From Liberty to Legalism

LEGALISM IS MUSICAL WORSHIP:
THE LAW OF CHRIST BRINGS LIFE, LIBERTY FROM CLERGY, AND SPIRITUAL LIFE

-Nomos , ho, ( [nemô] ) Gal. 6:2 Bear ye one another’s burdens, and so fulfil the LAW OF CHRIST
b. in VT, of the law of God, “en tō nomō Kuriou to thelēma autou” LXXPs.1.2, al., cf. Is.2.3
“ho n. tou Khristou” Ep.Gal.6.2; Romans 8[2] For the law of the Spirit of life in Christ Jesus made me free from the law of sin and of death

OPPOSITE THE LAW OF DEATH BY APOLLYON.

A. that which is in habitual practice, use or possession, not in Hom. (cf. J.Ap.2.15), though read by Zenod. in Od.1.3.
I. usage, custom, Mousai melpontai Apollōn composition including both words and melody   
II. melody, strain, “oida d' ornikhōn nomōs pantōn” Alcm.67; “n. hippios” Pi.O. 1.101; “Apollōn hageito pantoiōn n.
  composition including both words and melody,   later, composition including both words and melody
THERE IS NOTHING TUNEFUL HOLY SCRIPTURE AND MUSICAL NOISE IS DOCUMENTED AS DEADLY SORCERY.
Pi.N.7.81 Pindar, Nemean Odes 7
[22] since there is a certain solemnity in his lies and winged artfulness,
        and poetic skill deceives, seducing us with stories,
        and the heart of the mass of men is blind.
Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly.
          On this spot it is fitting to sing with a gentle voice of the king of gods.
To plough the same ground three or four times [105] 
is poverty of thought, 
like babbling "Corinth of Zeus" to children.

Rhetoric, Singing, Playing Instruments, Acting must be performed by RIGID LAWS: Legalism is the works of human hands in houses built by human hands performing a religious observation or service in the belief that God commands it, is honored by it or gets some humanic enjoyment out of it.  Churches of Christ are congregational and therefore range from legalism in refusing to do certain things to those who believe that legalism in a negative sense permits or commands whatever feels good or gets the crowd. As the Church of Christ (the Rock) in the wilderness and without change is to REST from the pagan religions (including Judaism), READ the Word and discuss or Rehearse the Word for Comfort and Doctrine. The Lord's Supper is to show forth or preach the DEATH of Jesus: this will automatically silence any private interpretation.  Anything that you plan, purpose, purchase (staff) or do in the belief that you AID the work of the gospel of FREEDOM FROM whatever you plan is defined as legalism.  This points to the RULES of grammar, rhetoric, singing, playing instruments, acting, dancing, clapping your hands or passing the unlawful collection plate for anything beyond being a School of the Word.

Theophilus to Autolycus Doctrine of the trinity.
Chapter X.-The World Created by God Through the Word.
He had this Word as a helper in the things that were created by Him, and by Him He made all things.
He [Word] is called "governing principle", because He rules, and is Lord of all things fashioned by Him.He [Word] , then, being Spirit of God, and GOVERNING PRINCIPLEand wisdom, and power of the highest,came down upon the prophets, and through them spoke of the creation of the world and of all other things. (This was the Spirit of Christ, 1 Peter 1:11; Revelation 19:10)
For the prophets were not when the world came into existence,
......but the wisdom [Spirit in this instance is Sophia] of God which was in Him, and
......His holy Word which was always present with Him.

NOMOS other than the Will of God commanded before we SPEAK the Word of God applies to the TECHNICAL (cunning craftsmen or sophists) required for performing the ARTS of the Muses.

THE LAW OF THE MONARCHY OF THE JACOB-CURSED AND GOD-ABANDONED LEVITES.

Orpheus and Legalism CLICK for each topical discussion as I can get organized.

Plato Laws and Legalism CLICK for each topical discussion as I can get organized.

The Spirit OF Christ made it simple so that GOD WORKS while we REST: the Qahal, synagogue, ekklesia or Church of Christ (the Rock) is God's Purpose Driven School of the Word: nothing to the cross we bring but A holy spirit ready to be Christians or Disciples of Christ: Disciples attend the SCHOOL of Jesus Christ in the Prophets and Apostles. Nothing else builds, edifies or educate but the WORD or LOGOS as the Regulative Principle of God.

Legalism or NOMOS defined.
-Nomos , ho, ( [nemô] ) can mean "the Law of God" without respect to MOSES.
A. that which is in habitual practice, use or possession, not in Hom. (cf. J.Ap.2.15), though read by Zenod. in Od.1.3.
I. usage, custom, Mousai melpontai pantōn te nomous kai ēthea kedna” Hes.Th.66; “n. arkhaios aristos”
II. melody, strain, “oida d' ornikhōn nomōs pantōn” Alcm.67; “n. hippios” Pi.O. 1.101; “Apollōn hageito pantoiōn n.” Id.N.5.25; “n. polemikoi” Th.5.69; “epēlalaxan Arai ton oxun n.” A.Th.952 (lyr.); “krektoi n.” S.Fr. 463, cf. AP9.584: metaph., “tous Haidou n.” S.Fr.861.
2. esp. a type of early melody created by Terpander for the lyre as an accompaniment to Epic texts, “n. orthios” Hdt.1.24; “n. Boiōtios” S.Fr.966; “n. kitharōdikoi” Ar.Ra.1282, cf. Pl.Lg.700d, Arist.Po.1447b26, Pr.918b13, etc.; also for the flute, “n. aulōdikos” Plu.2.1132d; without sung text, n. aulētikos ib.1133d, cf. 138b, Poll.4.79; later, composition including both words and melody, e.g. Tim.Pers.

-Mousa 1 [*maô] I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts, Hom.: the names of the nine were Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia or Polyhymnia, Urania, and Calliope, Hes.,

II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.:--in pl. arts, accomplishments, Ar., Plat.

Melpô to sing or CELEBRATE. This "arousal singing" was always associated with Phoibos who was the BRIGHT ONE who is also Lucifer and Zoe. He competed with the Pythian spirit Paul cast out of the little TRAFFICING girl USED by men.

