II.
metaph., bruise, mortify,
1 Ep.Cor.9.27;
also, annoy greatly, wear out, tina
Ev.Luc.18.5,
cf. Plu.2.921f (corr.
Turnebus for hupopiezō).
John Mark Hicks Anathema and Musical Worship
Persons Dedicated to God to Adorn Worship cannot be redeemed and must be burned
And he said, Amos, what seest thou? And I said, A basket of summer fruit. [Catamites]
Then said the Lord unto me,
The end is come upon my people of Israel;
I will not again pass by them any more. Amos 8:2.
Amos 8:3 And the SONGS of the temple shall be HOWLING in that day,
saith the Lord GOD: there shall be many dead bodies in every place;
they shall cast them forth with silencestrīdeo “serpentum Cerberus ore Stridet, gnash, Juv. 5, 160. C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,”A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite:
“barbaraque horribili stridebat tibia cantu,” Cat. 64, 264:
Cat. 64, 264
These girt necks and waists with writhing bodies of vipers,
Those with the gear enwombed in crates dark orgies ordained— [wrath when elders lose control]
Orgies that ears profane must vainly lust for o'er hearing—
Others with palms on high smote hurried strokes on the cymbal,
Or from the polisht brass woke thin-toned tinkling music,
While from the many there boomed and blared hoarse blast of the horn-trump,
And with its horrid skirl loud shrilled the barbarous bag-pipe
H7788. שׁוּר shuwr, shoor; a primitive root; properly, to turn, i.e. travel about (as a harlot or a merchant):—go, singular See also 7891.
1Sam. 18:6 And it came to pass as they came, when David was returned from the slaughter of the Philistine, that the women came out of all cities of Israel, singing and dancing, to meet king Saul, with tabrets, with joy, and with instruments of musick
1Sam. 18:9 And Saul eyed David from that day and forward.
HOLY SCRIPTURE AND HISTORICAL SCHOLARS PROVIDES ANY FUNDING FOR PARASITES WHO HOLD RELIGIOUS OBSERVATIONS.
Amos 8:4Hear this, O ye that swallow up the needy, even to make the poor of the land to fail,
Having cut themselves off from all sacred knowledge, they could never know that God and a Greek schooboy understood that HERMENEUTICS means that DEMONS are the 'spirits' they hear
THE “ETHICS” AND THE “METAPHYSICS” OF MUSIC
Music acts upon human beings, on their nervous systems and their vital processes: in 1849 Liszt wrote a song, “Die Macht der Musik” to a text by the Duchess Hele`ne d’Or le ́ans:MUSIC paying tribute to its own capacities.
This power— which poems and colors possess occasionally and indirectly— is in the case of MUSIC particularly immediate, drastic, and indiscreet: “it penetrates to the center of the soul,” Plato says, “and gains P0SSESSION of the soul in the most energetic fashion,” ...Music
Schopenhauer, on this point, echoes Plato.
By means of massive irruptions, [overtones]
MUSIC takes up residence in our intimate self
and seemingly elects to make its home there.
The man inhabited and possessed by this intruder,
the man ROBBED of a self, is no longer himself:
he has become nothing more than a vibrating string, a sounding pipe.
He trembles madly under the bow or the fingers of the instrumentalist;
and just as APOLLON fills the Pythia’s lungs,
so the organ’s powerful voice
and the harp’s gentle accents take possession of the listener.
This process, at once IRRATIONAL and SHAMFUL, takes place on the margins of truth,
and thus borders more on magic than on empirical science.Something that wants to persuade us with singing,
rather than convince us with reason,
implements an art of pleasing that addresses the passions,
that is, one that subjugates in suggesting and that enslaves the listener
through the fraudulent and charlatan power of melody,
weakens him through harmonic glamour or the fascinations of rhythm.
To accomplish this, the process does not tap the logistical or governing aspects of the mind
If mathematical discourse is thinking that wishes to make itself comprehensible
but rather engages the mind’s entire psychosomatic element.
to other thought by becoming transparent to it,
a harmonic modulation is an act that expects to influence a being;
and by “influence” one must also understand a clandestine causality,
just as in astrology or sorcery: illegal maneuvers, black arts.
The magical induction becomes a seduction and thus trickery,
A woman who persuades solely by means of her presence and its perfumes,
and an ADULT refuses to be captivated,
resisting the beliefs suggested to him by the auletic. [piper?]
that is, by the magical exhalations of her being,
the night that envelops us, MUSIC, which secures our allegiance
solely through the Charm engendered by a TRILL or an ARPEGGIO,
will therefore be the object of a deep suspicion.
Being BEWITCHED is not worthy of a rational person.
Just as a MASCULINE
Will insists that its decisions are made on concrete grounds—
and will never admit a preference founded in emotion—
so MASCULINE Reason will never admit itself prone to seduction.
What is science for if not to sustain us against the intoxications of night
and the TEMPTATIONS exercised by the ENCHANTRESS appearance?
Shawn.Frazier.Musical.Praise.Minister.html
Music, the sonorous phantasm, is the most futile of mere appearances,
and appearance, which with neither the force to probe
nor any intelligible determinism
is nonetheless able to persuade the DAZZLED fool,
is in some way the objectification of our weakness.
A man who has sobered up, a demystified man,
does not forgive himself for having once been
The dupe of misleading powers; a man who is abstaining,
having awakened from his nocturnal exhilaration,
BLUSHES [demons can't blush] for having given in to dark causality.
Once morning has returned,
he disowns the pleasurable arts themselves,
along with his own skills of pleasing.
Strong and serious minds, prosaic and positive minds:
maybe their prejudice with regard to MUSIC comes from sobering up.
In the presence of the SCABROUS power un leashed by MUSIC,
a number of attitudes are possible.
We can distinguish three: the right of use and enjoyment, passionate resentment, and refusal pure and simple.
Elders.North.Boulevard.Church.Approve.Instrumental.Worship
The PATTERN after the Instrumental-Trinitarian-Perverted Play (instrumenta-sexual-homosexual) at Mount Sinai.
Acts 15:21 For Moses of old time
hath in every city them that PREACH him,
being READ in the synagogues [church] every sabbath day. [once each week]
This Holy Convocation was held on FIRST and EIGHTH days of festiovals..
The PATTERN COMMANDEDof God:
Matt. 23:34 Wherefore, behold,
I send unto you prophets, and wise men, and SCRIBES:
and some of them ye shall kill and crucify;
and some of them shall ye scourge in your synagogues,
and persecute them from city to city:
Luke 11:49 Therefore also said the wisdom of God,
I will send them prophets and APOSTLES,
and some of them they shall slay and persecute:
The PATTERN of Jesus:
Luke 4:16 And he came to Nazareth,
where he had been brought up:
[educated: he was 30 years old before He was sactified and sent]
and, as his custom was, [singular pattern]
he went into the synagogue on the sabbath day,
and stood up for to READ.
The COMMAND of Jesus
John 8:28 Then said Jesus unto them,
When ye have lifted up the Son of man,
then shall ye know that I am he,
and that I do nothing of myself;
but as my Father hath taught me, [The only meaning of SPIRIT as WORD John 6:620
I speak these things.
John 8:29 And he that sent me is with me: t
he Father hath not left me alone;
for I do always those things that please him.
