THE
MUSICAL IDOLATRY FOR WHICH THERE WAS NO REDEMPTION IS OUR
PATTERN.
1Corinthians 10:1 Moreover, brethren,
I would not that
ye should be
ignorant,
how that all our fathers
were under the cloud, and all
passed through the sea;
1Corinthians 10:2 And were all
baptized unto Moses in
the
cloud and in the sea;
1Corinthians 10:3 And did all
eat the same spiritual meat;
1Corinthians 10:4 And did all drink the
same spiritual
drink:
for they drank of that
spiritual
Rock that followed them:
and that
Rock was
Christ.
1Corinthians 10:5 But with many of them God was not well
pleased:
for they were
overthrown
in the
wilderness.
1Corinthians 10:6 Now these things were our
examples,
to the intent we
should
not lust after evil things, as they also
lusted.
1Corinthians 10:20 But I say, that the things which the
Gentiles [
Gens]
[ sacrifice,
they
sacrifice
to devils, and not to God:
and I would not
that ye should have
fellowship with
devils.
daimonaō , A. to
be under the power of a daimōn, to suffer by a
divine visitation, daimona domos kakois A.Ch.566;
daimonōntes en ata Id.Th. 1008
(lyr.): abs., to be possessed, to be mad,
E.Ph.888,
X.Mem.1.1.9,
Plu.Marc.20,
etc.; daimonas Men.140.
Greek: Daimonios , II.
from Hdt. and Pi. downwds. (Trag. in lyr.), heaven-sent,
miraculous, marvellous, bōlax Pi.P.4.37;
teras B.15.35, S.Ant.376
2. of persons, tō d. hōs alēthōs kai thaumastō Id.Smp.219b;
ho peri toiauta sophos d. anēr ib.203a; daimonios tēn sophian Luc.Philops.32:
Comp. -ōteros D.C.53.8.
Sophos , ē, on, mostly of poets
and musicians, Pi.O.1.9,
P.1.42,
3.113; en kithara s. E.IT1238
(lyr.),
Sophia A. cleverness
or skill in handicraft and art, in music
and singing, tekhnē kai s. h.Merc.483,
cf. 511; in
poetry, in divination,
1
Cor. 10:7 Neither
be ye idolaters, as were some of them; as it is
written, The people sat down to eat and
drink, and rose up to
play.
1
Corinthians 10.7 mēde eidōlolatrai ginesthe, kathōs tines autōn: hōsper gegraptai Ekathisen ho laos phagein kai pein, kai anestēsan paizein.
Paizō
pais
I. properly, to play like a child, to
sport, alla
pepaistai
metriōs
hēmin,
of the chorus, Ar. Th.1227.
4. play on a musical instrument,
h.Ap.206:
c. acc., Pan
ho
kalamophthogga
paizōn
dance and sing, Pi. O.1.16.
Aristoph.
Frogs 225
Rightly so, you busybody.
the Muses of the fine lyre love us
And so does horn-crested Pan, playing his reed pipe.
And the harpist o delights in us as
well,
On account of the reed, which as a bridge for
his lyre
ōn
, ho,
o: Abaddon, yon The name of a NUMBER
phorm-iktēs
, ou,
Dor. phorm-miktas
, ho,
A. lyre-player, of Orpheus, Pi.P.4.176
phorm-iktos
,
ē,
on,
A.
sung TO the phormigx,
kai
peza
kai
ph.
(sc.
melē)
S.Fr.16.
Melos
,
eos,
to,
2. music to which a song is set, tune,
Arist.Po.1450a14;
3. melody of an
instrument,
phormigx
d'
au
phtheggoith'
hieron
m.
ēde
kai
aulos
;
aulōn
pamphōnon
m.
Pi.P.12.19;
5. play amorously, pros
allēlous
X.Smp.9.2;
II. est, sport, Hdt.2.28, 5.4, 9.11; make
fun with a person,
Empaizō , fut. To be
deluded 2. euphem. in mal.
part.,
LXXJd. 19.25.
II. sport in or on, hτs
nebros chloerais e. leimakos hκdonais E.Ba. 866 (lyr.); tois choroisin e. to sport
in the dance,
Ar.Th.975; tτi Luc.Lex.5
Paig-ma , atos, to, A. play, sport, lōtos hotan . . paigmata bremē whene'er the pipe
sounds its sportive strains, E.Ba.161(lyr.);
Ludia p. luras Lyr.Alex.Adesp.37.15.II.
'child's play', to toiouto p. tōn logōn
"In
the New Testament there
is nowhere any
emphasis
laid on the musical form of the hymns;
and in particular none on instrumental accompaniment whereas
this is significantly
paganism." (Delling,
Gerhard, Worship in the New Testament, trans. Percy Scott
Phil.
Westminster press, 1962, p. 86).
A Devil will deliberately lie about the Truth of the
Word:
Lying pseudos
in NT of what is opposed to religious truth, false
doctrine, Ep.Rom.1.25;
poiōn bdelugma kai ps., i.e. doing what is repugnant
to the true faith, Apoc.21.27;
2. esp. of divine or supernatural action,
Ep.Eph.1.19, al., Aristeas 266; e. theou Dios Baitokaikēs OGI262.4 (Syria, iii A.D.); magical
operation, hiera e.
party feelings or attachments, rivalries, s. iskhurai philōn peri tinos Hdt.5.5; kata spoudas Ar.Eq.1370,
Ael.VH3.8;
spoudai erōtōn erotic enthusiasms,
Pl.Lg.632a.
Apoc 21.[27] There will in no way enter into it anything profane,
or
one who causes an abomination or a lie, but only those who are
written
in the Lamb's book of life.
Daimons continued: on, ephē, daimonias huperbolēs ! Id.R.509c.
2. Of persons, tō d. hōs alēthōs kai thaumastō Id.Smp.219b;
ho peri toiauta sophos d. anēr lokhos gunaikōn, of the Furies, A.Eu.46;
Thaum-astos
, Ion. thōm- , ē, on, A. wonderful,
marvellous, first in neut. as Adv.,
th. karpos Id.9.122
III. to be worshipped, oudeis m' areskei nukti thaumastos theōn E.Hipp.106.
Hdt.
9.122 [3] Cyrus heard
them, and found
nothing to marvel at in their design; Go ahead and do this,
he said;
but if you do so, be prepared no longer to be rulers but
rather
subjects. Soft lands breed soft men; wondrous fruits
of the earth and
valiant warriors grow not from the same soil.
[4] The Persians now realized
that
Cyrus reasoned better than they, and they departed, choosing
rather to
be rulers on a barren mountain side than dwelling in
tilled valleys to
be slaves to others.
Lokhos
1. a place
of ambush, place for lying in wait,
Hom., Eur.
2. the act of lying in wait, lokhon heisai to place an ambuscade,
Xen.
Cyrop. 5.5.2 Cyrus had given orders to bring out
the tent of the Assyrian king which
the Medes had selected for Cyaxares, to make it ready with all
kinds of
furnishings, and to conduct into the women's
apartments of the tent the
woman and with her the music-girls, who had been
selected for Cyaxares.
And this was done.
ib.203a; daimonios tēn sophian Luc.Philops.32:
Comp. -ōteros D.C.53.8.
Sophia , A. cleverness
or skill in handicraft and art, tektonos,
in music and singing, tekhnē kai s. h.Merc.483,
cf. 511; in
poetry, Sol.13.52, Pi.O.1.117,
Ar.Ra.882,
X.An.1.2.8,
etc divination
cunning, shrewdness, craft, Hdt.1.68,
etc.; to loidorēs ai theous ekhthra s. Pi.O. 9.38.
dēmēgorikos from dēmēgoros of or for
public speaking, qualified for it, Xen.: hē -kē (sc. tekhnē), = dēmēgoria,
THE END-TIME
PROPHECY IS THAT O, ABBADON OR
YON AND THE LOCUSTS OR MUSES WILL BE UNLEASHED.
THEIR JOB IS TO DRIVE OUT THE GODLY PEOPLE AND
HOLD THE UNGODLY CAPTIVE WITH THE MUSES JOHN
CALLS SORCERERS.
Mousa_geta_s
, a, ho, Dor. for Mousēgetēs (v.
infr.), A.leader of the Muses,
epith. of o, Pi.Fr.116;
ho m. kai arkhagetas tas poiētikas theos (Delph.
Mousēgetēs ,
Pl.Lg.
653c, D.S.1.18,
Jul.Or.4.132a,
al.; voc. Mousēgeta^ ,
IG12(5).893
(Tenos); also Epithet of Heracles, in
dat. Mousagētē ,
Strabo
Geography [-10.3.10]
And
on this account Plato, and even before his time
the
Pythagoreians, called philosophy music;
andt
hey
say that the
universe is constituted in accordance with harmony,
assuming that every form of
music is the work of
the gods.
And in this sense, also, the Muses are goddesses,
and o
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.
Now
most of the Greeks assigned
to Dionysus, o, Hecate, the Muses
(9 women team), 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.
Rev. 9:11 And they had a king over
them, which is the angel of the bottomless pit,
whose name in the Hebrew tongue is Abaddon, but in
the Greek tongue hath his name yon.
o is considered to
have
dominion over plague, light, healing, colonists,
medicine, archery,
poetry, prophecy, dance, reason,
intellectualism, Shamans, and as the patron
defender of herds
and flocks. o had a famous oracle in Crete and other
notable
ones in Clarus and Branchidae.
o is known as
the
leader
of the
Muses
("musagetes") and director of their choir. His attributes
include: swans,
wolves, dolphins,
bows and arrows, a laurel crown, the
cithara (or lyre) and plectrum. The sacrificial tripod
is another attribute,
representative of his prophetic powers.
The swan and
grasshopper symbolize music and song; the hawk, raven, crow
and snake have reference to
his functions as the god of prophecy.The chief festivals held
in honour of o were
the Carneia, Daphnephoria, Delia, Hyacinthia,
Pyanepsia, Pythia and
Thargelia.