Melpô
Verb, celebrate with song and dance, melpontes hekaergon Il.l.c.; Phoibon Hes.l.c., cf. Pi.Fr.75.11; m. tina kata khelun E.l.c.; “tina kōmois” Ar. Th.989 (lyr.); “m. ōdais Spartēn” Anaxandr.41.19 (anap.); “m. ton posin” E.Tr.339 (lyr.). ; “tina kōmois” Ar.
—sing to the lyre or harp, “meta de sphin emelpeto theios aoidos, phormizōn” [APOLLO'S INSTRUMENT] Od.4.17, cf. 13.27; “melpeo kai kitharize” h.Merc. 476; Melpomenos, epith. of Dionysus at Athens, Paus.1.2.5; dance and sing, as a chorus,
Th.989 (lyr.); “m. ōdais Spartēn” Anaxandr.41.19 (anap.); “m. ton posin” E.Tr.339 (lyr.). 

phoibos , A.pure, bright, radiant, “hudōr” Hes.Fr.274, Lyc.1009; “hēliou phoibē phlogi” A.Pr.22; “aigla”
II. as pr. n., Phoibos, ho, Phoebus, i.e. the Bright or Pure, an old epith. of Apollo, “Ph. Apollōn” Il.1.43, al.; rarely inverted, “Apollōn phoibos” 20.68,
kōmos , ho, A.revel, carousal, merry-making, deipna kai sun aulētrisi kōmoi” Pl.Tht.173d;
2. concrete, band of revellers, “k. euiou theou” Id.Ba.1167 (lyr.); esp. of the procession which celebrated a victor in games, Pi.P.5.22, etc.: generally, rout, band,
II. the ode sung at one of these festive processions, Pi.P.8.20, 70, O.4.10, B.8.103; “meligaruōn tektones kōmōn” Pi.N.3.5, cf. Ar.Th.104, 988 (both lyr.).
Sing or celebrate a song and dance Melos  2. music to which a song is set, tune, Arist.Po.1450a14; opp. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma,
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” Thgn.761; “aulōn pamphōnon m.”

2.music to which a song is set, tune 3. melody of an instrument, Mouso-polos, on, A.serving the Muses, poetic II. Subst., bard, minstrel, AS

THE: Aoidos   (aeidō) A.singer, minstrel, bard, Il.24.720, Od.3.270, al., Hes.Th.95, Op.26,
        III. = eunoukhos, Hsch.; cf. doidos.
        goōn, khrēsmōn aoidos, E.HF110, Heracl. 403; pratos a., of the cock,
eunoukhos , ho, (eunē, ekhō)
A.castrated person, eunuch, employed to take charge of the women and act as chamberlain (whence the name, ho tēn eunēn ekhōn), Hdt.3.130, al., Ar.Ach. 117, X.Cyr.7.5.60, etc.

A. Mousa 1 [known as filthy adulteresses and the LOCUSTS of Revelation]

I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts, H 

II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.:--in pl. arts, accomplishments, Ar., Plat.[hypocrites]

Homer, Odyssey 1:[1] Tell me, O Muse, of the man of many devices, who wandered full many ways after he had sacked the sacred citadel of Troy. Many were the men whose cities he saw and whose mind he learned, aye, and many the woes he suffered in his heart upon the sea

Pi.N.7.81 Pindar, Nemean Odes 7
[22] since there is a certain solemnity in his lies and winged artfulness,
        and poetic skill deceives, seducing us with stories,
        and the heart of the mass of men is blind.
Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly.
          On this spot it is fitting to sing with a gentle voice of the king of gods.
To plough the same ground three or four times [105] 
is poverty of thought, 
like babbling "Corinth of Zeus" to children.

A. Melpontai Melpo celebrate with song and dance. Od.4.17, [make melody with singing and the phormizon or HARP of Apollo.] dance a war-dance in honour of Ares, Sing and play the kithera, sing and play the aulos or flute. Epithet of Dionysus. ;-)

Od.4.17 Homer Odyssey 4.[15] So they were feasting in the great high-roofed hall, the neighbors and kinsfolk of glorious Menelaus, and making merry; and among them a divine minstrel was singing to the lyre, and two tumblers whirled up and down through the midst of them, as he began his song.

This "arousal singing" was always associated with Phoibos who was the BRIGHT ONE who is also Lucifer and Zoe. He competed with the Pythian spirit Paul cast out of the little TRAFFICING girl USED by men.

II. melody, strain, “oida d' ornikhōn nomōs pantōn” Alcm.67; “n. hippios” Pi.O. 1.101; “Apollōn hageito pantoiōn n.” Id.N.5.25; “n. polemikoi” Th.5.69; “epēlalaxan Arai ton oxun n.” A.Th.952 (lyr.); “krektoi n.” S.Fr. 463,

Pindar, Odes 5. The most beautiful chorus of Muses sang gladly for the Aeacids on Mt. Pelion, and among them Apollo, sweeping the seven-tongued lyre with a golden plectrum, [25][25] led all types of strains. And the Muses began with a prelude to Zeus, then sang first of divine Thetis and of Peleus; how Hippolyte, the opulent daughter of Cretheus, wanted to trap him with deceit 

[40] The fortune that is born along with a man decides in every deed. And you, Euthymenes from Aegina, have twice fallen into the arms of Victory and attained embroidered hymns.

Metaphor “tous Haidou n.” S.Fr.861. 2. esp. a type of early melody created by Terpander for the lyre as an accompaniment to Epic texts, “n. orthios” Hdt.1.24; “n. Boiōtios” S.Fr.966; “n. kitharōdikoi” Ar.Ra.1282, cf. Pl.Lg.700d, Arist.Po.1447b26, Pr.918b13, etc.; also for the flute, “n. aulōdikos” Plu.2.1132d; without sung text, n. aulētikos ib.1133d, cf. 138b, Poll.4.79; later, composition including both words and melody, e.g.

THE JEWS HAD A COVENANT WITH DEATH AND HELL

THE LAW OF THE MONARCHY OF THE JACOB-CURSED AND GOD-ABANDONED LEVITES.

A Mark of LEGALISM: After all of the sacrifices for ATONEMENT without any Levites.

Preparation of the Military for the holocaust

2Chr. 29:25 And he set the Levites in the house of the LORD [court]
......with cymbals, with psalteries, and with harps,
......according to the commandment of David,
...... and of Gad the king’s seer,

The command of David, David's Stargazer they STOOD IN RANKS with instruments and swords.
Preparation of the priests for the holocaust

......and Nathan the prophet:
......for so was the commandment of the LORD by his prophets.
In fact, Christ in Isaiah 1 and Jeremiah 7 said God did not COMMAND that to which HE abandones people2Chr. 29:26 And the Levites stood [in RANKS] with the instruments of David,
......and the priests with the trumpets. [Commanded by Moses A prophet]

2Chr. 29:27 And Hezekiah commanded
......to offer the burnt offering upon the altar.
............And when the burnt offering began,
............the song of the LORD began also with the trumpets,
............and with the instruments ORDAINED by David king of Israel.