John 8:31 Then said Jesus to those Jews which believed on him,
IF ye continue in my word,
THEN are ye my disciples indeed;
[Word, Logos, God's Regulative Principle. Outlaws rhetoric, music, scenic hinderence]
The PATTERN of Paul in the synagogues
Acts 13:15 And after the READING of the law and the prophets
the rulers of the synagogue sent unto them, saying,
Ye men and brethren, if ye have any word of exhortation [COMFORT] for the people, say on.The PATTERN commanded for the Church as A FREE School of Christ-Only]
Eph. 2:20 And are built upon
the foundation of the APOSTLES and PROPHETS,
Jesus Christ himself
being the chief [HEAD teacher when elders teach that which has been taught]
corner stone; [The Angle of the temple, outside the gate, silent and secret]
The PATTERN of Peter with warnings of those who "go beyond that which is written."
2Pet. 3:1 This second epistle, beloved, I now WRITE [as Scribe] unto you; i
inn both which I stir up your pure minds by way of remembrance:
2Pet. 3:2 That ye may be mindful of the WORDS
which were spoken before by the holy PROPHETS,
and of the commandment of us the APOSTLES of the Lord and Saviour:
2Pet. 3:3 Knowing this first, that there shall come in the LAST DAYS SCOFFERS
walking after their own lusts,
LUST: 1939. epithumia, ep-ee-thoo-mee´-ah; from 1937; a longing (especially for what is forbidden): concupiscence, desire, lust (after)
prospaizô , A. -paixomaiApp.BC4.118 : aor. prosepaisaPl. Euthd.283b , Alciphr.3.65; also prosepaixa ib.5, Plu.Caes.63:--play or sport with, tiniX.Mem.3.1.4, Pl.Euthd.278b; of a partridge, Porph.Abst.3.4: metaph., prospaizousatoisômoiskomê playing over, Poll.2.25.
2. abs., SPORT, JEST, jest, p. enlogoisPl.Phdr.262d , cf. Lg. 653e, 804b; opp. spoudazein, Id.Euthd.283b.
II. c. acc., theous p. sing to the gods, sing in their praise or honour, , Pl.Epin.980b: : c. dupl. acc., humnonprosepaisamen . . ton . . Erôtasang a hymn in praise ofEros, Id.Phdr.265c.
2.banter, tousrhêtorasId.Mx.235c , cf. Euthd.285a; p. tonkuna, tonarkton, tantalize, Luc.Dom.24, Ael.NA4.45.
THE PATTERN OF JUSTIN MARTYR AND OTHERS ON WEEKLY WORSHIP.
Justin Martyr Chapter LXVII.-Weekly Worship of the Christians.
"And we afterwards continually remind each other of these things. And the wealthy among us help the needy; and we always keep together; and for all things wherewith we are supplied, we bless the Maker of all through His Son Jesus Christ, and through the Holy Ghost.
JUSTIN: And on the day called Sunday, all who live in cities or in the country gather together to one place,
and the memoirs of the APOSTLES or the writings of PROPHETS the are READ, as long as time permits;
then, when the reader has ceased,
the president verbally instructs,
and EXHORTS to the imitation of these good things.
Luke 4:16 And he came to Nazareth, where he had been brought up: and, as his custom was, he went into the synagogue on the sabbath day, and stood up for to read.
Acts 13:15 And after the
READING of the law and the prophets
the rulers of the synagogue sent unto them, saying,
Ye men and brethren, if ye have any word of EXHORTATION
for the people, say on.
\AND IN THE CHURCH: GOD NEEDS NO HELPERS.
Eph. 2:20 And are built upon [Educated in the Ekklesia]
the foundation of the APOSTLES and PROPHETS, Jesus Christ himself being the chief corner stone;
Acts 15:21 For Moses of old time hath
In every city them that PREACH him,
being READ in the synagogues every sabbath day.
SABBATH MEANS REST: QUARANTINED FROM JERUSALEM
`Acts 13:27 For they that dwell at Jerusalem, and their RULERS,
because they knew him not,
nor yet the VOICES of the PROPHETS
which are READ every sabbath day,
they have fulfilled them in condemning him
Acts.17.25.God.Not.Worshipped.Mens.Hands.html
Acts 17:25 Neither is WORSHIPPED with MEN'S HANDS hands, as though he NEEDED any thing, seeing he giveth to all life, and breath, and all things;
g2323. THERAPEUO, ther-ap-yoo´-o; from the same as 2324; to wait upon menially, i.e. (figuratively) to adore (God), or (specially) to relieve (of disease): — cure, heal, worship.HOWEVER, the LATIN unknown to Theologians defines PROGRESSIVE WORSHIP
Rev. 13:11 And I beheld another BEAST coming up out of the EARTH;
and he had two horns like a lamb, and he spake as a DRAGON.
Rev. 13:12 And he exerciseth all the power of the first beast before him,
and causeth the EARTH and them which dwell therein
to WORSHIP the first beast, whose deadly wound was healed.
Thera^p-euōThere is no Scripture defining WORSHIP as preaching, listening, playing an instrument, acting or PAY FOR PLAY.
II. do service to the gods, athanatous, theous th., Hes.Op.135, Hdt.2.37, X.Mem.1.4.13, etc.; “daimona” Pi.P.3.109; Dionuson, Mousas, E.Ba.82 (lyr.), IT1105(lyr.); th. Phoibou naous serve them, Id.Ion111 (anap.): abs., worship, Lys.6.51; do service or honour to one's parents, E.Ion183 (lyr.), Pl.R.467a, Men.91a; serve, wait upon a master, Id.Euthphr.13d, cf. Ar.Eq.59, 1261, etc.; th. tas thēkas reverence men's graves, Pl.R.469a.
GREEKAPOLLYON- Phoebus , i, m., = Phoibos (the radiant), I. a poetical appellation of Apollon as the god of light: “quae mihi Phoebus Apollon, Val. Fl. 1, 228: “Circe,” [CHURCH AS WORSHIP CENTER] daughter of Sol, Petr. 135.—
ăd-ōro With acc.: “Auctoremque viae Phoebum taciturnus adorat,” Ov. M. 3, 18: “Janus adorandus,” id. F. 3, 881: “in delubra non nisi adoraturus intras,” Plin. Pan. 52: “large deos adorare,” Plin. 12, 14, 32, § 62: “nil praeter nubes et caeli numen adorat,” Juv. 14, 97: “adorare crocodilon,” id. 15, 2
auctor (incorrectly written autor or author )B. Phoe-bēus , a, um, adj., Phœbean, Apollinean: “carmina,” Lucr. 2, 504: “lampas,” the sun, Verg. A. 4, 6: “virgo,” Daphne, Ov. P. 2, 2, 82: “laurus,” id. Tr. 4, 2, 51: “Rhodos,” where the worship of Apollo prevailed, id. M. 7, 365: “lyra,” id. H. 16, 180: “sortes,” oracle, id. M. 3, 130: “tripodes,” id. A. A. 3, 789: “Phoebeā morbos pellere arte,” id. F. 3, 827.—
Female Worship Leader: C. Phoebas , ădis, f., a priestess of Apollo; hence the inspired one, the prophetess, Ov. Am. 2, 8, 12; id. Tr. 2, 400; Luc. 5, 128; 165.
WORSHIP by a "LAMB" produces Falling on your Face in Reverence and Godly Fear.