Thalrgelia in Greek religion, one
of the chief
festivals of o at Athens, celebrated
on the sixth and seventh days
of Thargelion (May-June). Basically a vegetation ritual upon which an expiatory
rite was
grafted, the festival was named after the first
fruits, or the first
bread from the new wheat.
On the first day
of the
festival, one or two men (or a man and a woman),
representing the
deity but also acting as scapegoats for
community guilt, were first led
through the city and
then driven out. Occasionally, as in times of heavy
calamity,
they
were
sacrificed,
being either thrown into the sea or burned on a funeral
pyre. On the
second day of the festival, there were a thanks
offering, a
procession, and the official registration of adopted
persons.
-o o exercises an elevating and
inspiring
influence on
the mind as god
of
music,
which, though
not belonging to him alone any more than atonement and prophecy, was yet pre-eminently his
province. In
Homer he is
represented only as a player on the lyre,
while song is
the province of the Muses;
but in course of time he grows to be the god, as
they are the goddesses, of song and poetry,
and
is therefore Mousagetκs (leader
of the Muses) as well
as master of the choral
dance,
which
goes with music and
song. And as
the friend
of all that beautifies life he is intimately
associated
with the
Graces [Graces meaning CHARIS
meaning Charismatic
meaning
the MARK of homosexual "worship"]
Revised 8.29.13
God set a mouse trap so that the text is actually INVERTED for those not OF TRUTH
or not the lost spirits Jesus cam to seek and
save. He did not pray for the world and God hides
from the wise or Sophists defined as self-preachers, singers
and instrument players.
The command is to SPEAK the
ODES
-lexis , eōs, h(, (legō B) A. speech,
OPPOSITE.
ōdē, Pl.Lg.816d;
l. ē praxis speech or
action, Id.R.396c;
ho tropos tēs l. ib.400d; ta lexei dēloumena orders given by
word of mouth,
-ōdē
, hē,
contr. for aoidē,
en
tais
ōdais
kai
melesin
R.399c, cf. 398c; OPPOSITE. lexis,
Psallo has never and can never
speak of musical melody. If someone said:
SPEAK to the students
about the rules of grammar
SING and WHISTLE in the bathroom.
Is that too hard to understand?
According to Paul if you tamper with the Word God sends strong
delusions so that you believe your own lies. The results are
Lying Wonders: lying wonders are rhetoric, singing, playing,
juggling or acting AS a religious act--that legalism word.
Notice that ODE must
include melos is you intend to SING.
MELOS
or melody B. esp. musical member, phrase:
hence, song, strain, Cratin.236;
melē,
ta,
lyric poetry, choral songs, opp. Epic or
Dramatic verse,
2. music to which a song is set, tune, Arist.Po.1450a14;
OPPOSITE.
rhuthmos,
metron,
Pl.Grg. 502c;
3. melody of an instrument, phormigx
d'
au
phtheggoith'
hieron
m.
ēde
kai
aulos
OPPOSITE.
rhuthmos,
rhēma,
The Phormigx was the
instrument of o (Abaddon, yon): He was the father of
musical harmony on his lyre. The psallo word is specificially
related to o making his bow string twang to send forth a
singing arrow into a literal heart. His lyre sent forth
love arrows into his often male lovers. Most of the
PLUCKING passages referenced by Stark, Payne and Burgess point
directly to older males plucking strings to seduce a young
male. It was common to speak of "shooting forth
hymns" without any of the ugliness associated with
psallo. God was not stupid: if He wanted to speak about
any king of musical melody especially the Greek literates knew
to use multiple words or a compound word devoted to EACH
instrument or an accompaniment.
There is no lyric poetry in the
Bible: Plucking a string and then singing TO that sound is not
tuneful.
You cannot speak in the LOGOS sense (The Regulative Principle)
because it is opposite to rhetoric, poetry or music.
Robert may SEE the text as commanding SINGING psalms, hymns and
spiritual songs (all inspired) instead of SPEAKING. Oding
is the OPPOSITE of SPEAKING so Paul commanded that the normal
pagan singing and playing instruments be SILENCED.
Theologians
(Doctors of the Law)
took over once-Christian
Colleges the staff and most of the influence flooded in boasting of "Exercising
Prophetic roles as Channellers to train advanced degrees
to go out and facilitate (manipulate) the demise of
conservative churches of Christ. That
translates
into ANTI-instrumentalist who REFUSE to
Affirm instruments or Conform by joining the "unity"
movement. Those who refuse to Affirm and
continue to teach the olden Text (pre
post modern) have been declared
subject to any means, fair
or foul, to "infiltrate and
divert." Jesus thus
defined the Scribes and
Pharisees as hypocrites meaning
in Ezekiel 33 self-speakers,
singers and instrument players.
Jesus
will ask WHY have you agreed
among yourselves to blaspheme
the Holy Spirit
OF Christ in the prophets by
saying that GOD has commanded
your movement to claim
that GOD COMMANDED
INSTRUMENTAL PRAISE and
YOU had better not be disobedient?
Jesus left THE MARK
of A Church (school)
of Christ and that
is why those with no
role and no dole are
so anxious to use
MUSIC which means
"to make the lambs
dumb before the slaughter."
This sorcery or
witchcraft
is recorded
on clay
tablets some
up to 2,000
years old when
Moses wrote
his
WARNING.
The eternal story is of a goddess
getting the
father god
drunk and
stealing all
of the ME or
magical powers
including "the
power
of the
eldership, the
power of
musical
instruments
and the power
of stroking
the private
parts" which
is proven by
medical
science.
The Spirit OF Christ proved that it was the
WOMEN who led the worship in Ezekiel 8
She rears her ugly head in Revelation 17 and uses "lusted
after fruits" (same as in Amos 8) as speakers, singers and
instrument players. John calls them sorcerers who HAD
once deceived the whole world. The MARKS are that
Christ removes the Lamps or seven Spirits OF Christ (Isaiah
11) at the same time the rhetoricians, singers and instrument
players. The next act is that they will be cast alive into the
lake of fire.
Christ gave us
the PROPHETIC type in Isaiah 30
The MARKS in sight and sound of God driving His enemies into
"hell" are wind, string and percussion instruments.
These are the same instruments the "singing and harp-playing
prostitute" brought into the Garden of Eden when He-She-It was
"cast as profane" (that praise word) out of God's presence.
Civil Greek Society promised to "tar and feather" any person
who came into their community wanting to sell their speeches,
poems and music and whatever need you have.
ABSOLUTE
MARKS OF A CHURCH (SCHOOL) OF CHRIST
John 15:18 If the world hate you, ye know that it hated me
before it hated you.
John 15:19 If ye were of the world, the
world would love
his own:
but because ye are not
of the world,
but I have chosen you
out
of the world, therefore the world hateth you.
John 15:20 Remember the word that I said unto you, The servant
is not greater than his lord.
If they have persecuted
me, they will also persecute you;
if they have kept my
saying, they will keep yours also.
John 15:21 But all these things will they do unto you for my
names sake,
because they know
not him that sent me.
John 15:22 If I had not come and spoken unto them, they had
not had sin:
but now they have
no cloke for their sin.
John 15:23 He that hateth
me hateth my Father also.
Aristot.
Nic. Eth. 1175b.1
But things that are akin to things of different kinds
must themselves differ in kind. [3] A still clearer proof may be
drawn
from the hindrance
that activities
receive from the
pleasure derived from other activities.
For instance, persons fond of the flute
cannot give their
attention to a philosophical discussion [The LOGOS Regulative Principle]
when they overhear
someone playing the flute,
because they enjoy
music more than the activity in which they are engaged;
therefore the pleasure afforded by the music
of the flute
impairs the activity of study.
hoi gar philauloi adunatousi tois logois prosekhein, ean katakousōsin aulountos,
Worship of God is giving all of our attention to God and
the LOGOS
-prosekhō
The ONLY worship concept in A Church of Christ
3. turn to or towards
a thing, p.
omma
E.HF931:
mostly, p.
ton
nounturn
one's mind, attention to a thing, be
intent on it,
ou
prosekhei
ta
pragmata
p.
nomon
theou
LXX Is.1.11,
cf. Ex.34.11:
also p.
apo
tōn
hagiōn,
tōn
grammateōn,
ib.Le.22.2,
Ev.Luc.20.46;
p.
tou
mē
phagein
haima
LXX De.12.23;
p.
hina
mē
mastigōthēs
ib.2 Ch.25.16.
Chronicles 25:16 And it came to pass, as he
talked with him, that the king said unto him, Art thou
made of the kings counsel? forbear; why shouldest thou be
smitten? Then the prophet forbare, and said, I know that
God hath determined to destroy thee, because thou
hast done this, and hast not hearkened unto my counsel.
Luke 20:46 Beware of the scribes, which
desire to walk in long robes, and love greetings in the
markets,
and the highest
seats in the synagogues, and the chief rooms at feasts;
Luke 20:47 Which devour widows houses, and for a shew
make long prayers [Hymns]:
the same shall
receive greater damnation.
Jesus called the Scribes and Pharisees,
hypocrites. IN Ezekiel 33 Christ named
self-speakers, singers and instrument players for
hire. Therefore, to SHOW FORTH would be to prophesi
in order to fleece those Jesus set free.
katesthiō
animals of prey, serpent 2. eat up, devour
one's substance
prophēt-euō
A.to be a prophētēs
or interpreter of the gods, manteueo,
Moisa,
prophateusō
d'
egō
Pi. l.c.; tis
prophēteuei
theou;
who is his interpreter? E.Ion 413
Mant-euomai , (mantis):divine,
prophesy, modi, draw divinations from or by
means of
2. generally, presage, forebode, surmise,
of presentiment, Opposite
knowledge
II. consult an oracle, seek divinations,
Pi.O.7.31,
Hdt.1.46,
4.172,
etc.; en
Delphoisi
Id.6.76;
Pind.
O. 7 Grace, which causes life to
flourish, looks with favor now on one man, now on
another, with both the sweet-singing lyre and the
full-voiced notes of flutes.
And now, with the music of flute and lyre alike I have
come to land with Diagoras, singing the sea-child of
Aphrodite and bride of
Helios...Disturbances of the mind lead astray
even a wise man. Tlepolemus went and sought the god's
oracle.
