has no effect on the
intelligence, whereas we attribute
science and art to Athena
And since we
reject professional education in the instruments and in performance (and we count
performance in competitions as professional, for the performer does not
take part in it
for his own
improvement, but for his hearers' pleasure, and that a
vulgar pleasure, owing to which we do not consider
performing to be proper for free men, but somewhat menial; and indeed performers do
become vulgar, since the object
at which they aim is a low one, as vulgarity in the audience
usually influences the music, so that it imparts to the artists
who practise it with a view to suit the
audience a special kind of personality,
The
Organ was often used with Cymbals in pagan, perverted
religion. Remembering that the worship in Egypt had
been of the Mother of the dods (mother of harlots)
Organum
used
with: -cymbălum I. Prop., an
instrument consisting of two hollow plates of brass, which
emit a ringing sound when struck together. They were
used in the festivals of Cybele and Bacchus, and on other festive occasions; also
to hinder the flight of bees
Catullus,
Carmina 63
Thy timbrel, Mother
Cybele, the firstings of thy rite,
And as
her tender finger-tips on bull-back hollow rang
She rose
a-grieving and her song to listening comrades
sang.
"Up Gallae,
hie together, haste for Cybele's deep grove,
Hie to
the Dindymnean dame, ye flocks that love to rove;
Musical
performers in the worship of the Mother of Harlots (Rev
17-18) were emasculated (in Paul's words) and even had
their sex changed.
Galli or Click Here
Singular
GALLUS, priests, often temple
attendants or wandering mendicants,
of the ancient Asiatic deity, the Great Mother of the Gods, known as Cybele, or Agdistis, in Greek
and Latin literature. The galli were eunuchs attired in
female
garb, with long hair fragrant with
ointment. saltatur
Venus,
saltatur
et
Magna
Mater,
Arn. 4, n. 35.
Rev. 17:5 And upon her forehead was
a name written, MYSTERY, BABYLON THE GREAT, THE
MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
Rev. 18:14 And the fruits
that thy soul lusted after are departed from thee,
and all things which were dainty and goodly are
departed from thee, and thou shalt find them no more
at all.
Together
with
priestesses,
they celebrated the Great Mother's
rites with wild music and dancing
until their frenzied excitement found its
culmination in self-scourging, self-laceration, or exhaustion. Self-emasculation
by candidates for the priesthood sometimes
accompanied this delirium of worship.
Rev. 18:22 And
the voice [noise, phaino
to shine] of harpers, and
musicians, and of pipers, and trumpeters,
shall be heard no more at all in thee; and no
craftsman, of whatsoever craft he be, shall be
found any more in thee; and the sound of a
millstone shall be heard no more at all in thee;
Rev. 18:23 And the light of a candle shall shine
no more at all in thee; and the voice of the
bridegroom and of the bride shall be heard no more
at all in thee: for thy merchants were the great
men of the earth; for by thy sorceries were all
nations deceived.
The name galli may be
Phrygian, from the two streams called Gallus, both
tributaries of the Sangarius (now Sakarya) River, the
waters of which were said to inspire religious frenzy.
Does
not the very nature of things teach you that if
a man has long hair, it is a disgrace
to him, 1 Co.11:14
but
that if a woman has long hair, it is her glory? For
long hair is given to her as a covering. 1 Cor 11:15
Before
David males rarely fell into this folly. However, all clergy
had to be male but LOOK and SOUND like females and be able
to SERVE as females: Prostitutes and Sodomotes prowled all
sacrificial systems.
2 Sam 6:16 And as
the ark of the Lord came into the city of
Davi
Michal
Sauls daughter looked through a window, and
saw
king David leaping and dancing before the Lord
and she
despised him in her heart
Hillel,
Judgex 12:1
For
questioning the King's vile conduct, David
made certain that all of Saul's seed (Abner
saved one cripple) were offered up for human
sacrifices!
|
-Salax , a-cis, adj. [salio;
cf. sagax, from sagio] .
I.
Fond of leaping, esp. of male
animals, lustful, lecherous, salacious: galli, Vulgarly applied to Priapus, that provokes lust, provocative. -saltō āvī,
ātus, āre, freq. [salio] , to
dance: in convivio
saltare nudus coeperat:
nemo enim fere dancing
a
girl's part,
saltatur
Venus,
saltatur
et
Magna
Mater,
Arn. 4, n. 35.
tibicĭna , ae, f.
[tibicen] I. a female fluteplayer
2Sam. 6:20 Then David returned to bless his
household. And Michal the daughter of Saul came out
to meet David, and said, How glorious was
the king of Israel to day, who uncovered himself
to day in the eyes of the handmaids of his servants,
as one of the vain fellows shamelessly
uncovereth himself!
-Nudo I.to
make
naked or bare; to strip, bare, lay bare,
expose to view, uncover
-scurra 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
2Sam. 6:21 And David
said unto Michal, It was before the LORD, which
chose me before thy father, and before all his
house, to appoint me ruler over the people of the
LORD, over Israel: therefore will I play before
the LORD.
| Mount
Sinai Play |
Judges
Samson |
2
Samuel David |
| h6711
|
h6711 He
ground
:-) |
|
|
h7832
|
h7832 |
Latin -lu-do
sport, frolic, play an instrument, B. To sport, dally,
wanton Verg. E. 6, 1.Esp.,
to play on an instrument of music, to make
or compose music or song:
"We know that
all of the Israelites brought Egyptian gods and practices with
them and it is not far-fetched to think that
Miriam, who had not yet been exposed to the
Covenant, was part of the consciousness-altering
rhythms and which was part of a priestly
myth-play brought to destructive consummation at
Mount Sinai as the golden calf was called back
into action.