Scripture connects instrumental tones to REJECTING the Word or Regulative Principle.
Scripture connects instrumental tones as the MARK of one consigned to BURNING.
Rick Atchley claims that "A" holy spirit person ordered him to contradict and blaspheme adding Instrumental Mocking.
The only PERSONIFIED SPIRITUS is that of Apollyon, Abaddon.
Apollyon is the Beast, 666 and the leader of the Locusts or his prostitute musical worship team. Any personal display of RELIGIONISM is always marked by Lusted After Fruits.
Amos 8:2 And he said, Amos, what seest thou? And I said, A basket of summer fruit. Then said the LORD unto me, The end is come upon my people of Israel; I will not again pass by them any more.Worship.Androgyny.The.Pagan.Sexual.Ideal.html
g3619. klub, kel-oob´; from the same as 3611; a bird-trap (as furnished with a clap-stick or treadle to spring it); hence, a basket (as resembling a wicker cage):—basket, cage.
g3611 keleb, keh´-leb; from an unused root means. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute:—dog.
44 Phallism in
cording to Plutarch, a basket of figs formed one of the
chief objects carried in the procession in honor of Bacchus;
and the sacred phallus itself appears to have been
made of the wood of the fig-tree, as was also the statue
of the phallic god Priapus.*
THE CODED MESSAGE OF THE NEW WINESKINS
DICAEOPOLIS
Xanthias, walk behind the basket-bearer and hold the phallus well erect; I will follow, singing the Phallic hymn; thou, wife, look on from the top of the terrace.4 Forward
Aristoph. Ach. 263
DICAEOPOLIS
Still it is the day of assembly [Ekklesia]; all should be here at daybreak, and yet the Pnyx is still deserted. They are gossiping in the marketplace, slipping hither and thither to avoid the vermilioned rope [the PSALLO PUNISHMENT]...Therefore I have come to the assembly fully prepared to bawl, interrupt and abuse the speakers, if they talk of anything but peace. But here come the Prytanes, and high time too, for it is midday! As I foretold, hah! is it not so? They are pushing and fighting for the front seats.
Oh! by Bacchus! what a bouquet! It has the aroma of nectar and ambrosia; this does not say to us, "Provision yourselves for three days." But it lisps the gentle numbers, "Go whither you will." I accept it, ratify it, drink it at one draught and consign the Acharnians to limbo. Freed from the war and its ills, I shall keep the Dionysia in the country.
DICAEOPOLIS
Xanthias, walk behind the basket-bearer and hold the phallus well erect; I will follow, singing the Phallic hymn; thou, wife, look on from the top of the terrace. Forward![263] Oh, Phales, companion of the ORGIES of Bacchus, night reveller, god of adultery, friend of young men, these past six years I have not been able to invoke thee.
1 The god of generation, worshipped in the form of a phallus.
Orgies or Paul's WRATH only when both Male and Female are quiet and sedentaryMusic and Jesting is the MARK of Anathema. In Amos 8 and Revelation the "fruits" as priests is called sorcery and they WILL BE or ARE BEING Cast alive into the Lake of Fire. And their PRESUMPTION of enhancing worship is proof that they are ANATHEMATIZED and CANNOT BE REDEEMED.
1Cor. 9:25 And every man that striveth for the mastery is temperate in all things.
Now they do it to obtain a corruptible crown; but we an incorruptible.
1Cor. 9:26 I therefore so run, not as uncertainly;
so fight I, not as one that BEATETH THE AIR.
1Cor. 9:27 But I KEEP under my BODY, and SUBJECTION bring it into :
lest that by any means, when I have preached to others,
I myself should be a castaway.
Hupōpi-azō , A. strike one under the eye, give him a black eye:—Pass., have a black eye, “hupōpiasmenai” Ar.Pax541, cf. Arist.Rh.1413a20, D.L.6.89.ANATHEMA or BEYOND REDEMPTION happened at Mount Sinai when the nobility refused to REST from all "worship" in Instrumental-Trinitarian-Perrverted "play".Doula^gōg-eō , A. make a slave, treat as such, dub. in D.S.12.24, cf. Arr.Epict.3.24.76.2. metaph. of pleasure, etc., “d. tous bious” Longin.44.6, cf. Charito2.7; to sōma bring it into subjection, 1 Ep.Cor.9.27.
g96. Adokimos, ad-ok´-ee-mos; from 1 (as a negative particle) and 1384; unapproved, i.e. rejected; by implication, worthless (literally or morally): — castaway, rejected, reprobate. disreputable unsatisfactory, unconvincing
Heb. 6:5 And have tasted the good WORD of God, and the powers of the world to come,
Heb. 6:6 If they shall fall away, to renew them again unto repentance;
seeing they crucify to themselves the Son of God afresh, and put him to an open shame.
Heb. 6:7 For the earth which drinketh in the rain that cometh oft upon it,
and bringeth forth herbs meet for them by whom it is dressed, receiveth blessing from God:
Heb. 6:8 But that which beareth thorns and briers is rejected,
and is nigh unto cursing; whose end is to be burned.
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,
Proof of Anathema 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
Proof of Anathema Pathos A. that which happens to a person or thing, incident, accident, Moralizing Rhetoric
Proof of Anathema 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,
Prose, Proof of Anathema -poiêsis, Id.R.390a;
Proof of Anathema -poiêtikê, D.H.Comp.6;
Proof of Anathema poiêmata, onomatopoeic word
Proof of Anathema 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,
Theologians are doomed to call God a liar or INCOMPETENT. If God had wanted any kind of music in the tuneful sense He was INTELLIGIBLE But denied by C. Leonard Allen.
mousikos kai melōn poētēs” 2. generally, votary of the Muses, The Muses were the LOCUSTS unleashed with Apollon their "musical worship leaders." The Greek and Latin literature identifies them as dirty adulteresses
http://www.pineycom.com/DocHesTheog.html
[25] the Muses of Olympus, daughters of Zeus who holds the aegis: “Shepherds of the wilderness,
wretched things of shame, mere bellies,
we know how to speak many false things as though they were true;
but we know, when we will, to utter true things.”
...and they bade me sing of the race of the blessed gods that are eternally,
but ever to sing of themselves both first and last.
pharma^kon 3. enchanted potion, philtre: hence, charm, spell, Od.4.220 sq., Ar.Pl.302, [Circe, Church, Corinth mother of harlots] Theoc.2.15
The singers [Muses], instrument players and craftsmen as sorcerers in Revelation 18.
adokim-os , on, A not legal tender, not current, of coin, Pl.Lg.742a; not approved, of horses, Arist.Ath.49.1.3. disreputable, “lakismat' adokim' olbiois ekhein” E.Tr.497; “mousa” Pl.Lg.829d, cf. D. 25.36,Ep.Rom.1.28. Adv. “-mōs” Poll.5.160.
Mousa A.“Olumpiades M., Dios aigiokhoio thugateres [Daughters whatever the sex]
kanakhan . . theias antiluron mousas” S.Tr.643 (lyr.); “Aiakō moisan pherein” Pi.N.3.28; tis hēde mousa;
“apaideuton tōn peri tas numphikas m.” Pl.Lg.775b
Pl.Lg.775b He that obeys the law should be praised by all; but he that disobeys the Law-wardens shall punish as a man of poor taste and ill-trained in the “nomes”1 of the nuptial Muses. Drinking to excess is a practice that is nowhere seemly2—save only at the feasts of the God, the Giver of wine,—GOOGLE Providence Road Worship Handbook.