1Corinthians 14:23 If therefore the whole church be
come together into one place, and all speak with
tongues, and there come in those that are unlearned,
or unbelievers, will they not say that ye are mad? mainomai , fut. to
be mad with wine, of Bacchic frenzy, mainomenos
Diōnusos
2. of things, rage, riot, esp. of fire,
The Mad Women of Corinth would be prophesying (11:5)
or speaking other than those who spoke for instruction
in a tongue or minor dialect dialekton
logous
pherein
to bring news, {New}
la^l-eō II.
chatter, opp. articulate speech, as of locusts,
chirp, Theoc.5.34;
mesēmbrias
lalein
tettix
(sc. eimi),
a very grasshopper to chirp at midday, Aristopho 10.6; anthrōpinōs
l.
Strato Com.1.46.
Mousa
II. mousa,
as Appellat., music, song, m.
stugera
A.Eu.308
(anap.); euphamos
Id.Supp.695
(lyr.); kanakhan
. . theias
antiluron
mousas
S.Tr.643
aluros
m.
Id.Ph.1028
(lyr.); dia
mousas
ēxa
Id.Alc.962
Pind.
I. 2 The men of old, Thrasybulus, who
mounted the chariot of the Muses with their golden
headbands, joining the glorious lyre, lightly shot forth
their honey-voiced songs for young men, if one was
handsome and had [5] the sweetest ripeness that brings
to mind Aphrodite on her lovely throne.
For in those days the Muse was not yet a lover of gain,
nor did she work for hire. And sweet gentle-voiced odes
did not go for sale, with silvered faces, from
honey-voiced Terpsichore. But as things are now, she
bids us heed [10] the saying of the Argive
man, which comes closest to actual truth:
Money, money makes the man, he said, when he lost his
wealth and his friends at the same time.
Because, as Acts 7 makes clear, God had "turned them over
to worship the starry host" rather than the Creator of the
host BECAUSE of Musical idolatry at Mount Sinai.
To show or shine forth is prophēt-ēs
, As PRETEND revealers they were New Wineskinners.
.one who speaks for a god and interprets his
will to man, Dios
p.
interpreter, expounder of the will of Zeus,
of Tiresias, Pi.N.1.60;
Bakkhou
p.,
perh. of Orpheus, E.Rh.972;
[Dionusou
p.,
of the Bacchae, Id.Ba.551
(lyr.); Nēreōs
p.,
of Glaucus, Id.Or.364;
esp. of the Delphic o, Dios
p.
esti
Loxias
patros
A.Eu.19;
of the minister and interpreter at Delphi,
Hdt.8.36,37; at
the Ptoφn, ib. 135, IG7.4135.13 (ii B.C.);
cf. prophētis.
THE WORSHIP OF THE MUSES
UNDER ABADDON OR YON SILENCES THE WORD OF GOD
-prosku^n-ētos
, ē,
on,
A.to be worshipped, worshipful Mousaistai
Mousagetēs 1
doric for Mousēgetēs leader
of the Muses, Lat. Musagetes, of o
[Abaddon, yon] , Plat.1
Mous-a_getēs, ou, ho,
Mousa_geta_s ,
a, ho, Dor. for Mousēgetēs (v. infr.),
A.leader of the Muses, epith.
of o, Pi.Fr.116;
ho m. kai arkhagetas tas poiētikas theos (Delph.
Mousēgetēs , Pl.Lg.
653c, D.S.1.18,
Jul.Or.4.132a,
al.; voc. Mousēgeta^ , IG12(5).893
(Tenos); also Epithet of Heracles, in dat. Mousagētē ,
Mouseios , on,
Aeol. Moisaios , a,
on,
(Mousa)\
A.of or belonging to the Muses,
hedra
E.Ba.410
(lyr.); Moisaion
harma
the car of Poesy, Pi.I.8
(7).67; lithos
M. a monument of song, Id.N.8.47.
II. musical, kelados
Mouso-polos
, on,
A.serving the Muses, poetic, oikia
Sapph. 136 (s. v.l.); m.
stonakha
a tuneful lament, E.Ph.1499
(lyr.); kheires,
stephanos,
AP9.270 (Marc.
Arg.), 12.257 (Mel.); mousopole
thēr,
addressed to Pan, Castorio 2.5.
II. Subst., bard, minstrel, E.Alc. 445
THE WAY TO WORSHIP THE MUSES LED BY ABADDON OR
YON
Kat-a^kouō,
A hear and obey, be subject, Arabioi
oudama
katēkousan
epi
doulosunē
Persēsi
Hdt.3.88, cf. App.Syr. 55;
tinos
D.1.23, Arr.Fr.7J., App.Mith.57,
, ib.314c; k.
aulountos
Auleō
,
A.
auliōn
IG7.3211,
3212 (Orchom. Boeot.): (
aulos):
play
on the flute,
Phrugion
aulēsen
melos
[the musical melody word] .
Hdt. 1.141,
2.60,
Pl.Prt.327a:
c. dat. pers.,
X.Smp.2.8,
etc.;
au.
exodon
play a finale, Ar.V.582;
au.
eiresian,
of the boatswain,
Plu.Alc. 2:
Pass., of tunes,
to be played on the flute,
ho
Bakkheios
rhuthmos
ēuleito
X. Smp.9.3;
auleitai
pan
melathron
is filled with music, E.IT367.
SILENCING THE LIVING AND WRITTEN WORD BY THOSE WHO
WORSHIP THE MUSES UNDER ABADDON OR YON'
Logos
computation, reckoning
2. statement of a theory, argument,
ouk
emeu
alla
tou
l.
akousantas
prob. in Heraclit.50; logon
ēde
noēma
amphis
alētheiēs
discourse and reflection on reality,
IV. inward debate of
the soul, reflection,
deliberation
Regulative and formative forces,
derived from the intelligible and operative in
the sensible universe,
Opposite to epithumia
A. desire, yearning, longing after
a thing, desire of
or for it, Theaomai :--gaze
at, behold, mostly with a sense of wonder, 3.
view
as spectators
Opposite Pathos A. that
which happens to a person or thing, incident,
accident,
Opposite Poiein to excite passion,
Arist.Rh.1418a12;
V. Rhet., emotional style
or treatment,
Opposite Enthousi-astikos , ē, on, A. inspired, phusis Pl.Ti.71e;
esp. by music,
VI. verbal
expression or utterance, lego, lexis
-Lexis
A.speech, OPPOSITE τidκ |
|
-τidκ,
1.art of song 5.
= eppsdκ, spell, incantation
4. text of an
author, OPPOSITE exegesis
[Peter's private
interpretation outlaws exegesis]
Arist.En1142a26 |
Prose, OPPOSITE -poiκsis, Id.R.390a;
OPPOSITE -poiκtikκ, D.H.Comp.6;
opp.
poiκmata, onomatopoeic
word
OPPOSITE emmetra Modus 2. The
measure of tones, measure, rhythm, melody, harmony, time;
in poetry, measure, metre, mode: Mūsĭcus
a, um, adj., = mousikos.
X. the Word or Wisdom of God,
personified as his agent in creation and world-government,
347c] But
if he does not mind, let us talk no more of poems and
verses,
but
consider the points on which I questioned you at first,
Protagoras,
and on which I should be glad to reach, with your help, a
conclusion.
For it seems
to me that arguing about poetry
is comparable to the wine-parties
of common market-folk. These people,
owing to their inability to carry on a familiar
conversation over
their wine by means
of their own voices and discussions
[4]
The same thing occurs in other cases when a man tries
to do two things at once; the pleasanter
activity drives out the other, the more so if it is much
more pleasant, until the other activity ceases
altogether.
Hence, when we enjoy something very much, we can hardly do
anything else; and when we find a thing only mildly
agreeable, we turn to some other occupation; for instance,
people who eat sweets at the theater do so especially when the acting is bad.
[ 5]
And since our activities [of the flute] are
sharpened, prolonged and improved by their own pleasure,
and impaired by the pleasures of other activities, it is
clear that pleasures differ widely from each other. In
fact alien pleasures have almost the same effect on the
activities as their own pains; since, when an activity
causes pain, this pain destroys it, for instance, if a
person finds writing or doing sums unpleasant and irksome;
for he stops writing or
doing sums, because the activity is painful.
Aristotle on Politics 8
2. or
whether we ought rather
to think that music
tends in some degree to virtue
(music being capable of producing a certain quality of character
just
as gymnastics
are capable of producing a certain quality of body,
music
accustoming men to be
able to rejoice
rightly);
3. or that
it contributes
something to intellectual entertainment and culture (for this
must be set down as a third alternative among those
mentioned).
Now
it is not difficult to see
that one must not make amusement the object
of the education of the young;
for amusement
does not go with
learning--learning is a painful process.
Jesus said that preaching the Word is a painful process: it
will get you despised, rejected and killed.
Learning is a painful process: that is why THEOLOGY has
replaced the WORD and you can just parott what the doctors of
the Law tell you and force you to confess to make YOU a doctor
of the law so that YOU can take away the key to knowledllge.
Never get neutered by a "musical worship service" which the
texts Paul and John read trying to SILENCE the Words of Christ
in song and sermon:
Hebrews 11:6 But without faith it is impossible to please
him:
for he that cometh to
God must believe that he is,
and that he is a
rewarder of them that diligently seek him. [ekzēt-eō
,]
1Peter 1:10 Of which
salvation the prophets have inquired and searched
diligently,
who prophesied of
the grace that should come unto you:
1Peter 1:11 Searching what, or what manner of time the
Spirit OF Christ which was in them did signify,
when it testified
beforehand the sufferings of Christ,
and the glory that
should follow.
1Peter 1:12 Unto whom it was revealed, that not unto
themselves, but unto us they did minister the things,
which are now
reported unto you by them that have preached the gospel
unto you
with the Holy Spirit
(WORD John 6:63) sent down from heaven;
which things the
angels desire to look into.