WHEN THEY MADE NOSE WHO ORDAINED THE INSTRUMENTS?

The kings had been turned over to worship the starry host. Therefore, the instruments are used only during the BURNT OFFERING which the Prophet Jeremiah has God saying I DID NOT COMMAND THIS.

2Chr. 29:28 And all the congregation worshipped,
......and the singers sang,
......and the trumpeters sounded:
......and all this continued until the burnt offering was finished.

CHRIST SAID THAT GOD DID NOT COMMAND SACRIFICES OR BURN OFFERNINGS: Just before 2 Chronicles 29 and just after it the people paused momentarily from BURNING INFANTS but as soon as Hezekiah died they resumed their worship of the starry hose to which God ABANDONED them.

BEGINNING

Luke 18:9 And he spake this parable unto certain which trusted in themselves
        that they were righteous, and despised others:
Luke 18:10 Two men went up into the temple to pray; the one a Pharisee, and the other a publican.
Luke 18:11 The Pharisee stood and prayed thus with himself,
        God, I thank thee, that I am not as other men are, extortioners, unjust, adulterers, or even as this publican.
Luke 18:12 I fast twice in the week, I give tithes of all that I possess.


Luke 18:13 And the publican, standing afar off, would not lift up so much as his eyes unto heaven,
        but smote upon his breast, saying, God be merciful to me a sinner.
Luke 18:14 I tell you, this man went down to his house justified rather than the other: for every one that exalteth himself shall be abased; and he that humbleth himself shall be exalted.





HISTORIC CHURCH OF CHRIST: The Law of Silence flaunted by Eve in the Garden of Eden and defined in Scripture from end to end and endorsed by all historic scholars and founders of denominations.  That is what is used when peaceable churches (not Churches of Christ) told those who violated Scripture and the historic understanding that YOU CANNOT IMPOSE something not required. Especially when sowing of discord still made the instrument profitable even if many members left.

A Sectarian is one who IMPOSES and can never be the one IMPOSED UPON.
A Legalist is one who DOES something by the works of human hands in houses built by human hands and defines that as WORSHIP.

To their credit most churches of Christ do not make much of a issue of musical performers until the first LAW OFSILENCE PEOPLE plot as they say "to infiltrate and divert" or transistion YOUR property and family into the Instrumental Sectarian census.  I have watched it for my alert 83 years and that is a fact. The internet is filled with hatred against people who REFUSE to begin doing what they have NEVER done with direct commands, approved examples and necessary inferences if you grasp that a Christian is a Disciple is a Student and the only resource is "that which Jesus commanded to be taught and observed." A Church of Christ is built upon or educated by the Prophets and Apostles and that simply does not leave any Roles or Doles for performing musician.

The FACTS of the Word cannot be interpreted by saying that someone is a something: I look at the black text on brown paper and it still says that rhetoric, singing, playing, acting or dancing are by DEFINITION Legalistic: they must all be performed by exact rules learned by HARD WORK of their human hands. 

Legalism is well defined in the Bible.  Jesus defined the Scribes and Pharisees, hypocrites: in Ezekiel 33 names rhetoricians, singers and instrument players.  Legalism defines in great detail the RULES of rhetoric, singing and playing instruments.

The Israelites at Mount Sinai rose up to PLAY: That means  acting, singing, playing instruments and dancing.  Works includes Composing a song or poem which intends to trump or assist God.  Songs must follow a very strict rule and must be performed by one of the most WORKS-INTENSIVE craft in the world. Religious music is highly honed so that it creates a MOOD or a physical response. It is always rehearsed and people HIRE people to PERFORM the WORK of a musical worship minister (an oxymoron since Jesus said that worship is IN the Spirit as a PLACE as it lies DORMANT and gives attention (the unique worship concept) to the WORD of God.  Logos is the OPPOSITE of all of the legalistic performance roles of Inventing self-reference stories (Gallup says mostly fabricated), PERFORMING RHETORIC as the primary meaning of hypocrite, Clapping or Waving as the WORKS of human hands. Singing takes a lot of skill learning the LAWS of "four part Fanny."  Sitting and listening to a Word-devoid makes Sunday one of the most stressful days of the Week.




Plat. Laws 2.657b all this lapse of time are the compositions of Isis. Hence, as I said, if one could by any means succeed in grasping no principle [Nomos , ho, (nemō) b. in VT, of the law of God, “en tō nomō Kuriou to thelēma autou” ] of correctness in tune, one might then with confidence reduce them to legal form and prescription, since the tendency of pleasure and pain to indulge constantly in fresh music has, after all, no very great power to corrupt choric forms that are consecrated, by merely scoffing at them as antiquated. In Egypt, at any rate, it seems to have had no such power of corrupting,—

In the never-musical (legalism) message of Paul in Ephesians 5. Paul uses forms of Parallelism where BUT intends to reveal the Godly practice.

Ephesians 5:17 Wherefore be ye not unwise,
BUT understanding what the WILL [thelēma] of the Lord is.[The Word]

The Bible is filled with the antithesis between the performing clergy of all religions using music as the primary tool to fool the foolish by literally changing the thinking power of the mind so that it accepts that which is false if it is presented by the "Muses" or the "Graces."

II. Antithetical Parallelism--The thought of the first line is expressed by an antithesis in the second;
or is counterbalanced by a contrast in the second. This parallelism is very common in the Book of Proverbs:
(a) The tongue of the wise adorneth knowledge,
{BUT} The mouth of the fool blurteth out folly. Prov., xv, 2.
Artĭfex orator or writer: doctores cunning artifices scaenici
canebant chanticleer; kuknos cock melodious notes, to sing, sound, play. Of men: “si absurdecanat,” tibicensine tibiis canere, Io! magna voce, Triumphe, canet,”

Legalism is using the Works of Human hands. The Craftsmen in Revelation 18 John called sorcerers are silversmiths or "theater builders and stage managers." They simply do not know the infinite distance between an INFINITE Almighty God of the universe and their cuteness, lovely voice and playing an instrument cunningly or craftily. Jesus called them hypocrites in Ezekiel 33 and named them Scribes and Pharisees: they made up their own songs and sermons SO THAT they would not have to speak what God spoke. Jesus identifies them as OF the World or that Just Natural population for which Jesus did not pray and God will not speak.


 



Other than the command to speak that which is written, SPEAKING in tongues has the same meaning as playing a lifeless instrument: neither can praise God and in fact creates mental confusion

la^l-eō , III. of musical sounds, “aulō laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.” Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin lalein sound the magadis,
hupokrinô Peter outlawed private interpretation which means "further expounding." To PERFORM something especially as "seeing godliness as a means of financial gain" says Peter is to despise the fact that God VALIDATED the Words of Jesus with signs and wonders.