This "rising up to
play" involved eating, drinking, nakedness and musical worship. The goddess, Hathor, is the best
candidate for the Mother Goddess
of the Mount Sinai idolatry. Here
priestessess or prophetesses were highly
trained with musical instruments,
cultic songs and be able to join in the
religious dance.
"Music and
drugs were co-consiprators in religious ecstasy.
They may have used some product of the sycamore
fig which both intoxicated and induced an
altered state of consciousness. The ergo of
barley was well known.
|
"Hebrew
music... was used in the luxurious times of the later
monarchy the effeminate gallants of
israel, reeking with perfumes, and
stretched upon their couches of ivory, were wont at their
banquets to accompany the song with the tinkling
of the psaltery or guitar (Am. v1.
4-6), and amused themselves with devising musical
instruments while their nation was perishing... music was
the legitimate expression of mirth and gladness, and the
indication of peace and prosperity." (Smith's, Music, p.
590).
This,
according to myth, was the first manifestation of dionysus, benefactor
of
mankind, giver of good things.
"dionysus's
worship is thus established by the simple means of
killing the opposition. It has been
suggested that every tragic hero who suffers
and dies on stage at the
Dionysia, the great dramatic festival at Athens (of the South?), is in
fact dionysus himself, being killed."
In the
Eleusian mysteries, the wine was not noted for its alcohol
but for drugs perhaps from fermented barley
or from mushrooms used to bring
on the exhilaration. Of the
priest, it is said that:
"As he performed
the service, he intoned ancient chants
in a falsetto voice, for his role
in the Mystery was asexual, a male who had
sacrificed his gender to the Great
Goddess. Resource
Galli A form gallantes,
as if from gallare, "to rave like a priest of
Cybelι." In Amos the impulse was by the Cows of Bashan and
thus the symbol of "a basked of summer fruits" which means
Catamites RIPE for plucking.
http://www.perseus.tufts.edu/hopper/morph?l=galli&la=la&prior=s%C4%83lax#lexicon
The "ancient serpent symbolism and Semitic
philology discloses that Bashan has two
meanings. When most biblical scholars studied Hebrew
philology they were told that "Bashan" denoted a
mountain east of the Kinnereth (the Sea of Galilee). Now,
the contributors to the most recent Hebrew lexi- cons
rightly point out that "Bashan" in the second millennium BCE
denoted both a mountain and a mythological creature
that was a ser pent, the "dragon-snake." 41 The most
help in comprehending !vb as having a second meaning,
"dragon-snake," comes from cognate languages. "The
"Mountain of God' in Psalm 68:16," James Charlesworth
EXODUS 20
THE "NOT SILENT" OUTLAWING OF WORKS WORSHIP
Ex.
20:8
Remember
the sabbath day, to keep it holy.
Ex. 20:9 Six days shalt thou labour, and do all thy
work:
Ex. 20:10 But the seventh day is the sabbath
of the LORD thy God:
in it thou shalt not do any work, thou, nor thy son,
nor thy daughter,
thy manservant, nor
thy maidservant, nor thy cattle, nor thy stranger that is
within thy gates:
Ex. 20:11 For in six days the LORD made heaven and
earth, the sea, and all that in them is,
and rested the seventh
day: wherefore the LORD blessed the sabbath day, and hallowed it.
EXODUS
31 FOR GOD'S FURTHER DIRECT COMMANDMENTS
Exod 31:12
And the Lord spake unto Moses, saying,
Exod 31:13
Speak thou also unto the children of Israel, saying, Verily my
sabbaths ye shall keep:
for it is a sign between me and you throughout your generations;
that
ye may know that I am the Lord that doth sanctify
you.
Joel
1:14
Sanctify ye a fast, call a solemn assembly,
gather the elders
and all the inhabitants of the land into the house of the
LORD your God,
and cry unto the LORD,
Joel 1:15 Alas for the day! for the day of the LORD is at
hand,
and as a destruction
from the Almighty shall it come.
H6113 ‛βtsar aw-tsar' A primitive root; to inclose;
by analogy to hold back; also to maintain, rule, assemble:
X
be able, close up, detain, fast, keep (self close,
still), prevail, recover, refrain, reign, restrain,
retain, shut (up), slack, stay, stop, withhold (self).
The Sabbath was the pagan EVIL day: that was
the day they held "worship services." God restricted their
travel to about 700 feet from their own precincts where they
were to hold a holy convocation. This was the Qahal,
synagogue or Church of Christ in the wilderness. Here
is how you hold synagogue or Church even as Paul commanded.
h4744 Miqra
Exod 31:14 Ye shall keep the sabbath therefore;
for it
is holy unto you: every one that defileth it
shall surely be put to death:
for whosoever doeth any work therein,
that soul shall be cut off from among his people.
A
Sabbath Fast excludes doing your own pleasure
(music has no other motive) or even speaking your own words
(Isaiah 58) as did the synagogue defined in Paul's "singing"
passages and demanding that the elders teach that which has
been taught. Jesus said that "speaking on your own" is the
MARK of a son of the Devil.