1Peter 1:13 Wherefore gird up the loins of your mind,
be sober,
and hope to the end
for the grace that is to be brought unto you at the
revelation of Jesus Christ;
nēphōn
methuonta
hupo
tēs
Aphroditēs
theatai
X.Smp.8.21;
IT WOULD BE NICE IF ANY ONE WHO HAS CONSPIRED TO "STEAL THE
CHURCH HOUSE OF WIDOWS" WOULD GIVE A REASON FOR THE HOPE THAT
LIES IN YOU.
Before the Disciples of Christ and especially the
Christian Church intending
"to take Tennessee for
the organ and society party within 5 years" there is no stated need
to find authority for using mechanical means for
"worship" against Churches of Christ defined as "A
School of Christ" until the year 1878. While
those with an agenda to "infiltlrate and divert"
churches of Christ, once spoke of "preferences" the attack has reverted
to the men--especially O.E.Payne--who insisted
that instruments were COMMANDED. Returning
to the roots after 100 years of little success,
still lisps the "psallo" word but have reverted to
the Jacob-cursed and God-abandoned Levites who made
instrumental "noise" at the temple. Having
missed the prophets by the Spirit OF Christ
no level of "scholarship" informs any "Transistioner"
(Jim Hackney and the Christian Standard)
before they lurch into sowing massive
discord claiming that a "spirit" told them
to do it.
Revised
7.23.13 Ballard is
utterly false: Robert Ballard simply has not read the Bible
which condemns instruments from Genesis to Revelation.
I am certain that he follows the pattern of searching all of
the instrument passages and looks for one which says "thou
shalt not use instruments." It is
not possible to even read the text in ANY version and
understand that the Spirit OF Christ in the Prophets
repudiates the Instruments and says that The King of Tyre as
agent of Lucifer who brought instruments into the garden of
Eden. He calls him/her/it "the singing and harp playing
prostitute." Jesus Christ marked for identification
the Babylon Mother of Harlots (Rev 17) who still uses
"lusted after fruits" (Amos 8) as
any religious teknokrat:
self-speakers, singers, instrument players. John
calls them sorcerers who HAD deceived the whole
world. Jesus was sent to seek and separate those NOT
of the World or Kosmos: NACC's Cosmic Worship led by a
latter day Monk.
Instrumental
Music in Worship is Sin: The Bible Tells Disciples (only)
so. people have stolen the worship word to make it
listening to self-speak preachers, singers and instrument
players. That is defined as IMPURE religion.
NACC
2013 Vioctorious Review. In the words of Dwayne E.
Dunning "we have to
lop off the branches one by one"
since subverting the whole TREE has met with failure except a
few "failures" from the once-Christian universities now wholly
subverted.
Post Civil
War: history: In
1890 the first
convention was called at Chattanooga to organize the state society.
The only churches in the state of
Tennessee were those who had already
adopted the organ in their
worship. The Christian
Standard pumped
up the
news and "it is reported that the brethren in Nashville,
Tennessee
are desirous of entertaining our National Convention
next year." This of
course was just two
congregations. A survey
showed that out of 2500
members in Nashville, less than one hundred wanted the
society. Lipscomb noted
that among the Society people "the Bible is as popular
as last year's almanac." "The
supporters of the
missionary society organized the Tennessee State
Missionary Convention on October 6, 1890,
with one purpose in
mind, as stated by J. H.
Garrison. He said at
that time: "We
will take Tennessee for organized mission
work...within
five
years."
A.
I. Myhr was dispatched to
Tennessee to head the new state society despite the
protestation of David Lipscomb that
Tennessee was not a
destitute mission territory. Myhr and his supporters moved
resolutely
ahead to accomplish their mission. "Their
efforts
met with some
success and the intent
was clear. Myhr was
aggressive and abrasive in his
operations. His
actions were of such a
nature, in promoting the missionary society, that he
came under the
direct attack of E. G. Sewel and David Lipscomb. And as
later event
proved, Myhr was no match for Lipscomb and the Gospel
Advocate.
Stark In the Stark
Warlick Debate, thought of worship as
the emotion of the soul and that it might
"produce singing, shouting, praising,
leaping, dancing, hand clapping, or
thanksgiving and such should not be suppressed
by man made rules."
O.
E. Payne Instrumental
Music is Scriptural p 125
M.C. Kurfees
Origin of Instrumental Music in Christian Worship
M.C.Kurfees
Instrumental Music in Worship total book
Boswell-Hardeman
Summary
The
Book: The Boswell Hardeman Discussion on Instrumental
Music.
Paul speaks of Lifeless Instruments which are Carnal
Weapons.
1Corinthians 13:1 Though I
speak with the tongues
of men and of
angels,
(condemned)
and have not charity,
(Grace) (condemned)
I am become as sounding
brass, or a tinkling cymbal.
(condemned)
This is not speaking as in
the command to SPEAK one to another to teach and
comfort.
Sounding brass and tinkling cymbals here are identifying
marks of
people who have NO LOVE. Even if they COULD speak all of the
languages
in the world there would be no love. The command is to SPEAK
or LOGOS
the Word of Christ which is the opposite of rhetoric,
singing or
playing instruments. Speaking in the tongues of angels was
IN FACT making music in tongues. Tongues and
Instruments INTEND to lull people to sleep with THE LOCUSTS
OF REVELATION.
La^l-eō, Mark of the
Locusts II. chatter, Opposite.
articulate speech, as of locusts, chirp,
Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper
to chirp at midday, III. of musical
sounds, aulō [flute] laleō Theoc.20.29; di'aulou [flute] ē salpiggos l.[trumpet]
Arist. Aud.801a29;
of Echo, magadin lalein sound the magadis, [double
flute]
Aggelos , of a
loquacious person 2. generally, one
that announces or tells, e.g. of birds of augury,
Il.24.292,296; Mousōn aggelos, of a poet
Aggelos
, ho,
hē,
A. messenger, envoy,
Il.2.26,
etc.; di'
aggelōn
homileein
tini
Hdt.5.92.z,
cf. SIG229.25
(Erythrae): prov., Arabios
a.,
of a loquacious person, Men.32.
2. generally, one that announces or tells,
e.g. of birds of augury, Il.24.292,296; Mousōn
aggelos,
of a poet,aggelon
glōssan
logōn
E.Supp.203;
aisthēsis
hēmin
a.
Plot.5.3.3; neut. pl., aggela
nikēs
Nonn.D.34.226.
4. In later
philos., semi-divine being, hēliakoi
a.
Jul.Or.4.141b,
a.
kai
arkhaggeloi
also in mystical and magical writings, aggela
nikēs
nik-ēi_,
hē,
II. pr. n., Nike, the goddess
of victory, Hes.Th.384,
cf. Pi.I.2.26,
etc.; Nikē
Athana
Polias
S.Ph.134,
cf. E. Ion457
(lyr.), 1529.
Eur.
Supp. 203 Theseus
[195] Full often have I argued out this subject with
others. For there are those who say, there is more bad
than good in human nature; but I hold a contrary view,
that good over bad predominates in man, [200] for if it
were not so, we should not exist. He has my praise,
whichever god
brought us to live by rule from chaos and from
brutishness,
first by implanting
reason, and next by giving us a tongue to declare our
thoughts,
so as to know
the meaning of what is said..
And where sight fails us and our knowledge is not sure,
the seer foretells by gazing on the flame, by reading
signs in folds of entrails, or by divination from
the flight of birds.
Are we not then too
proud, when heaven has made such [215] preparation for our
life,
not to be content with it?
But our
presumption seeks to lord it over heaven,
and in the pride of our
hearts we think we are wiser than the gods.
Col
2:18 Let no man
beguile you of your reward in a voluntary humility and
worshipping of angels, intruding into those things
which he
hath not seen, vainly
puffed up by his
fleshly mind,
Beguile
(paralogizhtai). Only here and Jas.
i. 22. See note. Rev., delude. So Ignatius,
speaking of the duty
of obedience to the bishop
says: "He that fails
in this, does not deceive the visible bishop, but attempts to cheat
(paralogizetai) the Invisible"
(Epistle
to Magnesians, 3.). The word is found in the Septuagint,
Josh.
ix. 22; 1
Sam. xix. 17; 2 Samuel xxi. 5.
Beguile
katabra^beuō, A. give judgement
against one as brabeus,
and so, DEPRIVE one of the prize, DEPRIVE
one of one's right, c. acc., Ep.Col.2.18,
Sch.Il.1.399: rule
over, hē
gē
k.
tōn
loipōn
Hom.
Il. 1.[395] For often I have heard you glorying
in the halls of my father, and declaring that you
alone among the immortals warded off shameful
ruin from the son of Cronos, lord of the dark clouds, on
the day when the other Olympians wished to put him
in bonds, even Hera and Poseidon and Pallas
Athene
Vincent
18. Beguile
of reward
(katabrabeuetw). Only here in the New Testament. From
kata against, brabeuw to act as a judge
or umpire. Hence to decide against one, or to declare
him unworthy of the prize.
Bishop Lightfoot's rendering rob you of your prize,
adopted
by Rev., omits the judicial idea, 199 which, however, I
think must be retained, in continuation of the idea of judgment in ver. 16, "let no man judge,"
etc. The attitude of the false teachers
would involve their sitting in judgment as to the future reward
of those who refused their doctrine
of angelic mediation. Paul speaks from the standpoint of
their claim.
Voluntary "PLAN"
to be humble.
Ethelo
to be willing of consent rather than desire, they cared
not to make a stand, i.e. they were unable
9. delight in, love,
to express a future event, like our
will or shall,
Isn't it predestinated of
those OF the World for whom Jesus will not pray; and
the wise [speakers, singers, instrument players] from whom
God HIDES to GRAPPLE with the Psallo (same root as SOP) to
prevent people from reading the massive connection between
musical sounds and trying to silence the voice of the
Victim?
See
a fuller list of ACTUAL passages in the Bible which
condemns instruments: the evil is that
Self-speaking, singing or playing instruments PROVES that
one does not Grasp that the Church of Christ is A School
(only) of the Word (only) of Christ in the Prophets and
Apostles. Therefore, Christ outlaws seeking your own
pleasure or speaking your own words in the name of God is
outlawed. Paul calls this corruptiong the word or
selling learning at retail which is defined as prostitution.