I. interpreter or expounder, “tēs di' ainigmōn phēmēs” Pl.Ti. 72b; “oneirōn” Luc.Somn.17, etc.
II in Att., one who plays a part on the stage, actor, Ar.V.1279, Pl.R.373b, Chrm. 162d, Smp.194b, X. Mem.2.2.9, etc.
2.of an orator, poikilos hu. kai perittos ( Mania or religious frenzy.
Rhêtor-ikos , ê, on, oratorical, hê rhêtorikê (sc. technê). These are the craftsmen lumped with the singers, musicians and "grinder" doing merchandise in the house of prayer. Rev. 18:22
SIMILAR LATIN:canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing

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;<>a nd 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, and also of bodily frame because of the movements required)--we must therefore give some consideration to tunes and rhythms, and to the question whether for educational purposes we must employ all the tunes and all the rhythms or make distinctions; and next, whether for those who are working at music for education we shall lay down the same regulation, or ought we to establish some other third one (inasmuch as we see that the factors in music are melody and rhythm, and it is important to notice what influence each of these has upon education), and whether we are to prefer music with a good melody or music with a good rhythm.

It is a fact that there probably is not a Synagogue or Ekklesia as A School (only) of the Word (only) on the face of the earth. Christ called for a Restoration in Isaiah 58 by outlawing seeking our own pleasure or speaking our own words: Paul repeated that in Romans 15 including stopping the Areskos or Placeo meaning all of the PERFORMANCE roles which MUST be performed according to RULES and is therefore legalism. The direct command was to speak that which is written for our learning: you cannot add to that without imposing LEGALISM at one level. NOT using machines for doing hard work from the wilderness onward is NOT legalism.



GOD COMMANDED TWO SILVER TRUMPETS TO SEND SURE SIGNALS: DAVID COMMANDED THE INSTRUMENTS BECAUSE THEY AND MANY PSALMS WERE ATTACK-YOUR-ENEMY CHANTS. NOTHING METRICAL about PSALMS. "Melody as tunefulness belongs to the 19th century."

If you will read Genesis 49 you will hear Jacob defining a Prophetic Pattern for the history of the Hebrews: He told us NOT to attend the assemblies of LEVI nor to enter into their covenant. They were to wait until Shiloh came. In Galatians Paul leapfrogs the cursed Monarchy and reconnects to the only spiritual covenant God in Christ made to Abraham.

After the musical idolatry at Mount Sinai, these slaughter Levites volunteered to execute 3,000 of their idolatrous "brethren." After God abandoned them to worship the Starry Host and the elders Fired God as their final sin without redemption, it was DAVID to had a Works Project Administration to put them to work AFTER he had slaughtered all of those OWNERS claiming God's command that the Levites were given STAFF positions because "the had no inheritance."

Because of their prophesied (Isaiah 49) propensity. The LEVITES Stood in RANKS by God's command to EXECUTE any godly civilian or even a not-on-duty Levite who came NEAR or into any holy thing or place. Nadab and Abihu had to enter to get to the incense altar.

After all of the sacrifices for ATONEMENT without any Levites.

Preparation of the Military for the holocaust

2Chr. 29:25 And he set the Levites in the house of the LORD [court]
......with cymbals, with psalteries, and with harps,
......according to the commandment of David,
...... and of Gad the king’s seer,

The command of David, David's Stargazer they STOOD IN RANKS with instruments and swords.
Preparation of the priests for the holocaust

......and Nathan the prophet:
......for so was the commandment of the LORD by his prophets.
In fact, Christ in Isaiah 1 and Jeremiah 7 said God did not COMMAND that to which HE abandones people2Chr. 29:26 And the Levites stood [in RANKS] with the instruments of David,
......and the priests with the trumpets. [Commanded by Moses A prophet]

2Chr. 29:27 And Hezekiah commanded
......to offer the burnt offering upon the altar.
............And when the burnt offering began,
............the song of the LORD began also with the trumpets,
............and with the instruments ORDAINED by David king of Israel.

WHEN THEY MADE NOSE WHO ORDAINED THE INSTRUMENTS?

The kings had been turned over to worship the starry host. Therefore, the instruments are used only during the BURNT OFFERING which the Prophet Jeremiah has God saying I DID NOT COMMAND THIS.

2Chr. 29:28 And all the congregation worshipped,
......and the singers sang,
......and the trumpeters sounded:
......and all this continued until the burnt offering was finished.

CHRIST SAID THAT GOD DID NOT COMMAND SACRIFICES OR BURN OFFERNINGS: Just before 2 Chronicles 29 and just after it the people paused momentarily from BURNING INFANTS but as soon as Hezekiah died they resumed their worship of the starry hose to which God ABANDONED them.



"From (the Ugaritic text) come references to a class of Temple personnel designated by the term serim, who exercised functions similar to those of the Hebrew singers during the monarchy and later times. Some of the servants of David who were designated in 1 Kings 4:31 by (a) term meaning 'aboriginal' or 'native sons,' and who possessed Canaanite names such as Heman, Chalcol, and Darda, were engaged in various forms of musical activity. As such they were described by the phrase 'sons of Mahol,'

a Hebrew term closely related to (the Greek),used of a semi-circular area in which the Greek chorus danced, and meaning 'members of the orchestral guild.' A further reflection of this musical interest became apparent when Megiddo was excavated and the treasure room of the royal palace was uncovered. From this area was recovered a plaque inlaid with ivory, depicting a royal personage seated on a throne. He was drinking from a small bowl, and was being entertained by a court musician who stood before him plucking the strings of a lyre." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 335, see p. 411).

"Today, this music and dance festival is understood as the one remnant of the old Canaanitefertility rituals, which, in the monotheistic pseudomorphosis of the temple ceremonies, was to ensure an abundant crop of plants, animals, and even human beings." (Interpreters Dictionary of the Bible, p. 463

"The instruments were used as worship to God and to give glory and elat to the earthly kingdom. They were tolerated by God as were many other things during this period, that he did not approve. The establishment of the kingdom itself was an act of rebellion against God" (David Lipscomb, Queries and Answers, pp. 226, 227, and Gospel Advocate, 1899, pp. 376, 377).

"Sometimes religion produces suggestive rituals shared by a community to create an atmosphere useful for uplifting one's thoughts and coming to one's senses. There are those who cannot do without such forms of worship. Where, however, the form takes the place of meditation, or conditions it; where human words prevail over the Spirit.. then we are no longer in the presence of true religion.