Hypocrites pick the pocket of "worship audience" by making long prayers or HYMNS.
Plat. Laws 700b one class of song was that of prayers to the gods, which bore the name of “hymns”; contrasted with this was another class, best called “dirges”; “paeans” formed another; and yet another was the “dithyramb,” named, I fancy, after Dionysus. “Nomes” also were so called as being a distinct class of song; and these were further described as “citharoedic nomes.”1 So these and other kinds being classified and fixed, it was forbidden to set one kind of words to a different class of tune.2
1 i.e., solemn chants sung to the “cithara” or lyre. “Dithyrambs” were choral odes to Dionysus; “paeans” were mostly hymns of praise to Apollo.
http://pineycom.com/Jay.Guin.1.Corinthians.10.5.Falling.Away.html.html
1Cor. 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.
paizō , 2. esp. dance, “paisate” Od.8.251; “dōma peristenakhizeto possin andrōn paizontōn” 23.147, cf. Hes.Sc.277; “p. te kai khoreuein” Ar.Ra.409, cf. 390; “enoplia khalkōtheis epaizen” Pi.O.13.86:—Pass., alla pepaistai metriōs hēmin, of the chorus, Ar. Th.1227.
See Jay Guin's use of the PATTERN in dancing in worship.
Their rising up AGAINST god and dancing included:
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.They worshipped the Stary Host and that is why God turned them over to worship the HOST of heaven including Abaddon or Apollon leader of the MUSES.
5. play amorously, “pros allēlous” X.Smp.9.2; “meta tinos” LXX Ge.26.8; of mares, Arist.HA572a30
1Cor. 16:22 If any man love not the Lord Jesus Christ, let him be Anathema Maranatha.
1John 2:1 My little children, these things write I unto you, that ye sin not.
And if any man sin, we have an advocate [Paraclete] with the Father, Jesus Christ the righteous:
Jesus is in the STATE of Holy Spirit. He is the only Comforter. If you say that A spirit is causing you too cast yourself into the fires, his name is Apollyon, beast, 666, leader of the Locusts or His musical worship team know as dirty adulteresses not made SHEPHERDESSES.
1John 2:2 And he is the propitiation for our sins: and not for ours only, but also for the sins of the whole world.
1John 2:3 And hereby we do know that we know him, if we keep his commandments.
1John 2:4 He that saith, I know him, and keepeth not his commandments, is a liar, and the truth is not in him.
1John 2:5 But whoso keepeth his word, in him verily is the love of God perfected: hereby know we that we are in him.
1John 2:6 He that saith he abideth in him ought himself also so to walk, even as he walked.
The BEAST is "A new style of music and Satyric (perverse) Drama.
Anathema is anything so sacrificed or devoted to the Lord and could not be redeemed (Num. 18:14; Lev. 27:28, 29); and hence the idea of exterminating was connected with the word. The Hebrew verb (haram) is frequently used of the extermination of idolatrous nations.
Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a PIPE, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX
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
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?
and the Lord shall make his glorious voice to be heard and the wrath of his arm, to make a display with wrath and anger and devouring FLAME: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX
For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX
And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with DRUM and with HARP. Isaiah 30:32 LXX
For thou shalt be required before thy time: has it been prepared for thee also to reign? nay, God has prepared for thee a deep trench, wood piled fire and much wood: the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX
-Anathêma , /, (anatithēmi) A. that which is set up: hence, like agalma, votive offering set up in a temple, Hdt.1.14,92, S.Ant.286, “a. ek leitourgiōn” Lys.26.4. agalma, delight, ornament, “molpē t' orkhēstusanathēmata daitos” Od.1.152, cf. 21.430, tois tekousin anathēma biotou, of children,
Leitourg-ia III. public service of the gods, “hai pros tous theous l.” Arist.Pol.1330a13; “hai tōn theōn therapeiai kai l.” D.S.1.21, cf. UPZ17.17 (ii B.C.), PTeb.302.30 (i A.D.), etc.; the service or ministry of priests, LXX Nu.8.25, Ev.Luc.1.23.
Lys. 26 4 But I find no difficulty in countering those statements. As regards the public services, I say that his father would have done better not to perform them than to spend so much of his substance: for it was on account of this that he won the confidence of the people and overthrew the democracy; and so our memory of these deeds must be more abiding than of the offerings he has set up1 in record of those services.1 In the temples at Athens, Delphi, etc.
Rom. 9:3 For I could wish that myself were accursed from Christ for my brethren,
my kinsmen according to the flesh:
Gal. 1:8 But though we, or an angel from heaven,
preach any other gospel unto you
than that which we have preached unto you, let him be accursed.
1Kings 20:42 And he said unto him, Thus saith the LORD, Because thou hast let go out of thy hand a man whom I appointed to utter destruction, therefore thy life shall go for his life, and thy people for his people.
- Jesus preached the gospel OF the kingdom as prophesied inclusively and exclusively in the prophets.
- That kingdom does not come with observation meaning religious observations which destroy the REST as SCHOOL of the Word or Regulative principle.
- The Spirit OF Christ defined the future REST in His Church, House or School both inclusively and exclusively.
- A Church of Christ is built upon or Educated by the Apostles and Prophets who left us a MEMORY.
- Those who claim the honor and hire of ADORNING a religious institution have confessed to being ANATHEMA:
- They cannot be redeemed and MUST be burned. Religious music and musicians are always the mark of silencing the voice of Jesus and of BURNING.
Consē^cro manubias Martis Musis,” id. Arch. 11, 27:God did not command the king, kingdom, temple or sacrificial system. Therefore, He did not command anything which went along with this national system as Isreal was "turned over to worship the starry host."
“aedem Tonanti Jovi,” [making a loud to make a thundering noise, to roar, rattle, crash, etc. (cf.: “crepo, strepo): tympana tenta tonant, in the HOUSE of Jove.
Mousa music, song, “m. stugera” A.Eu.308 (anap.); “euphamos” Id.Supp.695 (lyr.); “kanakhan . . theias antiluron [playing the Lyre] mousas” S.Tr.643 (lyr.); “Aiakō moisan pherein” [A Laded Burden] Pi.N.3.28; tis hēde mousa; what strain is this ? E.Ion757; “aluros m.” The NYMPHS or BRIDES in Revelation 18
Pind. N. 3 Queenly Muse, our mother! I entreat you, come in the sacred month of Nemea to the much-visited Dorian island of Aegina. For beside the waters of the Asopus young men are waiting, craftsmen of honey-voiced [5] victory-songs, seeking your voice.
Anathema is often pronounced on those who will not participate in any of the ceremonial legalism patterned after the Monarchy period. However, the word anathema is pronounced on anyone who presumes that they or their talent is required for God to carry out His Will. Anathema was often the religious performers attached to national sacrificial systems.
Prophetic of the sacrificial system which is the pattern in part for most religious institutions, Jacob warned:
Genesis 49:5 Simeon and Levi are brethren; instruments of cruelty are in their habitations.When Israel rose up in musical idolatry at Mount Sinai God turned them over to worship the starry host (Acts 7 etal). When the elders fired God and demanded a king like the nations God knew that they wanted to worship like the nations. However, this caused God to carry out their captivity and death sentence "beyond Babylon."