Genesis
3:1 Now the serpent was more subtil than any beast
of the field which the LORD God had made. And he said
unto the woman, Yea, hath God said, Ye shall not eat of
every tree of the garden?
Genesis
3.1 sed et serpens erat callidior cunctis animantibus terrae quae fecerat Dominus Deus qui dixit ad mulierem cur praecepit vobis Deus ut non comederetis de omni ligno paradisi
5175 nβchβsh naw-khawsh'
From H5172 ; a snake (from its hiss):serpent.
H5172 nβchash naw-khash' A primitive root; properly to hiss,
that is, whisper a (magic) spell; generally to prognosticate:
X certainly, divine, enchanter, (use) X enchantment,
learn by experience, X indeed, diligently observe.
Serpo
, of things, to move slowly
or imperceptibly, to creep along, proceed
gradually,
Of disease, etc.: si
ulcus
latius
atque
altius
serpit,
gradually spreads, serpentes
quasdam
(bestias),
quasdam
esse
gradientes,
chamaeleon,
Fire: exsistit
sacer
ignis
et
urit
corpore
serpens,
slowly spreading, canam,
qui
leniter
(cf.: sermones
Repentes
per
humum,
A creeping LOUSE
The
newest song which
the singers have, (Odyssey)...
"they will be afraid
that he may be praising, not some new songs, but a new kind
of song; and this ought not to be praised, or
conceived to be the meaning of the
poet; for any musical innovation is full of danger in the
whole
State, and ought to be prohibited.
"So Damon tells me, and I can
quite believe him; he says that when modes of music
change,
the fundamental laws of
the State always change
with them..."
"Then," I said, "our
guardians must lay the foundations of their fortress
in
music?"
"Yes," I replied, 'in the form of
amusement: and at first sight it always appears
harmless'."
(The Great Dialogs, Plato, Classic edition, p.
312)
lēnis
, I. soft, smooth, mild, gentle, easy, calm.
sensus
judicat
dulce,
dulcis II.
Trop., agreeable, delightful,
pleasant, charming, soft,
flattering.
orator,
Cic. Off. 1, 1, 3;
cf. of
orators
or
writers,
carmen,
id. 12, 10, 33:
poλmata,
Hor. A. P. 99
carmen
, a tune, song, air, lay,
strain, note, sound, both vocal and
instrumental
per
me
(sc.
inem)
concordant
carmina
nervis
Christ marked
the king of Tyre as "lucifer" which He identified as a
"singing and harp-playing prostitute in the garden of
Eden." So the anti-God morning star is prophetically
identified as the enemy of the LOGOS or true Day
Star. LOGOS is identified as the REGULATIVE
PRINCIPLE.
o is Abaddon or yon: his musical worship team or muses
are marked in the literature as dirty adulteresses, John
calls them SORCERERS and says they will be cast alive
into the Lake of Fire.
Quint.
Inst. 12 10.33 Consequently the Greek
language
is so much more agreeable in sound than the Latin,
that our poets, whenever they wish their verse to
be especially harmonious, adorn it with Greek words.
pŏēma
, a composition in
verse, a poem. Poλsis est perpetuum
argumentum e id. A. P. 416:
scribere,
pangere,
Hor. Ep. 1, 18, 40;
Hor.
Ars 416
Orpheus, the priest and interpreter of the gods. Amphion
too, the builder of the Theban wall, was said to give the
stones motion with the sound of his lyre, and to
lead them whithersoever he would, by engaging persuasion.
This was deemed wisdom of yore, to distinguish the public
from private weal; things sacred from things profane;..
Oracles were delivered in poetry, and the economy of life
pointed out, and the favor of sovereign princes was
solicited by Pierian strains, games were instituted, and a
[cheerful] period put to the tedious labors of the day;
[this I remind you of,] lest haply you should be ashamed
of the lyric muse, and o the god of song....he who sings
the Pythian strains,2 was first a learner, and
in awe of a master. But [in poetry] it is now enough for a
man to say of himself: "I make admirable verses:
a murrain seize the hindmost: it is scandalous for me to
be outstripped, and fairly to acknowledge that I am
ignorant of that which I never learned."
2 Pythia
cantica
Hor. Ars 414,
songs like the hymns which were sung in honor of o [Abaddon, yon], by the
chorus in some comedies. A player, called Pythaules,
played during the intervals when the chorus left
off singing.
THE SERPENT AS MUSICAL
ENCHANTER(ESS) IS WISE BUT GOD HIDES FROM THE WISE
OR SOPHISTS: SPEAKERS, SINGERS, INSTRUMENT PLAYERS,
DANCERS, ACTORS
Callĭdus , a, um,
adj. calleo, I.that is taught wisdom by experience
and practice, shrewd, expert,
experienced, adroit, skilful:
in
disputando,
Quint. 12, 2, 14
In reference to art, excelling in art,
skilful, Hor. S. 2, 3, 23
rĕ-sŏno
dis-pŭto ,
isti
in
eo
disputant,
Contaminari
non
decere
fabulas,
Contamino
[Chalal or polluting the Rest means play the
flute, steal other people's property, pollute or
prostitute]
fābŭla
, poλticae
1. Most freq., a dramatic
poem, drama, play
(syn.: ludus,
cantus,
actio,
etc.):
in
full,
fabula
scaenica,
Amm. 28, 1, 4; or,
theatralis,
atque carminibus non a veritate modo,
Prov.: Lupus in fabula (like the Engl., talk
of the devil, and he will appear), of a
person who comes just as we are talking about him
THE
SERPENT OR BEAST IS
Herpō
, herpein
es
muthon,
pros
ōdas,
Id.Hel.316,
Cyc.423
;
herpon
tois
odousi
thērion
an animal that walks on its teeth,
Theiron
or Beast is a New Style of Music of Drama suddenly
attacking.
ēnthon,
etc., eis
to
hieron
Even
a Levite was to be executed if he entered, sang or played
in a holy place.
Muthos
2. public
speech, m.
andressi
melēsei
Od.1.358;
muthoisin
skoliois
muthoisi
kekasthai
to be skilled in speech, OppositeLOGOS
LOGOS
includes the Regulative Principle: is the opposite
of singing, poetry or music.
Muthos
, ho,
A.word, speech
2.public speech, m.
andressi
melēsei
Od.1.358;
muthoisin
skoliois
[crooked race]
either of a story which never comes to an end, or of
one told to those who do not listen,
Churches of Christ try to refuse to PERMIT those who intend
to IMPOSE instruments: otherwise the subject would never
come up.
Revised
5.24.13 Thou
has Turned My Mourning into Dancing.
Perhaps by God's design, they didn't read enough
to understand that this is the GENDER mark well
documented by Christ in Isaiah 3.
After the fall
into musical idolatry of the trinity at Mount
Sinai the Church of
Christ (the Rock) was ordaineed to
specificially outlaw the ALARM
when calling the assembly. Moses
had been told in Ezodus 18 how to
select non-mercinary leaders down to
groups
as small as then families in the
very isolated villages: Most
Jews probably never say
Jerusalem which was
a Jebusite High place.
The Synagogue or Church
was to Rest, Read and
Rehearse the Word of
God--Speak the Word
and meditate IN the
heart. The Alarm
or Triumph was
outlawed because any
person making vocal or
instrumental rejoicing
sounds or trying to
preach would be
MOCKING the Spirit OF
CHRIST Who
spoke through the
Covenant and
Prophets.
The
MARK of another
fall into
musical
polytheism was
prophesied in
the Psalms where
always-effeminate
musicians would
mock Him up to
the foot
of the old
rugged cross:
when
Jessus called
the Scribes
and Pharisees
Christ in
Ezekiel 33 had
names
self-speakers,
singers and
instrument
players: this
was a mark
that people
were MOCKING
God because
they had no
intention of
obeying God's
Word.
|
THIS IS THE MARK OF THE
PROGRESSIVES--BACK TO BABYLON: JAY GUIN
KEEPS A LIST:
Matthew 27:29 And
when they had platted a crown of thorns, they
put it upon his head, and a reed in his right
hand:
and they bowed the knee before
him,
and mocked him,
saying, Hail, King of the Jews!
Matthew 27:31 And after that they had mocked
him, they took the robe off from him,
and put his own raiment on
him, and led him away to crucify him.
illūdo (inl-
I Neutr.,
to play at or with any thing, to
sport with, amuse one's self with
(syn. colludo; cf. ludificor).
1. T o scoff or mock at, to
make a laughing-stock of, to
ridicule (so most freq.): satis superbe illuditis me,
feminarum illustrium capitibus, :
illusa pictae vestis inania, rhetorum),
How
to use PSALLO to turn captives into
WOMEN
Grant, then, forgiveness to the
Lydians, and to make
sure of their never rebelling against thee, or alarming thee
more,
send and forbid them to keep any
weapons of war,
command
them to
wear
tunics under their
cloaks, and to put buskins upon their legs,
..........and
make them bring up their
sons to cithern-playing
(Kitharizein), singing
(psallein),
..........and
shop-keeping (Hucksterism).
So
wilt thou soon see them become women instead of
men,
and there will be no more fear
of their revolting from thee."
-[4]
Ludoisi de
sungnτmκn echτn tade autoisi epitaxon, hτs
mκte aposteτsi mκte deinoi toi eτsi: apeipe
men sphi pempsas hopla arκia mκ ektκsthai,
keleue
de spheas kithτnas -[khiton
David's garment] te
hupodunein toisi
heimasi kai
kothornous hupodeesthai, proeipe d' autoisi -kitharizein te
kai psallein kai
kapκleuein
[prostitutes, petty
trade, playing tricks,
corrupting] paideuein tous paidas. kai tacheτs
spheas τ
basileu gunaikas ant' andrτn opseai gegonotas,
hτste
ouden deinoi toi esontai mκ aposteτsi."
The
word
kitharizo means to PLAY THE CITHARA and
does not include singing.