"The one who uses colours and sounds and forms and movements and other gifts of God under the illusion of creating a stairway to heavenout of his own resources can, even involuntarily and in good faith, be raising an invisible barrier between humanity and God himself. (Davide Melodia, The Lord of Silence)

Music from "mystery" MEANS to make the lambs dumb before the slaughter: the Levites did that to Jesus to fulfill the prophecy of MOCKING or trying to triumph over Jesus (Psalm 41) by Judas.

In Romans 15 where Areskos or Placeo forbids all performance roles the way to glorify or PRAISE God is to "speak that which is written for our learning" or "Scripture for our Comfort" meaning the instrumental means of the Paraklete

There is no command, example or remote inference in the Bible or church history until after the Reformation of singing as a ACT of liturgy with or without instruments. ALL of the examples condemning instruments have to be DISCOUNTED and trumped to think that any performance role has any place in A SCHOOL OF THE WORD. Churches of Christ have NEVER used instruments defined as "machines for doing hard work" and do not need to justify NOT being forced to do what they have NEVER done by direct command from the Church of Christ (the Rock) in the wilderness.

God hides, says Jesus, from the WISE or SOPHISTS meaning rhetorical speakers, singers or instrument players.

Jesus called the Scribes and Pharisees, hypocrites: in Ezekiel 33 Christ named entertainment speakers, singers and instrument players.
Jesus said the doctors of the law (Scribes) take away the key to knowledge.

It is true: God hath not said "thou shalt not be a Sophist" and God hath not said "thou shall not be a hypocrite." However, the Greek text, in blue, defines a hypocrite as a actor, singer, instrument player, actor.

No one has said God can use any human talent as the WORKS OF HUMAN HANDS. We are not squirt guns but blotters quiet and passive and reverent because God is a Consuming Fire Heb 12.

Isaiah 5:12 And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:
......but [which means] they regard not the work of the LORD, neither consider the operation of his hands.

Instruments INTEND to make the lambs dumb before the slaughter: it works

Isaiah 5:13 Therefore my people are gone into captivity,
......because they have no knowledge:
......and their honourable men are famished, and their multitude dried up with thirst.
Is. 5:14 Therefore hell hath enlarged herself, and opened her mouth without measure:
......and their glory, and their multitude, and their pomp, and he that rejoiceth,
......shall descend into it
Gal 5:21 Envyings, murders, drunkenness, revellings, and such like: of the which I tell you before, as I have also told you in time past, that they which do such things shall not inherit the kingdom of God.
Revelling:

kōmos , A. revel, carousal, merry-making, “eis daita thaleian kai khoron himeroenta kai es philokudea k.” h.Merc.481, cf. Thgn.829, 940; “pinein kai kōmō khrasthai” Hdt.1.21, cf. E.Alc.804, etc.; “kōmoi kaieuphrosunai” B.10.12; “deipna kai sun aulētrisi kōmoi” Pl.Tht.173d; “heortai kai k.” Id.R.573d; en kōmō einai, of a city, X.Cyr.7.5.25; “erkhesthai tisin epi kōmon” Id.Smp.2.1; “epi kōmon badizein” Ar.Pl.1040; esp. in honour of gods, tois en astei Dionusioishēpompē. . kai ho k.D. 21.10, cf. IG2.971, etc.; kōmō thuramakhois te pugmakhiaisi Pratin.Lyr. 1.8; “khorois ē kōmois Huakinthou” E.Hel.1469 (lyr.).
II. the ode sung at one of these festive processions, Pi.P.8.20, 70, O.4.10, B.8.103; “meligaruōn tektones kōmōn” Pi.N.3.5, cf. Ar.Th.104, 988 (both lyr.).

Khoros II. choir, band of dancers and singers, h. Ven.118, Pi.N.5.23, Fr.199; “sumphōnia kai khoroi” Ev.Luc.15.25. III. place for dancing, III. place for dancing,

aul-ētris , idos, h(, A. flute-girl, Simon.178, Ar.Ach.551, X.HG2.2.23, Pl.Prt.347d,

Jesus cast the flute-girls out more or less violently.
Dem. 21 10 Now I want to read to you the next law as well, because it will illustrate to all of you the self-restraint of the citizens in general and the hardihood of the defendant. Read the law.“Law
Evegorus proposed that, on the occasion of the procession in honor of Dionysus in Peiraeus with the comedies and tragedies, the procession at the Lenaeum with the comedies and tragedies, the procession at the City Dionysia with the boys' contests and the revel and the comedies and tragedies. and also at the procession and contest of the Thargelia, i


Is. 14:7 The whole earth is at rest, and is quiet: they break forth into singing.
Is. 14:8 Yea, the fir trees rejoice at thee, and the cedars of Lebanon, [harps and lances]
......saying, Since thou art laid down, no feller is come up against us.
Is. 14:9 Hell from beneath is moved for thee to meet thee at thy coming:
......it stirreth up the dead for thee, even all the chief ones of the earth;
......it hath raised up from their thrones all the kings of the nations.
Is. 14:10 All they shall speak and say unto thee, Art thou also become weak as we?
......art thou become like unto us?
Is. 14:11 Thy pomp is brought down to the grave,
......and the noise of thy viols: the worm is spread under thee,
...... and the worms [maggots] cover thee.
Is. 14:12 How art thou fallen from heaven, O Lucifer, son of the morning!
......how art thou cut down to the ground, which didst weaken the nations!

Amos 8:3 And the songs of the temple shall be howlings in that day, saith the Lord GOD:
......there shall be many dead bodies in every place;
......they shall cast them forth with silence.

Amos 8:11 Behold, the days come, saith the Lord GOD, that I will send a famine in the land,
......not a famine of bread, nor a thirst for water, but of hearing the words of the LORD:
Amos 8:12 And they shall wander from sea to sea, and from the north even to the east,
......they shall run to and fro to seek the word of the LORD, and shall not find it.

Hos. 4:5 Therefore shalt thou fall in the day,
......and the prophet also shall fall with thee in the night, and I will destroy thy mother.
Hos. 4:6 My people are destroyed for lack of knowledge:
......because thou hast rejected knowledge, I will also reject thee,
......that thou shalt be no priest to me:
......seeing thou hast forgotten the law of thy God, I will also forget thy children.

Why would anyone IMPOSE something not commanded and clearly repudiated knowing that the masses of population have no intention of PAYING to listen to not so talented musicians: I get my music watching parts Jimmy Swaggart and you can steal all of the music you wish without getting caught.