And they
that shall be of thee shall build the old waste places: thou shalt raise up the foundations of many generations; and thou shalt be
called, The repairer of the
breach, The restorer of paths to dwell in. Isa 58:12
If thou
turn away thy foot from the sabbath, from doing thy
pleasure on my holy day; and call the
sabbath a delight, the holy of the Lord, honourable;
and shalt honour him,
- not
doing
thine own ways,
- nor
finding
thine own pleasure,
- nor speaking thine own words: Isa
58:13
Then shalt thou
delight thyself in the Lord;
and I will cause thee to ride upon
the high places of the earth,
and feed thee with the heritage of
Jacob thy father:
for the mouth of the Lord hath
spoken it. Isa 58:14
HOW DID
THEY DEFILE THE SABBATH
The word Halal is most often used
as a PRAISE WORD meaning to "make self vile. This boast
song could drive the enemy into cowardice and panic
because to lose the battle meant to be "Robbed, raped
and raptured" in that order. Halal is the root meaning
of LUCIFER (Zoe)
Chalal
(h2490) khaw-lal'; to wound, to dissolve; fig. to
profane (a person, place or thing), to break (one's
word), 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.
Ezek.
28:12 Son of man, take up a lamentation upon the king of
Tyrus, and say unto him, Thus saith the Lord GOD; Thou
sealest up the sum, full of wisdom, and perfect in
beauty.
Ezek.
28:13 Thou hast been in Eden the garden of God; every
precious stone was thy covering, the sardius, topaz, and
the diamond, the beryl, the onyx, and the jasper, the
sapphire, the emerald, and the carbuncle, and gold: the
workmanship of thy tabrets and of thy pipes
was prepared in thee in the day that thou wast
created.
Ezek. 28:16 By the multitude of thy merchandise
they have filled the midst of thee with violence, and
thou hast sinned: therefore I will cast thee as profane out of the mountain of God: and I will
destroy thee, O covering cherub, from the midst of the
stones of fire.
Work outlawed for the
Sabbath now PAUO or rest under Christ:
Melakkah
(h4399) mel-aw-kaw'; from the same as 4397; prop.
deputyship, i. e. ministry; gen. employment
servile) or work (abstr. or concr.); also property
(as the result of labor): - business, * cattle, *
industrious, occupation, (* -pied), * officer, thing
(made), use, (manner of) work ([man], -manship). (never
Malok
(g4397) mal-awk'; from an unused root mean. to despatch
as a deputy; a messenger; spec. of God, i. e. an
angel (also a prophet, priest or teacher):
- ambassador, angel, king, messenger.
Exod 31:15
Six days may work be done; but in the seventh is the
sabbath of rest, holy to the Lord: whosoever
doeth any work in the sabbath day, he shall surely be put to
death.
Shabbathown
(h7677)
shab-baw-thone';
from 7676; a sabbatism or special holiday: - rest,
sabbath.
Exod 31:16
Wherefore the children of Israel shall keep the
sabbath, to observe the sabbath throughout their
generations, for a perpetual covenant.
EXODUS
32 FOR HOW THEY DEFILED THE SABBATH
Exod 32:4
And he received them at their hand, and fashioned it
with a graving tool, after he had made it a molten
calf: and they said, These be thy gods, O
Israel, which brought thee up out of the
land of Egypt.
Exod 32:5
And when Aaron saw it, he built an altar before it;
and Aaron made proclamation, and said, To morrow is a feast
to the Lord.
What
they did besides calling the golden calf "Jehovah."
Exod 32:6
And they rose up early on the morrow, and offered burnt
offerings, and brought peace offerings; and
the people sat down to eat and to drink, and rose up
to play.
What God did not command.
For I
spake NOT unto your fathers, nor
commanded them
in the day that I
brought them out of the land of Egypt,
concerning burnt
offerings or sacrifices: Jeremiah 7:22
But this thing commanded I
them, saying,
Obey
my
voice, and I will be your God, and ye shall be my
people:
and
walk ye in all the ways that I have commanded you,
that
it may be well unto you. Jeremiah 7:23
But they HEARKENED NOT, nor
inclined their ear,
but
walked in the counsels and in the imagination
of their evil heart,
and
went backward, and not forward. Jeremiah 7:24
Therefore,
sacrifices
and
instrumental music done in the NAME of Jehovah is sin.
What is rising up to PLAY?
Ludo
A.To sport, play
with any thing, to practise as a pastime, amuse
one's self with any thing: Esp., to play
on an instrument of music, to make or compose
music or song:
Vergil, Eclogues 1
O Meliboeus, 'twas a god vouchsafed
this ease to us, for him a god will I
deem ever, and from my folds a tender
lamb
oft with its life-blood shall
his altar stain.
His gift it is that, as your eyes may
see,
my kine may roam at large, and I myself
play on my shepherd's pipe what songs I will.
Vergil Ec 6
Laughing at their guile,
and crying, Why tie the fetters? loose
me, boys;
enough for you to think you had the
power;
now list the songs you wish for
another meed for
her--forthwith began.
Then might you see the wild things
of the wood,
with Fauns in sportive frolic beat
the time,
and stubborn oaks their branchy summits
bow.
Not Phoebus [Apollo,
Apollyon] doth the rude Parnassian crag
so ravish, nor Orpheus so entrance the
heights
of Rhodope or Ismarus: for he sang
B.To sport, dally, wanton
(cf. "amorous play,")
GOD AND MOSES RECOGNIZED FATAL
IDOLATRY BY THE SOUND OF SINGING
Exod 32:17 And when Joshua heard
the noise of the people as they shouted, he said
unto Moses, There is a noise of war in the camp.