- -Kitharizτ 1
[kitharis] to play the
cithara, phormingi [o] kitharize
Il., Hes.; lurκi eraton kitharizτn
Hhymn.
(so that there can have been no great
difference between the kithara,
lura, and phorminx ); kitharizein ouk
epistatai, of an uneducated
person,
-
-Kithar-isis ,
eτs, hκ, playing on the cithara,
Pl.Prt.325e; k. psilκ, i.e. without
the voice, Id.Lg.669e, cf.
Pae.Delph.15; aulκsis kai k.
Phld.Mus.p.23 K.
-Arassτ ,of any violent impact,
with collat. notion of rattling, clanging, as
of horses, hoplais, pound in a mortar, strike with a shower of
stones.
a). kitharēn strike the
lyre, Orph.A.382;
humnon, melos, etc., Nonn.D.1.15,440,
etc.
2. c. dat.
modi, arassein tina oneidesi, kakois, assail with reproaches or
threats,
II.
Pass., to be dashed against, dash one
against the
other
Pound
in a mortar, holmō a. Nic. Th.508
When
they MOCKED Jesus the
prophecy used the word Alarm or Triumph which is to
play loud wind
instruments and make a loud rejoicing sound.
G1702 empaizō emp-aheed'-zo From G1722 and
G3815 ;
to jeer at, that is, deride:
Empaizō , fut.
A.-xomai LXXHb.1.10:
pf. empepaikha ib.Nu.22.29:
mock at, mock, tini Hdt.4.134;
3.
Pass., to be deluded, Ev.Matt.2.16,
AP10.56.2 (Pall.), Vett.Val.16.14; to be
defrauded, of the revenues, Cod.Just.1.34.2.
II.
sport in or on, hōs nebros khloerais e. leimakos hēdonais E.Ba. 866
(lyr.); tois khoroisin e. to sport in
the dance, Ar.Th.975;
tō gumnasiō Luc.Lex.5.
- E.Ba.
866 Euripides, Bacchae
........OnLine
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.
- Empaiktκs
,
ou, ho,A. mocker, deceiver,
LXXIs.3.4, 2
Ep.Pet.3.3, Ep.Jud. 18.
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;
Entrupo (g1792) en-troo-fah'-o;
from 1722 and
5171; to revel in: - sporting
selves.
Truphaτ , ( [truphκ]
2. part. truphōn as Adj., effeminate, luxurious,
Ar.Nu.48,
etc.; t. kai amelēs Pl.Lg.901a;
to truphōn effeminacy,
Ar.V.1455
(lyr.); also of things, dainty, delicate,
paison,
II. to be licentious, run riot, wax
wanton, Ar.Lys.405,
etc.; to be extravagant
Paison paizτ
[pais]
2.
esp. dance, paisate Od.8.251;
dōma peristenakhizeto possin andrōn paizontōn 23.147,
cf. Hes.Sc.277;
p. te kai khoreuein
alla pepaistai metriōs hēmin , of the chorus,
4. play on a musical
instrument, h.Ap.206:
c. acc., Pan ho kalamophthogga paizōn Ar.Ra.230;
dance and sing, Pi. O.1.16.
5. play amorously,
IT'S TRUE: JESUS
NEVER POSTED A LAW THAT SAID "THOU SHALT NOT
MUSICALLY MOCK ME" |
STRONG DELUSIONS LYING WONDERS
REV 5.17.13
The CENI is defined by the
Spirit OF Christ in the Wilderness and in the Prophets and
prophecies made more certain by Jesus. The Apostles
were eye-- and ear--witnesses of the risen Lord Who returned
as The Holy Spirit (breath, wind) in the upper room. They
mark as false teachers anyone who does not teach that PATTER
of foundation:
Matthew 28:17 And
when they saw him, they worshipped him: but some
doubted.
Matthew 28:18 And Jesus came and spake unto them, saying,
All power is
given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore,
and teach all nations,
baptizing them in the
name of the Father, and of the Son, and of the Holy Ghost:
Teaching them to
observe all things whatsoever I have commanded you:
and, lo, I am with you
alway, even unto the end of the world. Amen. Matthew
28:20
Acts 15:21 For Moses
of old time hath
in every city them
that preach him,
being read
in the synagogues every sabbath day.
Paul commanded that we
SPEAK that which is written for our learning (Romans
15). He also commanded that we fill up with SPIRIT
(Word in Col 3:16) and Teach and Admonish with the Biblical
material which includes "teaching psalms." This is in
contrast to the drinking songs of the crooked race of the
symposia where the goal was to become "fluted down with
wine."
Both singing in the pagan
sense and beating on "instruments of delusion" was worship
IN THE FLESH which Paul rejects in Philippians 3 because it
permitted the "conscision or dogs" to destroy the rest Jesus
died to give us from the laded burdens of the arousal songs
by Jews or Gentiles.
In contrast, if you use one
mind and one mouth to speak that which is written for our
learning you MUST keep the arousal singing and beating on
instruments quiet and permit melody (or grace) to be IN the
heart where grace means the divine influence of the GRACE
which hath appeared teaching us to DENY the world's
religions.
|
THE ONLY MEANING OF LITERAL
WORSHIP:
Matt. 28:17 And when they saw him, they worshipped
him: but somedoubted.
G4352 proskuneō
pros-koo-neh'-o From G4314 and
probably a derivative of G2965 (meaning to kiss,
like a dog licking his
masters hand); to fawn or crouch to, that is,
(literally or
figuratively)
prostrate oneself in homage (do reverence to,
adore):worship.
Proskun-eō obeisance
to the
gods or their images, fall down and worship,
c. acc., Hdt.2.121
2.
esp. of the Oriental fashion of prostrating
oneself before kings and superiors, abs., Hdt.1.119,
8.118:
c Plat.
TRUTH:
Rep.
398a 3. welcome
respectfully, respect, prosekunēsa sou ta grammata That which
is written ;
ta hiera g. the Holy Scriptures,
2 Ep.Ti.3.15,
J.Ap.1.10;
Ev.Jo.4.23
, But the
hour cometh, and now is, when the true worshippers
shall worship the Father in spirit and in TRUTH: for
the Father seeketh such to worship him
2
Timothy 3.15 From infancy, you have known
the sacred writings which are
able to make you wise for salvation through
faith, which is in Christ
Jesus.
J. Ap. 1.10
There have been
indeed some bad men, who have attempted to
calumniate
my history, and took it to be a kind of scholastic
performance for the exercise of young
men. for, as I said, I have translated
the Antiquities out of our sacred books;
WORSHIP IS
ALSO IS USED FOR THE LYING WONDERS OF PSEUDO
PERFORMERS BELIEVING THAT THEY ARE A GOD.
IRONICALLY , proskunoimenanautonhōshieronkaithaumastonkaihēdun, Pl.R.398a:
of Lying Wonders
Thaum-astos
, Ion. thōm- , ē, on, th. lokhos gunaikōn, thaumaston poieis, hos .II. admirable,
excellent,
of
the Furies, A.Eu.46;
Aeschylus,
Eumenides 34
III. to be worshipped, oudeis m' areskei nukti thaumastos theōn E.Hipp.106.
Areskō a^, impf. to kolakeuein nun areskein onom' ekhei heautois Ep.Rom.15.1:Med.,
malista ēreskonto pleased
him most, Hdt.6.128.
kola^k-euō , A.to
be a flatterer, a Lisping parasite. thaumatopoiōn, goēteuein [bewitch, be wizard]
monon kai kolakeuein ton akroatēn dunamenon
Strab.
1.2 Who can suppose that a poet
capable of effectively introducing into his scenes
rhetoricians, generals, and various other
characters, each displaying some peculiar
excellence, was nothing more than a droll or
juggler, capable only of cheating
or flattering his hearer, and not of instructing
him...The excellence of a poet is not to be
measured by the same
standard as that of a mechanic or a blacksmith,
where honour
and virtue have nothing to do with our estimate.
13
A harvest-wreath of laurel or olive wound round
with wool, and
adorned with fruits, borne about by singing-boys
at the puanepsia and thaogēlia, while
offerings were made to Helios and the
Hours: it was
afterwards hung up at the house-door. The song was
likewise called
eiresionθ, which became the general name for all
begging-songs.
Romans 15:1 We then that are strong ought to bear
the infirmities of the weak, and not to please [Areskō] ourselves.
Romans 15:2 Let every one of us please his neighbour
for his good to edification. [fill full:
education]
Nux
3.
in Comparisons, of anything dark and direful, nukti eoikōs like night,
of o[Abaddon, yon]
in his
wrath, Il.1.47,
cf. 12.463,
Od.11.606
III. Nux as pr. n., the
goddess of Night,Il.14.259,
Hes.Op.17,Th.123,211
; N. oloē ib.224.
Nux as pr. n., the
goddess of Night,Il.14.259,
Hes.Op.17,Th.123,211
; N. oloē ib.224.
Plato.
Republic
[398a]
who was capable by
his cunning of assuming every kind of shape and
imitating all things
should arrive in our city, bringing with
himself the poems which he
wished to exhibit, we should fall down and
worship him as a holy
and wondrous and delightful creature, but should
say to him that there
is no man of that kind among us in our city, nor
is it lawful for such
a man to arise among us, and we should send him
away to another city,
after pouring myrrh down over his head and
crowning him with fillets of
wool,
The idea suggested by
proskunoimen
and hieron,
that the poet
is a sort of theos or theios [god or goddess] anēr, is now
elaborated with ironical
politeness. The images of the gods were anointed,
and crowned with
garlands, not only on great occasions (cf. Cic. Verr.
IV 77),
but also at other times, according to Proclus, who
remarks on this
passage muron autēs (sc. tēs poiētikēs)
...Apropos of the present
passage, Dio Chrysostom and other ancient writers
cited by Ast refer to
the anointing of swallows by Greek women:
kai keleuei mala eirōnikōs (so Ast:
MSS eirēnikōs) stepsantas auton eriō kai murō katakheantas aphienai par' allous: touto de hai gunaikes epi tōn khelidon ōn poiousi (Dio Chr. Or.
53 p. 276 ed.