And knowing that recorded history associates all musical terms and names of instruments with soothsaying-sorcery (Miriam, Levites, Revelation 18) because the instrumental sounds were understood even by cave men as having the power to disable the rational and steal their lambs. Music hurts even when you get the "runner's high."

am so sorry for people who missed that course on Acts.7.101a! God made Israel Blind and deaf because of musical idolatry of the Egyptian trinity at Mount Sinai. The Law of Moses was ADDED because of transgression which was vocal and instrumental rejoicing when the REST day in Exodus 31 PROHIBITED and vocal or instrumental discord. They would not be able to read BLACK text on BROWN paper until they turned, were converted or baptized INTO Christ. The mark of that new spirit is that they can hear Paul say that THE LORD IS THAT SPIRIT.

Acts 7:37 This is that Moses, which said unto the children of Israel,
.....A prophet shall the Lord your God raise up [Suscito resurrect
.....unto you of your brethren,
.....like unto me; him shall ye hear.
Acts 7:38 This is he, that was
.....in the church in the wilderness
.....with the angel which spake to him in the mount Sina, and with our fathers:
.....who received the lively oracles to give unto us:

This was The Book of The Covenant of Grace: it's laws were conditional.

Acts 7:39 To whom our fathers would not obey,
.....but thrust him from them,
.....and in their hearts turned back again into Egypt,
Acts 7:40 Saying unto Aaron,
.....Make us gods to go before us: for as for this Moses,
.....which brought us out of the land of Egypt, we wot not what is become of him.

Acts 7:41 And they made a calf in those days,
.....and offered sacrifice unto the idol,
.....and rejoiced in the works of their own hands.

Euphrainō , Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3 II. Pass., make merry, enjoy oneself,

Pind. I. 6 Just as we mix the second bowl of wine when the men's symposium is flourishing, here is the second song of the Muses for Lampon's children and their athletic victories: first in Nemea, Zeus, in your honor they received the choicest of garlands,

Aristoph. Ach. 5 I was in ecstasy and I love the Knights for this deed; ‘it is an honour to Greece.’ But the day when I was impatiently awaiting a piece by Aeschylus, what tragic despair it caused me when the herald called, “Theognis, introduce your Chorus!” Just imagine how this blow struck straight at my heart!

Xen. Sym. 7.5 However, these questions also fail to promote the same object that wine does; but if the young people were to have a flute accompaniment and dance figures depicting the Graces, the Horae, and the Nymphs, I believe that they would be far less wearied themselves and that the charms of the banquet would be greatly enhanced.” “Upon my word, Socrates,” replied the Syracusan, “you are quite right; and I will bring in a spectacle that will delight you.”
Or, the Seasons. Or it may be used here in the Homeric sense of the maidens who kept the cloud gate of Heaven.

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

Acts 7:43 Yea, ye took up the tabernacle of Moloch,
.....and the star of your god Remphan,
.....figures which ye made to worship them:
.....and I will carry you away beyond Babylon.

Both Amos, lots of Old Testament and Acts 7 gives us the NAMES of the starry host even when they called THEM Jehovah. There is no music in the Law of Moses and the Prophets by Christ prohibit even "seeking your own pleasure or speaking your own words." That would certainly outlaw SINGING your own words when Paul commanded that we SPEAK which is opposite to ODE which is in the heart or silent.

Jesus died to remove the LADED BURDEN and BURDEN LADER. Then we can accept the gospel promise of REST and come learn of ME. A laded burden is specificially a sacrifice or the Scribes and Levites replacing the Word with their own songs and commandments SO that they didn't have to teach the Word. Here are some of the ways in which this BURDEN is used to include anything that we can do with the works of human hands. I truly hurt to say it but God just does not need us to accomplish His Will other than to GO and TEACH. The flow of information is one way: handed down by a higher authority in both the ekklesia and synagogue. That restricts us to keep the peace among all believers and leaves us the rest of the week to engage in music or drama all we wish. Whatever you think Jesus meant at that time, there is no user-friendly example in history for the LADED BURDEN and REST. Rest always means Rest FROM whatever anyone wants to impose on individual disciples of Christ: A church is built upon or educated by the Prophets and Apostles. I don't know how to educate others so that they can be a disciple of Christ in their own time and space. Plant, Water and let God give the growth. I can supply links to any of the words or the Greek or Latin text where the used is defined by how it is used. When God sings a "burden" in Hebrew it is always sounding their doom.

Phort-izō , *A.load, “phortisas ton onon” Babr.111.3; phortia ph. tinas load them with burdens, Ev.Luc.11.46; perissē dapanē ph. ta koina Dörner Erlass des Statthalters von Asia Paullus Fabius Persicus 16; “hudatis -izousa ton ophthalmon” encumbering, Paul.Aeg.6.14; aukhena ph. Aenigma Sphingis (ap.Sch.E.Ph.50):—Med., ta meiona phortizesthai ship the smaller part of one's wealth, Hes.Op.690; phortioumenos meli to carry away a load of honey, Macho ap.Ath.13.582f: metaph., “phuteuein kai ph.” Phld.Vit.p.33J.—Pass., to be heavy laden, “pephortismenos” Ev.Matt.11.28,

The burden in Greek includes:
Epōd-os , on, （epadō） A. singing to or over, using songs or charms to heal wounds, “epōdoi muthoi” Pl.Lg.903b.
b. Subst., enchanter, “e. kai goēs” E.Hipp. 1038 (but “goēs e.” Ba.234): c. gen., a charm for or against, “ethusen hautou paida epōdon Thrēkiōn aēmatōn” A.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.
2. Epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, burden, refrain, Ph. 1.312 : metaph., ho koinos hapasēs adoleskhias e. the 'old story', Plu.2.507e.

When you have sung the chorus once to repeat it over and over is defined as enchantment or sorcery.
-Phortos is less complicated but is the same meaning as Phortosa

A. load, freight, cargo, Od.8.163, 14.296, Hes.Op. 631, Hdt.1.1, S.Tr.537, and later Prose, as PEnteux.2.11 (iii B. C.), Plu.Marc.14, Luc.VH1.34; epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai, Call.Fr.4.10P.; ph.erōtos,
2. metaph., heavy load or burden, ph. khreias, kakōn, E.Supp.20, IT1306; cf. phortion.
II. Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.
III. mass of detail, 'stuff', in semi-colloquial sense, Aret.CD1.4

BURDEN IS: Epoiēsanto A. make, produce, first of something material, as manufactures, works of art, tragōdian, “palinōdian”
Explained as pepragmateumai, prodedomai, phortos gegenēmai, b. represent in poetry, c. describe in verse, muthon opposite of LOGOS
gets him money as a cleric 2. procure, “p. adeian te kai kathodon tini” Th.8.76; “ho nomos p. tēn klēronomian tisi”
3. of sacrifices, festivals, etc., celebrate, Aristoph. Peace 748
VIII. in later Greek, sacrifice, “moskharion” LXXEx.29.36; karpōseis [fruit] huper tinos ib.Jb.42.8: without acc., p. Astartēsacrifice to Ashtoreth, ib.3 Ki.11.33.