Genesis 49:6 O my soul, come not thou into their secret; unto their assembly,
mine honour, be not thou united:
for in their anger they slew a man,
and in their selfwill they digged down a wall.
Genesis 49:7 Cursed be their anger, for it was fierce; and their wrath, for it was cruel:
I will divide them in Jacob, and scatter them in Israel.
Genesis 49:8 Judah, thou art he whom thy brethren shall praise:
thy hand shall be in the neck of thine enemies; thy father’s children shall bow down before thee.
Genesis 49:9 Judah is a lion’s whelp: from the prey, my son, thou art gone up:
he stooped down, he couched as a lion, and as an old lion; who shall rouse him up?
Genesis 49:10 The sceptre shall not depart from Judah, nor a lawgiver from between his feet,
until Shiloh come; and unto him shall the gathering of the people be.
Genesis 49:11 Binding his foal unto the vine, and his ass’s colt unto the choice vine;
he washed his garments in wine, and his clothes in the blood of grapes:
Genesis 49:12 His eyes shall be red with wine, and his teeth white with milk.
The WILL of Jesus Christ was the will of Father, Son and Spirit. If you deny the need for OBEDIENCE then you deny that God HAS a will. That allows only self-will
Gal. 1:1 Paul, an apostle, (not of men, neither by man,
but by Jesus Christ, and God the Father, who raised him from the dead;)
Gal. 1:2 And all the brethren which are with me, unto the churches of Galatia:
John marks as Anti-Christ those who do not believe what all of the Bible teaches:
Acts 2:34 For David is not ascended into the heavens:Gal. 1:3 Grace be to you and peace
but he saith himself, The LORD said unto my Lord,
Sit thou on my right hand,
Acts 2:35 Until I make thy foes thy footstool.
Acts 2:36 Therefore let all the house of Israel know assuredly,
that God hath made that same Jesus, whom ye have crucified,
both Lord and Christ.
1Timothy 2:3 For this is good and acceptable in the sight of God our Saviour;
1Timothy 2:4 Who will have all men to be saved, and to come unto the knowledge of the truth.
1Timothy 2:5 For
there is one God,
and one mediator between God and men,
the man Christ Jesus;
1Timothy 2:6 Who gave himself a ransom for all, to be testified in due time.
1Timothy 2:7 Whereunto I am ordained a preacher, and an apostle, (I speak the truth in Christ, and lie not;) a teacher of the Gentiles in faith and verity.
from God the Father,
and from our Lord Jesus Christ,
Gal. 1:4 Who gave himself for our sins,
that he might deliver us from this present evil world,
according to the will of God and our Father:
Jesus will not pray for the World: that is Cosmos or Kosmos and speaks to the people who connect music to the worship of the physical world which needs adorning.
Throughout the Bible musical instruments are the MARK that God has removed His grace: the speakers, singers and instrument players in Revelation 18 are called sorcerers: Anathema meaning to be predestinated to the Lake of fire.
Gal. 1:3 Grace be to you and peace
from God the Father,
and from our Lord Jesus Christ,
Gal. 1:4 Who gave himself for our sins,
that he might deliver us from this present evil world,
according to the will of God and our Father:
Jesus will not pray for the World: that is Cosmos or Kosmos and speaks to the people who connect music to the worship of the physical world which needs adorning.
For I have given unto them the words which thou gavest me;
and they have received them,
and have known surely that I came out from thee,
and they have believed that thou didst send me. John 17:8Then Paul and Barnabas waxed bold, and said, It was necessary that the word of God should first have been spoken to you: but seeing ye put it from you, and judge yourselves unworthy of everlasting life, lo, we turn to the Gentiles. Ac.13:46
I pray for them: I pray not for the world, but for them which thou hast given me; for they are thine. John 17:9
WHO ARE THOSE "OF THE WORLD?"Neither pray I for these alone, but for them also which shall believe on ME through THEIR WORD; John 17:20
Titus 2:11 For the grace of God that bringeth salvation hath appeared to all men,
Titus 2:12 Teaching us that,
denying ungodliness and WORLDY lusts,
we should live soberly, righteously, and godly,
in this present world;
kosmos , metaph., of ornaments of speech, such as epithets, Id.9.9 (pl.), Arist.Rh.1408a14, Po.1457b2, 1458a33; hadumelē k. keladeinpraise, Pi.O.11 (10).13 (s.v.l.).WE DO NOT DO BATTLE WITH THE KOSMOKRATOR WITH THE DEVIL'S WEAPONS.
Kosmo-krator epith. of ouranos, Orph.H.4.3; “Zeus Mitras Hēlios k. Dam.Pr.131; hoi k. tou skotous toutou the cosmic rulers of this sinful world, Ep.Eph.6.12; “hoi k. hoi ta hupo selēnēn stoikheia dioikountes”Pind. O. 11 My tongue wants to foster such themes; [10] but it is by the gift of a god that a man flourishes with a skillful mind, as with anything else. For the present rest assured, Hagesidamus son of Archestratus: for the sake of your boxing victory,I shall loudly sing a sweet song, an adornment for your garland of golden olive,
[15] while I honor the race of the Western Locrians.
There, Muses, join in the victory-song; I shall pledge my word to you that we will find there a race that does not repel the stranger, or is inexperienced in fine deeds, but one that is wise and warlike too.
3. Astrol., ruler of the kosmos
-Helios II. as pr. n., Helios, the sun-god, Od.8.271, etc.; nē ton Hē. Men.Sam. 108; hupo Dia Gēn Hēlion, in manumission-formula, POxy.48.6, 49.8 (i A.D.), IG9(1).412（Aetolia), IPE2.54.10(iii A.D.); [“Hēlios doulous eleutherous poiei” Artem.2.36; identified with Apollo, Carm.Pop.12, E.Fr.781.11; with Dionysus, D.Chr.31.11, etc.2. Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c, cf. D.S.2.30, Theo Sm. p.130H. (I.-E. sāwelios, cf. Cret. abelios, Lith. sáulė, Lat. sōl.）
Eph. 6:12 For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.
kosm-ikos , ē, on, (kosmos IV) s.v. Orpheus: Astrol., k. kentra (goad) skhēma to sing sweet songs ofPale (g3823) pal'-ay; from pallo, (to vibrate; another form for 906); wrestling: - / wrestle
Pallo like PSALLO and several other words from which people make SPEAKING into MAKING MUSIC are all primarily words of MAKING WAR or polluting people in one way or another. THAT'S why Paul put the word IN THE HEART or spirit and NOT literally SHOOTING one another in the musical contests.
-Pallô, poise, sway a missile before it is thrown, sway, brandish, she drove it furiously, tripped on the shield-rim, quiver, leap, esp. in fear, II. Pass., swing, dash oneself, Pi.N.5.21; vibrate, of strings, Pl.Phd.94c (psalloito ap. Stob.); leap, bound, quiver, quake, phrena deimati pallôn S.OT153 (lyr.); dash along, of horses, E.El.477 (lyr.).