Lam. 2:6 And he hath
violently taken away his tabernacle, as if it
were of a garden:
he hath destroyed his places of the assembly: [Synagogues]
the LORD hath caused the solemn feasts [Set Time] and sabbaths
to be forgotten in Zion,
and hath despised in the indignation of his anger
the king and the priest.
The Lord hath cast
off his altar (candlestick), he hath abhorred his
sanctuary,
he hath given up into the hand of the enemy the walls of
her palaces;
they have made a noise in the house
of the Lord, as in the day of a solemn feast. Lam 2:7
Ex.
32:18 And he said, It is not the voice of them that
shout for mastery, neither is it the voice of them
that cry for being overcome: but the noise
of them that sing do I hear.
Ex. 32:19 And it came to pass, as soon as he came
nigh unto the camp, that he saw the calf, and the
dancing: and Moses anger waxed hot, and he cast the
tables out of his hands, and brake them beneath the
mount.
WES: 2:7 They - The enemies with their
triumphs and blasphemies, made as great a noise, as those
that sang holy songs, or played on instruments,
were wont to make to the glory of God.
Exod 32:18 And he said, It is not
the voice of them that shout for mastery, neither
is it the voice of them that cry for being
overcome; but the noise of them that sing
do I hear.
SING: H6031 anah
aw-naw' A primitive root (possibly rather identical with
H6030 through the idea of looking down or browbeating);
to depress literally or figuratively,
transitively or intransitively (in various
applications). (sing is by mistake for H6030 .):--abase
self, afflict (-ion, self), answer [by mistake for H6030
], chasten self, deal hardly with, defile, exercise,
force, gentleness, humble (self), hurt, ravish, sing [by
mistake for H6030 ], speak [by mistake for H6030 ],
submit self, weaken, X in any wise.
Anath:
This Canaanite Goddess' name means 'to answer'
and may be related to the Akkadian word ettu meaning
'active will.160' She was a major deity all over the
western parts of the Near East, including Egypt where
she was later considered to be the same Goddess as Libyan
Neith. Titles for her include Belet'net 'virgin
Anath,' 'Nethebely161 'the destroyer,' and
Yebemet-limm 'widow of the nation(?)'162. Her
worship extended from the 2nd millenium BCE deep into
the Hellenistic Age, when it began to be forced
underground. Like the original Athena, she ruled
battle, the hunt, and the passage of
souls from one world to the next. She was also a Death
Goddess who wore the goatskin aegis -- or
at least, the Egyptians attributed Neith's aegis
to her. This sacred garment has been described as a
cloak, apron, breastplate, or shield. In
Anath's case, it shifted in function as religious
ceremony changed. Originally it was probably a garment
worn by each Libyan woman when she came of age,
made of cloth and marked with snakes and Moon
symbols, or made of many braids of string.
Later it was remade, parts of its feminine
symbolism removed and turned into a garment
worn during animal sacrifices. Then it was
decorated with severed penises, representing
both types of death men experience, loss of erection
and the ending of their lives.
Exod 32:19 And it came to pass, as
soon as he came nigh unto the camp, that he saw the calf,
and the dancing: and Moses anger waxed hot,
and he cast the tables out of his hands, and
brake them beneath the mount.
WHAT BIBLE SCHOLARS UNDERSTAND AS
THE CAUSE OF THE FALL FROM GRACE.
"And the
people celebrated this feast with burnt-offerings and
thank-offerings, with eating and drinking, i.e. with
sacrificial meals and sports, or with loud rejoicing,
shouting, antiphonal songs, and dances, in the same manner
in which the Egyptians celebrated their feast
of Apis (Herod. 2, 60, and 3, 27)." (Keil
and Delitzsch, Vol. II, p. 222).
Theodoret (Quasten,
Music & Worship, p. 65) claimed that the Jews
brought liturgical music from Egypt and Philo wrote
that "Moses learned rhythm, harmony, meter and
everything concerned with instrumental music from the
Egyptians." Furthermore, he contended that during
the apostasy to idol worship at Mount Sinai the Jews
sang in the style of the Egyptians threnodies.
This is why Moses knew that the noise at Mount Sinai was not the sound of defeat
or of victory. Rather, it was the "sound of them singing
that I hear."
The Jews
sang in the type of the Egyptian
threnodies (elegies for the dead):
Thus they made a golden
bull, the image of an animal that was held
to be the most sacred in that land;
they offered unholy sacrifices, performed impious dances and sang
hymns
which differed in no way from the pagan
mourning songs. Philo,
De specialibus legibus
"This reference probably
indicates the use of songs from the cult of Osiris... it can
hardly be denied that Egyptian influence on Jewish
musical practices was quite significant. This would
stand to reason because of the high quality of Egyptian
cultic
music. The tambourine or
timbrel, a hoop of bells over which a white skin was
stretched, came from Egypt. Miriam used this instrument to
accompany the singing and dancing on the
shores of the Red Sea (Ex. 15).
"The trumpet... was the signaling instrument of the Egyptian
army. The
name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the cult of Isis.
The music during the transferring the
Ark to Sion (David rose up to
play)
and
the
dances of the women at the Shiloh (Judges 21:21), were
similar to the Egyptian liturgy and parades.