Reiske). To this custom Ast supposes that Plato is
alluding, the poets
being as it were faithless and garrulous
swallows (cf. khelidonōn mouseia), as
well as to the Pythagorean
precept not to admit swallows into the house
Mouseios , on, Aeol. Moisaios , a, on, (Mousa)
A. of or belonging
to
the Muses, hedra E.Ba.410
(lyr.); Moisaion harma the car of
Poesy, Pi.I.8
(7).67;
lithos M. a monument
of song, Id.N.8.47.
II. musical, kelados AP9.372.
Eur.
Ba. 410 Chorus
Would that I could go to Cyprus,
the island of Aphrodite, where the Loves, who
soothe [405] mortals' hearts, dwell, and to Paphos,
fertilized without rain by the streams of a
foreign river flowing with a hundred mouths.
Lead me there, Bromius, Bromius, god of joy who
leads the Bacchae, [410] to Pieria,
beautiful seat of the Muses, the holy slope of Olympus.
There are the Graces, there is Desire; there it
is [415] lawful for the Bacchae to celebrate
their rites.
Pind.
I. 8 Even when he was dead songs did not
forsake him; beside his pyre and tomb the Muses
of Helicon stood, and poured over him the
many-voiced dirge. It proved to be the will of
the immortals [60] to make a noble man, even
when dead, a theme for the hymns of goddesses;
and even now this brings up a subject for words,
and the Muses' chariot rushes forward to shout
praises in memory of Nicocles the boxer. Honor
him, who won the garland of wild Dorian celery
in the Isthmian valley; since [65] he too was
once victorious over all that lived around him,
battering them with his inescapable hands. He is
not dishonored by the offspring of his father's
distinguished brother. Therefore let another
young man weave for Cleandros a garland of
tender myrtle in honor of the pancratium, since
the contest of Alcathous and the young men of
Epidaurus welcomed him before in his success. A
good man may praise him, [70] for he did not
restrain his youth, keeping it hidden in his
pocket1and
ignorant of fine deeds.
Mouseion ,
to/,
A. shrine of the Muses,
seat
or haunt of the Muses, Aeschin. 1.10:
hence,
2. home of music
or poetry, mouseia thrēnēmasi xunōda choirs
chiming in with dirges, E.Hel.174
(lyr.); aēdonōn m. choir of
nightingales, Id.Fr.88;
parodied khelidonōn mouseia Ar.Ra.
93; to Numphōn nama te kai m. logōn Pl.Phdr.278b
(but mouseia logōn, hoion diplasiologia ktl. gallery
of tropes, ib.267b):
generally, school
of
art or letters, to tēs Hellados m., of Athens, Ath.5.187d,
cf. Plu.2.736d; to tēs phuseōs m., a phrase of
Alcidamas censured by Arist. Rh.1406a25.
IV. Mouseia, ta , festival
of
the
Muses, Paus.9.31.2:
sg., Ath.14.629a;
ta M. thusai
THE
END OF THE ROAT FOR MUSICAL DISCORDERS WITH
OR WITHOUT MACHINES
Revelation 18:21 And a mighty
angel took up a stone like a great millstone, and
cast it into the sea, saying, Thus with violence
shall that great city Babylon be thrown down,
and shall be found no more at all.
Revelation 18:22 And the voice of harpers,
and musicians [Muses],
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;
Revelation 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.
Revelation 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.
Revelation 18:24 And in her was
found the blood of prophets, and of saints, and of
all that were slain upon the earth.
|
Added quotes (misquotes) from Winder below
Robert Ballard:
This book refers to the over 180
places in the Bible where instrumental music is used
to praise God.
Nevertheless,
there is not a single instance
of the church--beginning in the wilderness as the Qahal or
synagogue--ever assemblying to sing with instrumental
accompaniment.
2 Chronicles 29 as the proof text which justifies sowing
massive discord and doing a hostile takeover of churches
involved the King, city officials, priests and Levites ONLY.
No one not of the cursed and abandoned tribe of Levi was
permitted to be present. Those who can read understand that
the command of God was for the Levites to stand in ranks
under the king and commanders of the army. Where do
preachers get the notion that they have become "a king set
over us?" They stood guard to execute any civillian who
ventured inside the gates.
Since the Levites were under the king and commanders of the
army the PRAISE word intended to threaten the enemy and turn
them into cowards: that is often repeated by the NACC.
The word "Lucifer" is derived from David's praise word which
means to boast or make a fool of yourself: since "praise
singers" were the world's OLDEST profession believing that
they could appease or seduce the gods, preachers who never
bother to define words answer to the charge of Jesus that
"the doctors of the law take away the key to
knowledge." Jesus called these Scribes and Pharisees,
hypocrites by quoting from Isaiah and specificially Ezekiuel
33 where Christ names "rhetoricians, singers and instrument
players." It is true: God never said 'thou shall not be a
hypocrite.' However, the Greek language specificially
defines rhetoricians, singers and instrument players
hypocrites as well as enchanters or sorcerers.
The command to make instrumental noise was by the COMMAND
OF DAVID for the burnt goat to try to appease Israel
as the historic Instrumental Sect. Christ says that
God did not command sacrifices or burnt offerings.
The NACC and a few dupes have used extreme means to force
churches of Christ to "unite" and make music.
Therefore, they have made a major industry to command people
to do what Christ says God did not command.
Christ in Jeremiah 23 defines that as
blasphemy of the Holy
Spirit of Christ.
The Jacob-cursed Levites volunteered to
slaughter 3,000 of
the "brethren" for engaging in musical idolatry
at Mount Sinai. Moses then gave them the perpetual
role of standing in ranks: any civilian not
authorized
as the Civil-Military-Clergy congregation was to be executed
and never
led in worship. The performance of the noise was by
the command of David.
Furthermore, the church is built
on the teachings of the prophets
(by
Christ) and the prophecies made more perfect by Jesus of
Nazareth.
Peter lists these two resources as Christ-revealed. He
identified
anyone
who taught otherwise as false teachers. The
exclusion of
"vocal or instrumental rejoicing" which includes an elevated
form of
teaching defines the Holy Convocation for the holy people
quarantined
from the unholy assemblies of the tribe of Levi
cursed by Jacob and abandoned to worship the starry
host because of musical profaning of
the Sabbath at Mount sinai. There is no command, example or
remote
inference that a Rabbi imposed an instrument until as late
as the year 1815 in Germany: the ethical judge
refused to let the musical discorder
confiscate the synagogue. Even in the lowest level of
commercial
ethics, the person wanting to take control is bound to leave
and pay
for his own property or be confined.
The historic pattern endorsed by Jesus, commanded by Paul
and practiced by the historic Church of Christ was:
Acts 15:21 For Moses of old time
hath in every city
them that preach him,
being read in
the synagogues every sabbath day.
Why would the masses of theology NOT understand that?
Maybe because Jesus hid the word from the clergy in parables
from the foundation of the world: the best place to hide the
word from "doctors of the law" is in plain sight.
New 8.15.11
Added
Hezekiah's Plague Stopping Exorcism
New 8.15.11
The
Levites would kill you if you were inside the
gatesduring the sacrifices.
It is impossible to be a Christian or a follower of Christ
and refuse
to follow His
command to teach what HE commanded to be taught.
Matthew 28:18
And Jesus came and spake unto them, saying,
All power is
given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore,
and teach all
nations,
baptizing them in
the name of the Father, and of the Son, and of the Holy
Ghost:
Teaching them to observe
all things whatsoever I have commanded you:
and, lo, I
am with you alway, even unto the end of the world.
Amen. Matthew 28:20
The commmands of God are assertive: one never tries
to trump God by
teaching what He DID not command as the core of the
assembly. Because
ALL authority is vested with the Son, there can be no imagined
authority imposed on others by a human.
Because the Spirit of Christ informed the prophets to
repudiate the Civil-Military-Clergy complex which had been
abandoned to the worship of the starry host, including the
worship of fire, The Church is built or educated by the
Prophets and the prophecies made more perfect and left as a
written memory of the Apostles. Furthermore, Jesus in person
did not participate or command any kind of what we would
call music. Hymns are spoken; Spiritual songs exclude
instruments and Psalms never imply the use of an
instrument. The Spirit does not have to IMPLY.
Jesus of Nazareth would die, be resurrected, be changed,
ascend to the
Father and receive the PROMISE of the Holy Spirit: that is, He would
continue to teach the Apostles in His post resurrected
state: The
"another Comforter" different in this respect is still named
"Jesud
Christ the Righteous." Peter left that "memory" for us
and
outlawed private interpretation or further expounded.
He
identified anyone who did not respect that Christ empowered
memory as a
false teacher.
A Christian is a disciple of Christ commanded to assemble
only to learn
and confess the Word of Christ. Disciples
never try to convince
the other disciples that he should make instrumental noise
when the
Master Teacher is teaching Chemistry.
The Instrument
war
is built on the foundation of not grasping that the
Church of Christ is an ekklesia or synagogue and has only
one purpose:
to instruct people from the Word of God. Did you
know that
the effeminate enemies of Christ beat him to the bones with
their
"flutes?" Well, that's the prophecy.
It is a waste of time to try to refute the practices of a
national Israel and Judah who were worshipping the starry
host: except those lusting to be entertain fall into the pit
of commanding that to which God abandoned God to slavery and
death.
Even the, the Levites were God's guarantee that the godly
people--who attended synagogue or the Church of Christ in
the wilderness--did not even get close to the horrors
quarantined behind closed doors.
The fact is that Jesus and the writers of the epistles
reject any hypocritic or cunning sophists including
speakers, singers or instrument players just before defiing
the synagogue as a School of the Word of God only.
Jesus
outlawed music for the Church of Chris
t, practiced it and endorsed
the synagogue and never COMMANDED any kind of musical
performance when He comes to be our teacher. That means that
those who impose music do not know that a Christian is a
disciple and not a ceremonial legalists or that the church
is a place for preaching the word by Reading and discussing
it.
Malachi 3
short notes to prove that the MARK is people using
musical instruments as weapons: not mysterious, just a
simple text.