(Logos Speak opposite of myth, poetry, meter
Logik-os , ē, on, (logos) A. of or for speaking or speech, merē l. the organs of speech, Plu.Cor.38: logikē, hē, speech, Opposite. mousikē, D.H. Comp. 11; “l. phantasia” expressed in speech, Stoic.2.61.. genethlialogika) “epithumiai” Ep.Tit.2.12. genethlia_log-ikos , ē, on,
Logos Speak opposite of myth, poetry, meter
Logik-os , ē, on, (logos) A. of or for speaking or speech, merē l. the organs of speech, Plu.Cor.38: logikē, hē, speech, Opposite . mousikē, D.H. Comp. 11; “l. phantasia” expressed in speech, Stoic.2.61.Orpheus , eōs, o(, Dor. Orphēs Ibyc.10A, Orphēn Hdn.Gr.1.14:—A. Orpheus, Pi.P.4.177, Pl.R.364e, etc.:—Adj. Orpheios , a, on, E.Alc. 969(lyr.), Pl.Lg.829e; or Orphikos , ē, on, Hdt.2.81 ; “en tois O. epesi kaloumenois” Arist.de An.410b28.\
Epos , older wepos SIG9 (v. infr.), etc., eos, to (Skt.A. vácas 'word', 'hymn', cf. eipon):
1. song or lay accompanied by music, 8.91,17.519.
IV. in pl., epic poetry, Opposite. melē (lyric poetry), iambeia, dithuramboi, etc., “rhaptōn epeōn aoidoi” Pi.N.2.2 ; “ta Kupria epea” Hdt.2.117, cf. Th.1.3, X.Mem.1.4.3, Pl.R.379a, etc. ; “epea te poiein pros luran t' aeidein” Theoc.Ep.21.6 ; “nikēsas epos” IG3.1020 ; poētēs epōn
Skhēma 2. appearance, Opposite. the reality, ouden allo plēn . . s. a mere outside, E.Fr.25, cf. 360.27, Pl.R.365c; show, pretence, “ēn de touto . . s. politikon tou logou” Th.8.89; ; “skhēmasi kai khrōmasi mimeisthai” esp. outside show, pomp, to tēs arkhēs s. Pl.Lg.685c;
5. character, role, metabalein to s. Pl.Alc.1.135d; “panta s. poiein” Id.R.576a;
7. a figure in Dancing, Ar.V.1485: mostly in pl., figures, gestures
“skhēmata pros ton aulon orkheisthai” X.Smp.7.5; en . .
X.Smp.7.5; en . . mousikē [hēs to kitharizein kai to adein kai to embainein orthōs;] kai skhēmata . . kai melē enesti figures and tunes, Pl.Lg.655a 10. = to aidoion LXXIs.3.17.
Melos THE word for musical melody. B. esp. musical member, phrase: hence, song, strain 2. music to which a song is set, tune 3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos”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.
Epithu_m-ia lust of the EYE, lust of the EAR says Barnes of AmosTitus 2:13 Looking for that blessed hope,
A. desire, yearning, “e. ektelesai” Hdt.1.32; epithumia by passion, Opposite. pronoia, Th.6.13:
sexual desire, lust, Xen. Const. Lac. 2.13 BOY love
and the glorious appearing of the great God and our Saviour Jesus Christ;
Titus 2:14 Who gave himself for us,
that he might redeem us from all iniquity,
and purify unto himself a peculiar people,
zealous of good works.
Kosm-eō , A. order, arrange, esp. set an army in array, marshal it
onomasi kekosmēmenous” Pl.Ap.17 c; “tragikon lēron” Ar.Ra.1005; k. ergon ariston ib.1027; “to logikon ekheis exaireton, touto kosmei” Arr.Epict.3.1.26; “logon euruthmiais” Isoc.5.27; “hauton logois” Pl.La.196 b, cf. 197 c; “epi to meizon k.” Th.1.21; ton . . tēn ekeinōn aretēn kosmēsonta (in speaking) D.18.287:—Pass., “ēthos semnotēti -mēmenon”
Ruruthm-ia , h(,A. rhythmical order or movement, “kata rhuthmon euruthmian paradidonai” Pl.R.522a, cf. Prt.326b; hai peri tēn lexin eu. the measured cadences of language, Isoc.5.27; “hē kuklikē eu. tōn periodōn” D.H. Pomp.6.10.2. harmony between the orator and his hearers, Plu.2.45e.Gal. 1:5 To whom be glory for ever and ever. Amen.
Gal. 1:6 I marvel that ye are so soon removed from him
that called you into the grace of Christ unto another gospel:
Gal. 1:7 Which is not another; but there be some that trouble you,
and would pervert the gospel of Christ.
Anything which added to the promise of Jesus to remove the laded burden (songs) and the burden laders perverts the gospel of REST: the word rest forbits all commercial or entertaining performances used to create "spiritual anxiety through religious rituals."
4190. poneros, pon-ay-ros´; from a derivative of 4192; hurtful, i.e. evil (properly, in effect or influence, and thus differing from 2556, which refers rather to essential character, as well as from 4550, which indicates degeneracy from original virtue); figuratively, calamitous; also (passively) ill, i.e. diseased; but especially (morally) culpable, i.e. derelict, vicious, facinorous; neuter (singular) mischief, malice, or (plural) guilt; masculine (singular) the devil, or (plural) sinners: -- bad, evil, grievous, harm, lewd, malicious, wicked(-ness). See also 4191.
Phortos
a burden is anything imposed to be performed as the works of human hands denies that Jesus paid it all. A. make, produce, first of something material, as manufactures, works of art, epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai,Prasso III. achieve, effect, accomplish
“tina Nēreidōn p. akoitin” Id.N.5.36; humnon p. grant power of song, ib.9.3;
II. Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.
ph. erōtos, of Europa on the bull
A laded Burden is: A. poieō , A. make, produce, first of something material, as manufactures, works of art,
A laded Burden is B: To Study or practice of drama , atos, to/, (draō)3. of sacrifices, festivals, etc., celebrate, “p. hira” Hdt.9.19, cf. 2.49 ; p. sabbata observe the Sabbath, LXXEx.31.16;
4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn Hellēsi” Id.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian, tragōdian, etc., Pl.Smp.223d; “palinōdian” Isoc.10.64, Pl.Phdr.243b, etc.; “poiēmata” Id.Phd.60d: abs., write poetry, write as a poet, “orthōs p.” Hdt.3.38; “en toisi epesi p.” Id.4.16, cf. Pl.Ion534b: folld. by a quotation, “epoēsas pote . .” Ar.Th.193; “eis tina” Pl.Phd.61b; “peri theōn” Id.R.383a, etc.b. represent in poetry, “Homēron Akhillea pepoiēkenai ameinō Odusseōs” Pl.Hp.Mi.369c, cf. 364c, Smp.174b; poiēsas ton Akhillea legonta having represented Achilles saying, Plu.2.105b, cf. 25d, Pl. Grg. 525d, 525e, Arist.Po.1453b29.c. describe in verse, “theon en epesin” Pl.R.379a; epoiēsa muthous tous Aisōpou put them into verse, Id.Phd. 61b; “muthon” Lycurg.100.d. invent, “kainous theous” Pl.Euthphr.3b; hupo poiēteō tinos poiēthen tounoma] Hdt.3.115; “pepoiēmena onomata” Arist.Rh.1404b29, cf.Po.1457b2; opp. autophuē, kuria, D.H.Is.7, Pomp. 2.Pragma^t-euomai , 2. to be engaged in business, spend one's time in businessA. deed, act, opp. pathos, A.Ag.533; office, business, duty, Pl.Tht.150a, R.451c; to d. dran to go about one's business, Id.Tht.169b.