"As Herodotus
reports, women sang the praises of
Osiris
while liknesses of the gods were born about and, during the
festival
of Diana at Bubastis,
...........
Women's
singing
was a vital part of all pagan worship. In early
...........
times women
became priestly singers of the gods in the temple.
"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'."
(Johannes Quasten. In Music and Worship
in Pagan and Christian Antiquity,
beginning on page 41)
Soothsayers: Anan (h6049)
aw-nan'; a prim. root; to cover; used only as denom.
from 6051, to cloud over; fig. to
act covertly, i. e. practise magic: - * bring, enchanter, Meonemin, observer
of times, soothsayer, sorcerer.
DAVID'S AROUSERS:
don't get upset: God turned Israel over to worship
the starry host.
"In an inscription from
Cyprus, in one from Rhodes and in several from around
the district of Carthage, there are references to
important personages who bear the title Mqm'lm which we
can translate as AROUSERS of the
god.'" (de Vaux, Roland, The Bible and the Ancient
Near East, Doubleday, p. 247).
"We even have a mention at
a later date of a similar custom in connection with
the cult in Jerusalem, where
certain Levites, called me'oreim,
'AROUSERS,' sang (every morning?) this verse from "Ps
44:23: "Awake, O Lord! Why do you sleep? Rouse
yourself! Do not reject us forever." The Talmud tells
us that John Hyrcanus suppressed the practice because
it recalled too readily a pagan custom." (Roland
de Vaux, p. 247).
The Egyptian Opis (The Golden Calf or Apis)
and others which Israel worshipped at Mount Sinal were
worshipped throughout the area. "In preference to all
other hymns these choirs generally sang the so-called epiphany
hymns,
which were intended to invite the gods to appear. Plutarch wrote:
Why do the women of Elis call upon
God in song to approach them with the bull's foot?
Their song is the following:
- Come, Dionysus, Hero,
- into
the holy temple of Elis,
- together
with
the Graces
- come
violently into the temple with the bull's foot!
- Then
they sang twice at the end: "Sacred Bull!"
(Johannes Quasten, Music & Worship
in Pagan and Christian Antiquity, p. 76)
Choirs of young
girls often officiated and
they wore garments of the dancers consecrated
to the gods. (The ephod was once a feminine apron)
The Law of Moses was to legislate for
the lawless: the folly of trusting it to create
righteousness was and is folly.
The pagan sacrificial system was
common to all of the national temple states for national
sacrifices.
This never applied to the
"civillians" who synagogued to rest, read and rehearse the
Word. It excluded vocal and instrumental rejoicing
which was a sound of warfare or other SURE signals.
WHEN THE ELDERS FIRED GOD
There was never any religious "instrumental praise"
under the Law of Moses. Only when the elders fired
God and demanded a right to "worship like the nations" God
carried out the conditional captivity and death sentence
imposed because of musical idolatry of the triad at Mount
Sinai. However, God solemly warned that the kings
would destroy them. How can that be an old system of
ACTS OF WORSHIP?
One of the warnings of God was that the King would
add the tithe, set up a "ministry staff" for his pals and
even take the young boys to make musical instruments and
run before the chariots: slavery and never worship. See
what Samuel warned.
The Israelite state was not founded with divine blessing. Rather, it
was allowed as a grudging concession, just as a
parent lets a child have his way in order that he may
learn his folly from experience." (Anderson, Bernard,
Theology of the O.T. p. 163).
"In one sense the creation
of the monarchy was providential...In
retrospect, one can say that events
which brought about the collapse of the Confederacy and the
rise of the Israelite state were
not...devoid of divine purpose. God's revelation is relevant
to the whole of human life--to economics, politics, and
every sphere of human activity.
If God would speak to
the nations through Israel,
then Israel must undergo
the experience of being a nation in order
that she might appreciate the wealth of nationhood and
attack
the idolatrous power of nationalism." (Bernard Anderson, p. 163)
Not in the vilest pagan temples were
the speakers, singers and instrument players permitted
into the Holy Places which represented "the presence of
the deity." In Hezekiah's reform used as proof text,
the Levitical Warrior Musicians under the king and
commanders of the army were not permitted into the Holy,
covered places even to clean out the garbage: they would
have been instantly executed.
After David numbered the people, he
brought down a curse on the nation. When the PLAGUE was
finally stopped God conceded David a TENT (Acts 7) on
Mount Zion. Stephen then says BUT Solomon built God
a HOUSE on Moriah. BUT, God does not dwell in houses built
by human hands nor by the works of human hands: waving,
raising, clapping, plucking or twanging!
Jerusalem was a Jebusite High
place given to David when he was too afraid to go to
Gibeon. That was the final CULT center
of the worship of the Starry Host and
never a "worship center."
Coffman's Commentary Speaks for the total Bible
view that Israel's rejection of God as King,
Judge and Priest set the stage for their later
repudiation of Jesus Christ in order to keep the evil
Temple-System like all other nations. Remember that the
clergy was still seeking a king "like the nations" and
had not a hint of looking for a Spiritual King, Prince
and Mediator:
The great Cambridge scholar,
Henry McKeating, has the following comment on this
passage from Hosea:
"Hosea is not only antagonistic to the northern
kings but to the monarchy
as
such. The monarchy is powerless to
save the nation. Israel was wrong to ask
for a king. Her punishment was that she
got what she asked." 7:
Henry McKeating, Amos, Hosea, and Micah (Cambridge:
University Press, 1971), p. 148.