......A. Pragmateuomai work at at thing, labour to bring it about, take in hand, treat laboriously, be engaged in. Work at writing religious poetry for use around the shrine or Hieros the temple of Athena

BURDEN IS: Phortos 4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p.
Represent in verse,or poetry, invent, represent, myths, comedy, tragedy
BURDEN IS Phortos: Erōs , ōtos, o(, acc. erōn —love, mostly of the sexual passion, name of theklēros Aphroditēs,
III. of the Levites, “Kurios autos klēros autou” LXX De.18.2:

The Service of the Levites was Abadoh which is the Abaddon or Apollyon word because God had turned Israel over to worship the starry host because of musical idolatry at Mount Sinai.

The work of the Saturous: the Mark is Singing as a sign, BEAST is a new style of music or Satyric Drama. II. in pl., a play in which the Chorus consisted of Satyrs, Satyric drama, forming the fourth piece of a Tragic tetralogy, Lukophron Wolf-Minded

BURDEN IS: Phortos 2. metaph., heavy load or burden, ph. khreias, kakōn, E.Supp.20, IT1306; cf. phortion.
Eur. Supp. 20 Before the temple of Demeter at Eleusis. On the steps of the great altar is seated Aethra. Around her, in the garb of suppliants, is the Chorus of Argive mothers. Adrastus lies on the ground before the altar, crushed in abject grief. The children of the slain chieftains stand nearby. Around the altar are the attendants of the goddess.

BURDEN IS: II. Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.

Orpheus and Legalism

The bishop of Gloucester, in his learned, ample, and admirable account of the Eleusinian mysteries, says, "While these mysteries were confined to Egypt, their native country, and while the Grecian law-givers went thither to be initiated, as a kind of designation to their office, the ceremony would be naturally described in terms highly allegorical. This way of speaking was used by Orpheus, Bacchus, and others; and continued even after the mysteries were introduced into Greece, as appears by the fables of Hercules, Castor, Pollux [the homosexual twins], and Theseus's descent into hell; but the allegory was so circumstanced, as to discover the truth con-cealed under it. So Orpheus is said to get to hell by the power of his harp.

Thrëicia fretus cithara, fidibusque canoris.
VIRG. Aen. VI. ver. 119.

that is in quality of law-giver; the harp being the known symbol of his laws, by which he humanized a rude and barbarous people.-

Had an old poem, under the name of Orpheus, entitled A Descent into Hell been now extant, it would perhaps have shewn us, that no more was meant than Orpheus's initiation.

Many ancient writers in speaking of his death, relate, that the Thracian women, enraged at being abandoned by their husbands, who were disciples of Orpheus, concealed themselves in the woods, in order to satiate their vengeance; and, notwithstanding they postponed the perpetration of their design some time through fear, at length, by drinking to a degree of intoxication, they so far fortified their courage as to put him to death. And Plutarch (16) assures us, that the Thracians stigmatized their women, even in his time, for the barbarity of this action. (17)

17: It is related, that after he had been torn to piece by the Thracian women, his lyre, happening to fall in the Hebrus during the scuffle, was carried to Lesbos, where it was taken up and deposited in the temple of Apollo. But, according to Lucian, Neanthus, the son of Pittacus the tyrant, brought it afterwards of the priests, imagining, that by merely touching this instrument, he should draw after him trees and rocks; it is true he succeeded no otherwise than by provoking the dogs in the neighbourhood to tear him to pieces. But though he could not share the fame, he shared the fate of the unfortunate Orpheus.

Plato Laws and Legalism

There is no command, example or remote inference of God calling people out of their REST for group singing with or without instruments.  I am not interested in what people actually do.  The command is to use one mind and one mouth to speak that which is written for our LEARNING.  I can't tell people what they can or cannot do but SPEAK in the LOGOS sense is the Regulative Principle: it forbids anything but the command to PREACH the word by READING the Word for Comfort and Doctrine.  I do not speak to what people do but singing as an ACT of liturgy was introduced about the year 373 but that was not melody in a TUNEFUL sense.  Melody would still limit you to a series of singing notes.

10.[908e] but those which call for legislation are two, of which the “ironic” [hypocritical] kind commits sins that deserve not one death only or two, while the other kind requires both admonition and imprisonment. Likewise also the belief that the gods are neglectful breeds two other kinds of impiety; and the belief in their being open to bribes, other two. These kinds being thus distinguished, those criminals who suffer from folly,2 being devoid of evil disposition and character, shall be placed by the judge according to law in the reformatory for a period of not less than five years, during which time no other of the citizens

Nomos , ho, ( [nemô] ) A.that which is in habitual practice, use or possession, I. usage, custom, [Mousai] melpontai pantôn te nomous kai êthea kedna Hes.Th.66 ; n. archaios aristos Id.Fr.22

1 i.e. “hypocritical,” hiding impiety under a cloak of religion.

2 Cp. Plat. Laws 884b, Plat. Laws 885c.

[884a] Of the rest, the most grave are the licentious and outrageous acts of the young; and outrages offend most gravely when they are directed against sacred things, and they are especially grave when they are directed against objects which are public as well as holy, or partially public, as being shared in by the members of a tribe or other similar community. Second, and second in point of gravity, come offences against sacred objects and tombs that are private;

As to temple-robbing, whether done by open violence or secretly,  [885b] it has been already stated summarily what the punishment should be; and in respect of all the outrages, whether of word or deed, which a man commits, either by tongue or hand, against the gods, we must state the punishment he should suffer, after we have first delivered the admonition. It shall be as follows:--No one who believes, as the laws prescribe, in the existence of the gods has ever yet done an impious deed voluntarily, or uttered a lawless word: he that acts so is in one or other of these three conditions of mind--either he does not believe in what I have said; or, secondly, he believes that the gods exist, but have no care for men; or, thirdly, he believes that they are easy to win over when bribed by offerings and prayers

Plato Laws 10 [885d] that before threatening us harshly, you should first try to convince and teach us, by producing adequate proofs, that gods exist, and that they are too good to be wheedled by gifts and turned aside from justice. For as it is, this and such as this is the account of them we hear from those who are reputed the best of poets [poiêtôn], orators [rhêtorôn], seers [Mantis, oida], priests [hieros], and thousands upon thousands of others; and consequently most of us, instead of seeking to avoid wrong-doing, do the wrong and then try to make it good.