II. action represented on the stage, drama, play, Ar.Ra.920, Arist.Po.1448a28, etc.; mē en tō d. not in the action on the stage, ib.1460a31; exō tou d. ib.1453b32; “d. poiein” Ar.Ra.1021; “saturikon d.” Pl.Smp.222d (with play on 1): metaph., stage-effect of any kind, “ta eleina tauta d. eisagein” Id.Ap.35b: also, tragical event, Plb.23.10.12, Him.Ecl.1.12, etc.
A laded Burden is C. Sullog-ismos ,A. computation, calculation
2. in the Logic of Arist., a syllogism or deductive argument, defined provisionally as an argument in which, certain things being posited, something different from them necessarily follows, APr.24b18, cf. 47a34, al.; of several kinds, e.g. ho apodeiktikos s. APo.74b11; o( dialektikos s. Top.100a22; eristikos s. ib.b24; sts. opposed to epagōgē (q.v.); ho ex epagōgēs s. the syllogism which springs out of induction, APr.68b15; “to enthumēma s. tis” Rh.1355a8.
Epagōg-ē , 4. allurement, enticement, “tais elpisi kai tais e.” D.19.322. b. incantation, spell, in pl., Pl.R.364c, Lg.933d; Hekatēs phaskōn epagōgēn gegonenaispell, Thphr.Char.16.7.
7. leading away into captivity, captivity, LXX Is.14.17: generally, distress, misery,Si.23.14 (pl.of tax-gatherers demand from one as the price for a thingsaying that Hecate had put it under a ib.
A laded Burden is D. Eur. Supp. 20 so now their mothers would bury in the grave the dead, whom the spear has slain, but the victors prevent them and will not allow them to take up the corpses, holding the laws of the gods in no honor. [20] Here lies Adrastus on the ground with streaming eyes, sharing with them the burden of their prayer to me, and bemoaning the havoc of the sword and the sorry fate of the warriors whom he led from their homes. And he urges me to use entreaty to persuade my son [25] to take up the dead and help to bury them, either by winning words or force of arms, laying on my son and on Athens this task alone. Now it happened that I had left my house and come to offer sacrifice on behalf of the earth's crop [30] at this shrine, where first the fruitful corn showed its bristling shocks above the soil. And here at the holy altars of the two goddesses, Demeter and the Maiden, I wait, holding these sprays of foliage, a bond that does not bind, in compassion for [35] these childless mothers, gray with age, and in reverence for the sacred garlands. My herald has gone to the city, to call Theseus here, so that he may rid the land of that which grieves them, or loose these suppliant bonds, [40] with pious observance of the gods' will; for women should in all cases invoke the aid of men, women that are discreet.
A laded Burden is E. Aristoph. Peace 748 Chorus
The Chorus turns and faces the audience.
Undoubtedly the comic poet who [735] mounted the stage to praise himself in the parabasis would deserve to be handed over to the sticks of the beadles. Nevertheless, oh Muse, if it be right to esteem the most honest and illustrious of our comic writers at his proper value, permit our poet to say that he thinks he has deserved a glorious renown. First of all, he is the one who has compelled his rivals no longer [740] to scoff at rags or to war with lice; and as for those Heracleses, always chewing and ever hungry, he was the first to cover them with ridicule and to chase them from the stage; he has also dismissed that slave, whom one never failed to set weeping before you, [745] so that his comrade might have the chance of jeering at his stripes and might ask, “Wretch, what has happened to your hide? Has the lash rained an army of its thongs on you and laid your back waste?” After having delivered us from all these wearisome ineptitudes and these low buffooneries, he has built up for us a great art, like a palace with high towers, [750] constructed of fine phrases, great thoughts and of jokes not common on the streets. Moreover it's not obscure private persons or women that he stages in his comedies; but, bold as Heracles, it's the very greatest whom he attacks, undeterred by the fetid stink of leather or the threats of hearts of mud. He has the right to say, “I am the first ever dared to go straight for that beast with the sharp teeth [755] and the terrible eyes that flashed lambent fire like those of Cynna, surrounded by a hundred lewd flatterers, who spittle-licked him to his heart's content; it had a voice like a roaring torrent, the stench of a seal, the unwashed balls of a Lamia and the arse of a camel
A laded Burden is F. Aristoph. Pl. 771
Wife Do you refuse these gifts?
Plutus [795] I will accept them at your fireside, as custom requires. Besides, we shall thus avoid a ridiculous scene; it is not meet that the poet should throw dried figs and dainties to the spectators; it is a vulgar trick to make them laugh.
Wife [800] You are right. Look! yonder's Dexinicus, who was already getting to his feet to catch the figs as they flew past him.
A laded Burden is G Erōs , ōtos, o(, acc. erōn for : (heramai, eraō A):—love, mostly of the sexual passion, “thēlukratēs e.” A.Ch.600 (lyr.)
II. pr. n., the god of love, Anacr.65, Parm.13, E.Hipp.525 (lyr.), etc. ; “E. anikate makhan” S.Ant.781 (lyr.) : in pl., Simon.184.3, etc.III. at Nicaea, a funeral wreath, EM379.54.IV. name of the klēros Aphroditēs, Cat.Cod.Astr.1.168 ; = third klēros, Paul.Al.K.3 ; one of the topoi, Vett.Val.69.16.
“klēroi khthonos” E.Heracl.876; “tōn labontōn en Orkhomenō klaron ē oikian”
Aesch. Lib. 600 Chorus
But who can tell of man's overweening spirit, [595] and of the reckless passions of women hardened of soul, partners of the woes of mortals? Inordinate passion, overmastering the female, gains a fatal victory over the wedded unions of beasts and humans alike. [600]The Kleros of Aphrodite: hence, of oracles, E.Hipp.1057, Ph. 838; “Hermēs gar ōn klērō poiēseis oid' hoti” Ar.Pax365;
III. of the Levites, “Kurios autos klēros autou” LXX De.18.2: hence, of the Christian clergy, “en klērō katalegomenos”
khthōn , h(, gen. khthonos,
hupo khthonos, of the nether world, “Tartaron cf. A.Eu.72; hoi hupo kh. philoi, i.e. those in the shades below, Id.Ch.833
Jesus Christ died to REMOVE this burden: Click for Isaiah 28
Because ye have said, We have made a covenant with death, and with hell are we at agreement; when the overflowing scourge shall pass through, it shall not come unto us: for we have made lies our refuge, and under falsehood have we hid ourselves: Is.28:15
A vital focus of questioning was the world of the dead. The recently deceased might exert influence on the living for good or for bad. Offerings to the dead, which were required by custom, were intended, among other purposes, to make them well disposed. People occasionally deposited with their offerings a letter telling the deceased of their problems and asking for assistance. A few of these letters are complaints to the deceased person, alleging that he or she is afflicting the writer. This written communication with the dead was confined to the very few literate members of the population, but it was probably part of a more widespread oral practice. Some tombs of prominent people acquired minor cults that may have originated in frequent successful recourse to them for assistance. Britannica Online
See The Feast of Tabernacles in Jerusalem
The Marzeah in Amos 5
"The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria...