Coffman: "We are
aware that it is popular among many
able commentators today to make apologies for
Israel's monarchy and to
apply what the Scriptures plainly say about it to some specific monarch,
Saul, for example, as did Dummelow, or to the kings of
Northern Israel as did Hailey;
but it is the conviction of this
writer that
Israel was totally and completely wrong in asking a
king and that this rejection of God (that is
what the text calls it) contained embryonically all of the
later sorrows of the Chosen People.
Throughout the whole
history of Israel, there were very few monarchs who
even tried to serve the Lord. Solomon was to be blamed
for the division of the kingdom under his son, because
the people simply rejected the excesses
of Solomon; and yet, even after God
took the monarchy away from them, the nation wanted
nothing in heaven or on earth as much as they wanted
the restoration of that scandalous
Solomonic empire.
It was this, more than
anything else, that motivated their rejection
of God Himself,
finally and irrevocably,
in their rejection of God's Son, Jesus Christ
the Holy One.
O Israel, thou
hast destroyed thyself; but in
me is thine help. Hosea 13:9
I will be thy king: where
is any other that may save thee in all thy cities?
and thy judges of whom thou saidst, Give me a king
and princes? Hosea 13:10
I
gave thee a king in mine anger, and took him
away in my wrath. Hosea 13:11
Those reading the prophets who were
the only definers of Spiritual Religon under the Spirit OF
Christ makes it impossible for anyone to believe that the
CURSE of the Law and Monarchy was Gods failed ACTS OF
WORSHIP.
That is why the "worship of the
starry host" continued and was CONTRARY to the Law of
Moses:
Hear the word of the Lord,
ye rulers of Sodom; give ear unto the law of our God, ye
people of Gomorrah. Isaiah 1:10
To what purpose is the
multitude of your sacrifices unto me? saith the
Lord:
I am full of the
burnt offerings of rams, and the fat of
fed beasts;
and I delight not
in the blood of bullocks, or of lambs, or of he goats.
Isaiah 1:11
When ye come to appear
before me,
who hath
required this at your hand, to tread my
courts? Isaiah 1:12
Bring
no more vain oblations;
incense is
an abomination unto me; the new moons and
sabbaths,
the calling of
assemblies, I cannot away with;
it is iniquity,
even the solemn meeting. Isaiah 1:13
For I spake NOT unto your
fathers, nor commanded them in the day that I
brought them out of the land of Egypt,
concerning
burnt
offerings
or sacrifices: Jeremiah 7:22
But this thing commanded I
them, saying,
Obey
my
voice, and I will be your God, and ye shall be
my people:
and
walk ye in all the ways that I have commanded you,
that
it
may be well unto you. Jeremiah 7:23
But
they HEARKENED NOT, nor inclined their ear,
but
walked
in the counsels and in the
imagination
of their evil heart,
and
went
backward, and not forward. Jeremiah 7:24
There is no
evidence that the Spirit OF Christ was ever involved
with commanding or approving of the King-Priest-Temple
state. On the contrary the evidence is overwhelming that
the Spirit OF Christ spoke through the prophets
and universally condemned the sacrificial system and
used the instrument as a MARK that people had not and
would not listen to the Words of God. The concept of
quenching or grieving the Holy Spirit means that they
rejected the Words of God through the prophets.
Since the day that
your fathers came forth out of the land of Egypt
unto this day,
I have even sent
unto you all my servants the PROPHETS,
daily rising up early and
sending them: Jeremiah 7:25
Yet they HEARKENED NOT
unto me, nor inclined their ear, but hardened their neck:
they did worse than their fathers. Jeremiah 7:26
The prophets were
the enemies of the priestly class.
Therefore thou shalt speak
all these words unto them;
but
they
will not hearken to thee:
thou shalt also
call unto them; but they will not answer thee.
Jeremiah 7:27
But thou shalt say unto
them,
This
is
a nation that
obeyeth not the voice of the Lord their God,
nor
receiveth
correction: truth is perished,
and
is
cut off from their mouth. Jeremiah 7:28
Dave
Miller: Christ and the Christian
system were certainly foreshadowed in the
Old Testament, being woven into the fabric of Scripture
from the beginning. Types and shadows abound in
the Old Testament (Colossians 2:17; Hebrews 8:5; 10:1).
The various aspects of the Old Covenant were clearly
designed and preordained to prefigure and foreshadow
the Newthey were copies of the true (Hebrews
9:24). Israelite life and worship conducted in 1500 B.C.
was preplanned and divinely orchestrated
to anticipate Christian living after
A.D. 30.
Paul does not identify the Monarchy as a type of what
God would later add. That would deprive all of those
"civillians" of the Mind or Spirit of Christ and they would
have died before the time of Christ. Paul was speaking
of the TABERNACLE which had no singing or
music in any sense: this was God's PATTERNISM to prove that
He would tabernacle where His people moved. While the
Civil-Military-Clergy or NOBILITY were CONDEMNED to keep up
that to which God had abandoned them, the SPIRITUAL PEOPLE
attended synagogue or church in the wilderness. This was
inclusive of rest (from ritual), reading and discussing the
Word of God. It was exclusive of vocal or instrumental
rejoicing. This triumph over was reserved as a MARK to identify
the enemies of God in Christ.