Malachi 4
continues the MARKS.
- Fact. God
turned the Israelites over to worship the starry host
because of musical idolatry at Mount Sinai (acts 7
etal).
- We know the
names of the starry host.
- Why would the
masses of religionism make a major industry out of
forcing people to worship the starry host?
- Why
do you suppose they despise those who refuse to join
with them? Don't
they know that the church is built upon the teachiings
of Christ in the
prophets (repudiating music) and Jesus Whom God made to
be both Lord
and Christ who made the prophecies more perfect through
the Apostles.
PROOF THAT THE PATTERN OF
THE NACC WAS NOT COMMANDED BY GOD.
When
they use the Israelite Civil-Military-Priestly class as the
patternism
for making "sacrificial" music without the literal
sacrifices do they
not know that
"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)
Why would preachers claim
that "God commanded
instrumental praise and we must not be disobedient?" Why
would they
make that claim to thousands of people intending to impose
musical
machines knowing that it would sow discord among the owners
so they
could use their church as "a theater for holy
entertainment?" Wouldn't
they know that rhetorical preaching, singing, clapping,
playing
instruments and doing some body gyration would make it
impossible for
the elders to "teach that which has been commanded?"
IF COFFMAN AND ALL HISTORIC SCHOLARS ARE CORRECT THE
INSTRUMENTALISTS ARE FORCING YOU TO WORSHIP THE STARRY
HOST.
Coffman's Commentary
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.
All church fathers
understood that. No Bible student could miss that.
MOST DO NOT ACCEPT THAT
CHURCH IS "A SCHOOL OF THE WORD." THEY FALL INTO THE FATAL
DEFINITION OF MOST PAGAN INSTITUTES.
The Church had to fight the man cults among the paganism:
the Jews had
a covenant with Death. The women musicians wanted to help
Jesus with
the "dead" girl by honoring or appeasing her soul. Funeral
festivals or
Martyr's festivals or just about anything festivals gave
people the
opportunity to feast, sing, dance, play instruments offer
sacrifices to
the dead. God knew that they offered the worship to Him but
THEY ate
the food. After all, the task of the church was to try
to remove
the superstitions and burdens of sacrifices, priesthoods,
musicians and
exorcists all identified as "parasites."
Hippolytus
We think, then,
that the "psalms"
are those which are simply played to an instrument,
without the
accompaniment of the
voice, and (which are composed) for the musical
melody of the instrument;
"We think" won't
work: you need fodder to think. There is no instance
where any of
the psallo type words (including SOP) is used to mean "play
a
harp." It requires three words to define
singing AND playing AND the name of the instrument.
The Jews who translated the Greek or Septuagint (LXX) picked
the word "psallo" to speak of psalms because so many of them
are warrior's chant: "My god can destroy your god."
They picked the psallo rooted words which means SOP, do
violence by shooting literal arrows, do sexual violence by
shooting love arrows (Abaddon), or sing because the common
expression was "shooting out seductive love songs." Tom
Burgess collected many of the examples of "plucking" but did
not tell you that ALL of them connect to older males--such
as Alexander the Great--who embarassed his father because he
skillfully played the harp trying to seduce a younger male
whose pubic hairs had been plucked.
We are safe from sowers of discord because none of
the Bible is metrical in a tuneful sense:
God made certain that you
cannot be faitful and teach that which is commanded for our
learning
AND do musical performance at the same time.
That is because "psalm" is derived from a stringed
instrument which can be plucked with the fingers only.
That is because it was used primarily of plucking a bow
to make it "twang" to send forth a "singing"
arrow into the literal heart. The Jacob-cursed Levites
produced "fear" and not reverence.
It would prove a disrespect for facts to extend smiting a
string with the FINGERS only into using a guitar pick,
drums, cymbals, flute, trumpet, organ or piano: in fact it
would prove a DELIBERATED and high handed violation of the
LAW of "Psallo" knowing that it would sow discord and force
godly peiople to toss themselves out of their own synagogue
This is derived from
warriors plucking the bow string and pretty vile people
plucking harp strings to seduce a younger male:
MARK: The name of
psaltery entered
Christian literature in the 3rd century
B.C.
translation of the Old Testament called the Septuagint where, in
the Psalms, nebel
was translated psalterion. Thus, Nebuchadnezzar's
idolatrous ensemble included the Aramic psantria. Notice,
also, that the book of Psalms has also
become known as the Psalter (or psalterium), from
the hymns sung with
this harp. Source
MARK: 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
Nabel (h5034)
naw-bale'; a
prim. root; to
wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked;
causat. to despise,
disgrace: -
disgrace, dishonour, lightly esteem, fade (away, -
ing), fall (down,
-ling, off), do foolishly, come to nought, * surely,
make vile,
wither..
Nabal
(h5036) naw-bawl'; from 5034; stupid; wicked
(espec. impious): -
fool (-ish, -ish
man, -ish woman), vile person.
Males who would sing
and play at the same time were known to be "drunk,
perverted or just having fun."
So,
it was the translators of the Septuatint who used the
"Psa" based words
knowing fully well that in the Greek world the message
was making war
or making perverted sex. Not all of the book of
psalms are psalms:
MARK: Psalmos
also appears
in the LXX as equivalent to the Hebrew word neginah
[5058]. This Hebrew
term is used to describe a wide variety
of songs. Neginah is translated
by psalmos in Lam 3:14 (song), in Lam 5:14 (music)
and in
Ps 69:12
(song). It is striking to observe that in the
LXX translation of
Lam
3:14 and Ps 69:12, psalmos, or its verbal form, is used
for songs
that are not only uninspired but are in fact
the product of the
wicked, even drunkards, who mocked God and His
word. The Hebrew
term neginah is used elsewhere in the Hebrew
Scriptures of: the songs
of the wicked, Job 30:9 (song); the inspired
praise of God, Psalm
61 title (Neginah-a song performed on a stringed
instrument); and the uninspired
praisd of the Lord composed by King Hezekiah,
Is 38:20 (my songs).
5059.
nagan, naw-gan΄; a primitive root; properly, to
thrum,
i.e. beat a tune with the fingers; expec. to play
on a stringed
instrument; hence (generally), to make music:player
on instruments,
sing to the stringed instruments, melody, ministrel,
play(-er, -ing).
H5060 nβga‛
naw-gah' A primitive root; properly
to touch, that is, lay the hand upon (for any
purpose; euphemistically,
to lie with a woman); by implication to
reach (figuratively to arrive,
acquire); violently, to strike
(punish, defeat, destroy,
Of the singing and harp playing prostitute in
the garden of Eden.
Isaiah 23:16 Take an {1} harp, go about the city, thou harlot
that hast been forgotten;
make sweet {2}
melody, {3}sing many songs, that thou
mayest be remembered.
BLB
h5058 First, "MUSIC" of a stringed
instrument
Isaiah 38:20
The LORD was ready to save me:
therefore we
will sing MY songs to the stringed instruments
all the days of our life
in the house
of the LORD. (Not in the holy places)
Singing TO a stringed instrument included plucking the
string and then matching the single syllable to that
sound: Two or three notes would do it very well when
Cantillating.
Isaiah told Hezekiah that his sons would be taken into
captivity: not
to worry, says Hezekiah, just as long as it doesn't
happen in my
lifetime. While Hezekiah was fiddling around
OUTSIDE of the
holy places, little Manessah was getting ready to
start burning infants again.
Lamentations 3:13 He hath caused the arrows of his
quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my
people; and their song all the day.
Second: names a stringed
instrument (Psaltery) in the titles of Psalms 4, 6, 54,
55, 67, 76
Third: a song,
sung to the music of stringed instruments.
Sounds were first produced by a bow and then the harp
with perhaps 3
strings. You can sing to the "notes" of a harp
without using the
harp.
Examples:
singing and making
melody is IN the heart or spirit.
Psalms 77:6
I call to remembrance my song in the night:
I commune with mine own heart:
and my spirit made diligent search.
Learning is recycling what you know:
Co-gnosco
II. To
recognize that which is already known, acknowledge,
identify ,
With the access. idea of individual exertio,
Narro
to
tell, relate, narrate, report, recount, set
forth from gignōskō ,
Matthew 26:30 And when they had sung an hymn,
they went out into the mount of Olives.
Hymnus , i, m.,
= humnos, I. a
song of praise, a hymn: hymnus cantus est cum laude Dei, Aug. Enarr. in Psa. 148, 17;
Ambros. Expos. Psa. 118,
prol. § 3; Lucil. ap. Non. 330,
9; Prud. Cath.
37 praef.; 4, 75:
divinorum scriptor hymnorum, Lact. 4, 8, 14; Vulg. Psa. 60
tit.; id. Matt. 26, 30.
Dīco, to
say, tell, mention, relate, affirm,
declare, state; to mean, intend (for
syn. cf.: for, loquor stands for the Gr.
eipein pros tina,
Ontōs , Adv. part. of eimi A. (sum),
really, actually, verily, with Verb
Alēth-ēs
a^, Dor. ala_thēs , es, (lēthō,
I. Hom., Opposite.
pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3. of oracles, true, unerring,
alathea mantiōn thōkon Pi. P.11.6,
cf. S.Ph.993,
E.Ion1537;
of dreams, A.Th.710.
alēthei logō khrasthai Hdt. 1.14
Opposite Epos
1. song or lay
accompanied by music, 8.91,17.519.
b. generally, poetry, even lyrics
5. celebrate,
of poets, Aiantos bian
Especially a song
of derision, a satire. Again:
Lamentations 3:13 He hath caused the arrows of
his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and
their song all the day.
Jer 20:7 Yahweh, you have persuaded me, and I was
persuaded; you are stronger
than I, and have prevailed: I am become a laughing-stock all the
day,
every one mocks me.
However,
the harp given by God:
NEBUCHADNEZZAR the king made
an image of gold, whose height
was
threescore cubits (60), and the
breadth thereof
six (6) cubits: he set it up in the
plain of Dura (circle), in the province of
Babylon. Dan 3:1 
Genesis 4:19 And Lamech took
unto him two wives: 
Ovid, art of love