10.[909a] shall hold intercourse with them, save only those who take part in the nocturnal assembly,1 and they shall company with them to minister to their souls' salvation by admonition; and when the period of their incarceration has expired, if any of them seems to be reformed, he shall dwell with those who are reformed, but if not, and if he be convicted again on a like charge, he shall be punished by death. But as to all those who have become like ravening beasts, and who, besides holding that the gods are negligent 

Thêri-ôdês, A.full of wild beasts, infested by them, of countries, thalassēs tautēs full of ravenous fishes, Id.6.44.
2. of men and manners, brutal, “hēdonē” Pl.R.591c; “brimōsis”
Hêdonê, 3. Pl., desires after pleasure, pleasant lusts, X.Mem.1.2.23, Ep.Tit.3.3, al.

Understand this in terms of 10.[909b] below: or open to bribes, despise men, charming the souls of many of the living, and claiming that they charm the souls of the dead, and promising to persuade the gods by bewitching them, as it were, with sacrifices, prayers and incantations,1 and who try thus to wreck utterly not only individuals, but whole families [Oikia household] and States for the sake of money

Knikos , ê, on, ( [kuôn] ) dog-like, X.Cyr.5.2.17 (v.l. for huïkon); to k. kai thêriôdes tôn orexeôn Plu.2.133b ; k. spasmos unilateral facial paralysis, Cels.4.3.1, Gal.18(2).930; k. kaumata heat of the dogdays, Polyaen.2.30.3: metaph., ho anthrôpos k. currish, churlish, Vulgate 1 Sa 25.3 (?). Adv. -kôs, spômenoi Heliod. ap. Orib.48.38 tit.; in doglanguage, opp. boïkôs, etc., Porph.Abst.3.3.

Vulgate 1 Samuel 15: [3] Now the name of the man was Nabal; and the name of his wife Abigail; and the woman was of good understanding, and of a beautiful face: but the man was churlish and evil in his doings; and he was of the house of Caleb. [4]

II. Kunikos, ho, Cynic, as the followers of the philosopher Antisthenes were called, from the gymnasium ( [Kunosarges] ) where he taught, D.L.6.13; or from their resemblance to dogs in several respects, Diog.Cyn. ap. eund.6.60, Metrod.16, Polystr.p.20 W., Elias in Cat.111.2, etc.; Kratêti tôi k. Men.117 ; k. hairesis, askêsis, philosophia, Ph.1.352, J.AJ6.13.6, Jul.Or.6.187a; parrêsia k. Plu.2.69c ; to k. tês parrêsias Id.Brut. 34 . Adv. Comp. -ôteron Id.2.601e.

Thêriakos , ê, on, ( [thêrion] ) concerning venomous beasts, pharmaka
 Pharmak-euô , administer a drug or medicine, Pl.R.459c, Ti.89d.

2. use enchantments, practise sorcery, pharmakeusantes tauta es ton potamon having used this charm upon the river, Hdt.7.114.

Aoidos [a^], ho, ( [aeidô] ) singer, minstrel, bard, Il.24.720, Od.3.270, al., Hes.Th.95, Op.26, Sapph.92, etc.; a. anêr Od.3.267 ; theios a. 4.17 , 8.87, al.; tou aristou anthrôpôn a. Hdt.1.24 ; polla pseudontai a. Arist.Metaph.983a4 : c.gen., goôn, chrêsmôn aoidos, E.HF110, Heracl. 403; pratos a., of the cock, Theoc.18.56.

2. fem., songstress, poluïdris a. Id.15.97 ; of the nightingale, Hes.Op.208; of the Sphinx, S.OT36, E.Ph.1507 (lyr.); aoidos Mousa Id.Rh.386 (lyr.).3. enchanter

Therion to (in form Dim. of thêr), wild animal, esp. of such as are hunted, mala gar mega thêrion êen, of a stag, Od.10.171, 180 (never in Il.); in Trag. only in Satyric drama, Typhon, the Satyrs,

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

Mousi^kos ,  musical, agônes m. kai gumnikoi; choroi te kai agônes m. Pl.Lg.828c ; ta mousika music, X.Cyr.1.6.38, Sammelb. 6319.54 (Ptol.), SIG578.18 (Teos, ii B. C.). Adv. -kôs Pl.Alc.1.108d , etc.; cf. foreg.

II. of persons, skilled in music, musical, X.l.c., etc.; poiêtikoi kai m. andres Pl.Lg.802b ; kuknos kai alla zôia m. Id.R.620a ; peri aulous -ôtatoi Ath.4.176e ; lyric poet, opp. epic, Pl.Phdr.243a (but opp. melopoios, Phld.Mus.p.96 K.); m., hoi, professional musicians, OGI383.162 (Commagene, i B. C.), PFlor.74.6 (ii A. D.); mousikos kai melôn poêtês SIG662.6 (Delos, ii B. C.).

IV. Astron., the constellation Lupus, Eudox. ap. Hipparch. 1.2.20, Vett. Val.6.13. 

If you look at the phrase the BEAST as Rhea (Eve, Zoe) is the person who introduces a NEW STYLE OF MUSICAL WORSHIP which is devoted to pleasure

A. mousikos
B. aei always
C. kainos , esp. of new dramas, the representation of the new tragedies,  (Aphrodisias dedicated to Aphrodite (ZOE); comedy, sexual love, pleasure, a woman's form of oath, Aster or Venus or ZOE.
Therion
D. Tikto mostly of the mother 
E. of Rhea one of the zoogonic or vivific principles

10.[909b] or open to bribes, despise men, charming the souls of many of the living, and claiming that they charm the souls of the dead, and promising to persuade the gods by bewitching them, as it were, with sacrifices, prayers and incantations,1 and who try thus to wreck utterly not only individuals, but whole families [Oikia household] and States for the sake of money,--if any of these men be pronounced guilty, the court shall order him to be imprisoned according to law in the mid-country jail,

Nah. 3:4 Because of the multitude of the whoredoms of the wellfavoured harlot, the mistress of witchcrafts, that selleth nations through her whoredoms, and families through her witchcrafts. 

The Latin maleficia is maleficium 1. Fraud, deception, adulteration 4 A hired mourner: The "præficæ" were the women who chanted the "nænia" .

Praeficae Women who were hired to act as mourners at Roman funerals (Plaut. Truc.ii. 6 Truc., 14). They went before the corpse, with their heads bared, their locks disheveled, uttering cries of lamentation and chanting dirges (neniae) mournful songs, a magical song, incantation, (Canticum)  

Marsia A people in Latium, on theLacus Fucinus, celebrated as wizards and snake-charmers., augur, incantantations 



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