Heb 9:2 For there was a tabernacle
made; the first,
wherein was the candlestick, and the table, and the shewbread; which is called the sanctuary
No singer or musician or speaker could
enter this PARABLE of the body or church of Christ
EVEN TO CLEAN OUT GARBAGE left over from Assyrian
musical worship and burning of infant.
Heb 9:3 And after the second
veil,
............ the tabernacle
which is called the Holiest of all;
Rather, the Law of Moses was added because of
transgression: that being musical idolatry which
polluted the Sabbath or rest day. This was the "patternism"
of all of the "falls from grace" beginning in the garden of
Eden. The king of Tyre is "patterned" as Lucifer the
singing and harp playing prostitute." Paul said that
she / he / it 'wholly seduced' Eve as a new bride is seduced
before her husband. The total background of the
"serpent" in the garden of Eden is that of a "musical
enchanter(ess).
The Holy Place contained the
symbols of the synagogue or church: the Table of
fellowship, the Menorah or seven spirits OF Divine
knowledge resting on Jesus the Branch and looking into the
Most Holy Place where we approach God in utter silence and
the harps are held or silenced and our incense is the
fruit of OUR lips.
The Qahal, synagogue or church in the wilderness always
existed and the meaning of worship was to "read and
rehearse" the Word of God. That is exactly how David
defines his personal worship.
When the elders fired God and demanded a king God
understood that they wanted to worship like the nations. He
warned them that the kings would destroy them and carry out
the captivity and death sentence. One of the curses would be
taking the tithe to support the king and his favorite
"ministry team." It included taking young boys from their
farms and causing them to run before the chariots of the
king and army with instruments.
Therefore, rather than being God's obsolete "worship system"
Paul confirms what the Prophets all say: that the Law was a
curse whereby the upper class stole from the poor as
parasites.
Col. 2:14
Blotting out the handwriting of ordinances
that was against
us, which was contrary to us,
and took it out of the way, nailing it to his cross;
Col. 2:15 And having spoiled principalities and
powers,
he made a shew of
them openly, triumphing over them in it.
Col. 2:16 Let no man therefore judge you in meat,
or in drink,
or in respect of
an holyday, or of the new moon, or of the
sabbath days:
Col. 2:17 Which are a shadow of things to come;
but the body is of Christ.
Paul outlawed "lifeless instruments"
in 1 Corinthians which are also defined as "carnal
weapons" by which you cannot make war upon
evil--especially in the type of the Holy Place where
musicians were to be executed.
2Cor. 10:4 (For the weapons of
our warfare are not carnal, but mighty through God to
the pulling down of strong holds;)
One of the "weapons" of war
under the law was to blow the trumpet to create panic. All
pagans believed that musical sounds could attract the
"good gods" or dispel the demons. Because Paul identified
the "musical play" at Mount Sinai (1 Cor 10) as DEMONIC,
you cannot fight off demons by using CARNAL machines.
The Monarchy added as a curse was NOT
God's old, obsolete system of Acts of worship: the common
people were quarantined from these rituals and attended a
form of the Synagogue. They were limited in travil to keep
them away from the temple or similar Canaanite systems
which rested on wine, women and music.
A shadow is not just a type of
something good but something which hides the truth
We get side tracked on the idea of a SHADOW
thinking that a shadow is REALLY a two-dimension of the
SPIRITUAL law. In your passage.
G4639 skia skee'-ah
Apparently a primary word; shade or a shadow
(literally or figuratively [darkness of error
or an adumbration]):--shadow.
Skia
2. reflection,
image (in a bowl of oil), Sch.Il.17.755.
3.
shade of one dead, phantom, Od.10.495,
A.Th.992,
of
worthless things, that phantom at
Delphi,
4.
evil spirit, Hippiatr.130, PMasp.188.5
also, of one worn to a shadow,
A.Eu.302;
It is a fact that Israel was abandoned to worship the
starry host: this is defined in both Egyptian and Greek
accounts. The Sabazianism or Dionysus worship was the RISING
UP TO PLAY at Mount Sinai and that which God abandoned them
to as a curse. Therefore, look at one count:
-Aeschylus,
Eumenides
Orestes
-276 Taught by misery, I
know many purification rituals, and I
know where it is right to speak and equally to be
silent; and in this case, I have been ordered to speak
by a wise teacher. For the blood is slumbering and
fading from my hand
-299 Chorus No, neither
Apollo nor Athena's strength can save you from
perishing abandoned, [300] not knowing where joy is in
your heart--a bloodless victim of the gods
below, a shadow.
You do not answer, but scorn my words, you who are fattened
and consecrated to me? Living, you will be my feast,
not slain at an altar; [305] now you will hear this hymn,
a spell to bind you.
When Paul
outlawed the musical sects in Rome in Romans 14 as not
to be dialoged, in Romans 15 he defined the synagogue
which excluded loud rejoicing in Numbers 10.
Self-pleasing specificially means creating
mental excitement which is the laded burden Jesus
died to remove. The concept means "heresy" which means
to lift the victim up to cut its throat. In the
Temple, as a Goyim, sacrificial system the "noise" never
called music was to serve the priests in the midst of
slaughter of the innocent, blood, guts, dung and burning
flesh. A demagogue uses "performing arts to
appease the masses" and the word is always connected to
kleptoma.
Further, all
Greek words (used in the Hebrew Bible) for musical
instruments and hymn singing speak of charming or
enchantment is called SORCERY (pharmakea) by John in
Revelation 18:23 defining the task of the speakers,
singers and instrument players as agents of the Mother
of Harlots (Rev 17).
-307
Chorus Come now, let us also join the
dance, since we are resolved to display our
hated song and to declare our allotted
office, how our party directs the affairs of
men. [310] We claim to be just and upright. No
wrath from us will come stealthily to the one who holds
out clean hands, and he will go through life
unharmed; [315] but whoever sins, as this man has, and
hides his blood-stained hands, as avengers of
bloodshed we appear against him to the end, presenting
ourselves as upright witnesses for the dead.
Paul was both
Bible and culturally literate. Therefore, when he writes
he is always pointing to the FOLLY of things like the
"mad women in Corinth" to communicate to the literate.
Israel had a COVENANT WITH DEATH: this is the
MEANING of the WINE, WOMEN AND INSTRUMENTAL MUSIC:
Because ye have said, We
have made a covenant with death, and with
hell are we at agreement; when the overflowing scourge
shall pass through, it shall not come unto us: for
we have made lies our refuge, and under
falsehood have we hid ourselves: Is.28:15
Remembering
that Jesus cast out the musical minstrels "like dung" it
is unforgiveable to say that the New Testament never
speaks of the musicians:
"A vital focus of
questioning was the world of the dead. The recently
deceased might exert influence on
the living for good or for bad. Offerings to the dead,
which were required by custom, were intended, among
other purposes, to make them well
disposed. People occasionally deposited
with their offerings a letter telling the deceased of
their problems and asking for assistance. A few of these
letters are complaints to the deceased person, alleging
that he or she is afflicting the writer. This written
communication with the dead was confined to the very few
literate members of the population, but it was
probably part of a more widespread oral practice. Some tombs
of prominent people acquired minor cults that may have
originated in frequent successful recourse to them for
assistance. Britannica Online
This is why Jesus CAST OUT the Musical minstrels
using a word meaning "like dung."
NEHEMIAH
IDENTIFYING THE PARASITES
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. The
prophets thought that the kings, our
princes, our priests, and our fathers were
lawless parasites.
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
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
I have detailed the FALL FROM GRACE in our review of
Terry Rush and shown the MARKS proven by musical
instruments.
Because the Law was added as a curse but never included
anything but blowing loud trumpets as signals, we know that
when God finally abandoned the nation to a King Set Over Us
(Senior Pastor) he abandoned them to Sabazianism which was a
form of Dionysus worship--the god of the new
wineskins.
Therefore, there are NOT ACTS included under Rick Atchley's
"proof texts" which were ACTS of worship: even when animals
were being burned as signalled by both the KING'S
instruments and the PRIEST'S trumpets. In the case of
Hezekiah's ritual it was a Plague Stopping contract with God
and was in fact exorcism of the King, Kingdom, Judah,
Jerusalem, Temple and priests. The rituals was not an
outpouring of worship TO God but an extreme act of WORKS to
purge the Temple of Assyrian worship which would have
included music.
Paul's unique worship words mean to "give heed to the Word
of God" in the assembly used "synagogue" words and we know
from the definition of the church in the wilderness,
throughout the history of Israel, exampled by Jesus and
commanded by Paul and practiced for centuries. History knows
that "there was no praise in the synagogue" by direct
command and minimal common decency.
THE UNIVERSAL MARK OF IMPOSING MUSIC
AND MUSICIANS
Ancient literature from Babylonian
tablets and beyond agree with Johannes
Quasten.
In Music and Worship in Pagan and Christian
Antiquity, beginning on page 41 He uses
many of the church Fathers and Classical resources we also
rely upon:
"Philodemus considered it
paradoxical that music should be regarded as veneration
of the gods while musicians were paid for
performing this so-called veneration. Again,
Philodemus held as self deceptive the view that music
mediated religious ecstasy. He saw the
entire condition induced by the noise of cymbals and
tambourines as a disturbance of the spirit.
He found it significant
that, on the whole, only women and effeminate men fell
into this folly.
Accordingly, nothing
of value could be attributed to music; it was no
more than a slave of the sensation of
pleasure, which satisfied much in the same way that food
and drink did.
See the Greek meaning and background
to "charismatic" which includes singing and dancing.
"Of
particular interest is the way that early modern
playwrights, music theorists, and theater
apologists addressed this conflated language of
the "enemy," by echoing the same
connections between sexuality and playing found in
the most virulent antitheatrical tracts.
"As this paper will
demonstrate, by "playing" with the
conflated language, these writers defended
their art,
justifying their
existence in a society that was both
seduced and repulsed
by
them. By claiming the polemical antitheatrical language,
these players escaped from the ideological margins to which
their opponents had tried to relegate them.
Using the artifices of mimesis
(imitation) and comedy they pointed out and
defused their
opponents' anxieties
about music, theater,
and sexuality,
creating
a space for players in the cultural
mainstream."
Sorry that because you did not care enough to be a
disciple, you have been cuckold. Don't let them
pervade and divert your "church house of widows." No, they
are not redeemable.
Rough notes to be continued:
Click
to see Part Two
2.13.07 4.23.09 1000 8.02.10 1069 12.10.12
1298 10.20.13 1439. 2.09.19. 1741 7.22.19 1789 2.26.20
1858
www.perseus new
Kenneth
Sublett
Hohenwald, Tennessee
<img
src="/cgi-bin/Count.cgi?df=piney/counter_Miller.Atchley.1.htm.dat"><br>
---
--