The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)
"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37).
"we recognize the same elements: the sacrifices and libation, the cultic feast in which the congregation gets a share of food and drink after it has been blessed by the king, and the merry-making, now in the form of instrumental and vocal music. But the central act of the ritual, which was performed by the king, is called literally 'drinking' the god (Gurney, O. R. Some Aspects of Hittite Religion, p. 33-34, Oxford University Press, 1977)
"The normal order of events was a meal, followed by a drinking party. Entertainment might include anything from a rhetorcian or philosopher discoursing on some topic, to musical entertainment, to sexual dalliance."
"Plutarch implicitly contrasts a serious dinner featuring a sage as the after-dinner speaker with the other sorts of dinners--where sexual play with the girl flute-players or hetairae was common." (Witherington, Ben, Why Not Idol Meat, Bible Review, June 1994, p. 41-42).
2. of authors, elaborate a work, Ar.Nu.526; of a science, work out, “ha thelei”
4. simply, write, treat, “poiētēs ōn pepragmateutai peri to hieron” IG11(4).544.5 (Delos, iii B. C.); ta pepragmateumena hup' autō his works, composilions,
Gal. 1:8 But though we, or an angel from heaven,
preach any other gospel unto you than
that which we have preached unto you,
let him be accursed.
331. anathema, an-ath´-em-ah; from 394; a (religious) ban or (concretely) excommunicated (thing or person): — accused, anathema, curse, x great.
1 Cor 16:22 If any man love not the Lord Jesus Christ, let him be Anathema Maranatha.
The Levites cursed by Jacob were abandoned to carry out the work of the "lord" in the worship of the starry host for a nation sentenced to be returned to "beyond Babylon." They were dedicated to the Lord and "had no inheritance in Israel."
-Anathêma , /, (anatithēmi) A. that which is set up: hence, like agalma, votive offering set up in a temple, Hdt.1.14,92, S.Ant.286, etc.; “a. ek leitourgiōn” Lys.26.4. 2. used by Hom. only in first sense of agalma, delight, ornament, “molpē t' orkhēstus te: ta gar t' anathēmata daitos” Od.1.152, cf. 21.430, IG14.1390; tois tekousin anathēma biotou, of children, E.Fr.518, cf. Pl.Hp.Mi.364b; to help deserving poverty is “basilikou ploutou a. kai kataskeuasma lamprotaton” D.H.19.14.
Leitourg-ia III. public service of the gods, “hai pros tous theous l.” Arist.Pol.1330a13; “hai tōn theōn therapeiai kai l.” D.S.1.21, cf. UPZ17.17 (ii B.C.), PTeb.302.30 (i A.D.), etc.; the service or ministry of priests, LXX Nu.8.25, Ev.Luc.1.23.
Lys. 26 4 But I find no difficulty in countering those statements. As regards the public services, I say that his father would have done better not to perform them than to spend so much of his substance: for it was on account of this that he won the confidence of the people and overthrew the democracy; and so our memory of these deeds must be more abiding than of the offerings he has set up1 in record of those services.
1 In the temples at Athens, Delphi, etc.
-Agalma , atos, to/, acc. to Hsch. pan eph' hō tis agalletai,
A. glory, delight, honour, Il.4.144, etc.; kephalaisin andrōn agalmata (sc. lophoi) Alc.15; khōras a., of an ode, Pi.N.3.13, cf. 8.16;
2. pleasing gift, esp. for the gods, “a. theōn” Od.8.509, of a bull adorned for sacrifice, ib.3.438; of a tripod, Hdt.5.60, al.; generally, = anathēma, IG1.37312a, etc.; “Kharēs eimi . . a. tou Apollōnos” GDI5507 (Miletus); “anthēken a.” Simon.155; so, Hekatēs a . . . kuōn, because sacred to her, E.Fr.968, = Ar.Fr.594a; a. Aida, of a tombstone, Pi.N.10.67.
-Molp-ē , h(, (melpō)
A. dance or rhythmic movement with song, Od. 6.101, Il.18.606.
2. more freq. song, 1.472; “molpēs te glukerēs kai amumonos orkhēthmoio” 13.637; “molpē t' orkhēstus te” Od.1.152, cf. Hes.Th.69, Sapph.Supp.25.5, Pi.O.10.84,6.97 (pl.), A.Ag.106 (lyr.), etc.: Com. in lyr., “molpa klagga” Mnesim.4.57 (anap.): metaph., ou m. suriggos ekhōn the note, S.Ph.212 (lyr.): also in late Prose, as Luc.Salt.23.
klagga hissing of SERPENTS, Pi.Dith.2.18 (pl.), A.Th.381 (pl.); of musical instruments, Telest.4, Mnesim.4.57 (anap.); of song, S.Tr.208 (lyr.); k. aēdoneios (leg. -onios) Nicom. Trag.1; k. dusphatos, of Cassandra's prophecies, A.Ag.1152 (lyr.); of the scream of the Harpies, A.R.2.269.
Apollo in Revelation is Abaddon or Apollyon and the muses are the Locusts in John's coded message.
-Hom. Od. 1.125 Heralds poured water over their hands, and maid-servants heaped by them bread in baskets, and youths filled the bowls brim full of drink; and they put forth their hands to the good cheer lying ready before them. [150] Now after the wooers had put from them the desire of food and drink, their hearts turned to other things, to song and to dance; for these things are the crown of a feast. And a herald put the beautiful lyre in the hands of Phemius, who sang perforce among the wooers; [155] and he struck the chords in prelude2 to his sweet lay. But Telemachus spoke to flashing-eyed Athena, holding his head close, that the others might not hear:
“Dear stranger, wilt thou be wroth with me for the word that I shall say?
These men care for things like these, the lyre and song,
[160] full easily, seeing that without atonement they devour the livelihood of another,
of a man whose white bones, it may be, rot in the rain as they lie upon the mainland, or the wave rolls them in the sea.
-Hom. Od. 21.401
A Levite musician who entered into a holy place would be sacrificed: modern musicians claim that they are dedicated to the Lord. There are several Biblical examples which prove that they will be cast alive into the lake of fire.
3. of a slave in a temple, a. poleōs devoted to this service by the city, E.Ion310.—Cf. anathema.
Any object so sacrificed or devoted to the Lord could not be redeemed (Num. 18:14; Lev. 27:28, 29); and hence the idea of exterminating was connected with the word. The Hebrew verb (haram) is frequently used of the extermination of idolatrous nations. It had a wide range of application. The anathema or herem was a person or thing irrevocably devoted to God (Lev. 27:21, 28); and "none devoted shall be ransomed. He shall surely be put to death" (27:29). The Hebrew word therefore carried the idea of devoted to destruction (Num. 21:2, 3; Josh. 6:17); and hence a majority of scholars have treated the word anathema similarly, generally as meaning a thing accursed. For example, in Deut. 7:26 an idol is called a herem = anathema, understood to mean a thing accursed
Sorry bout that but you will not be able to believe it: Time is short and that is why the Church of Christ thread tries to silence just quoting the Bible: music means to silence the voice of the victim.
Hebrews 12:25 See that ye refuse not him that speaketh.
For if they escaped not who refused him that spake on earth,
much more shall not we escape, if we turn away from him that speaketh from heaven:
Hebrews 12:26 Whose voice then shook the earth: (the trumpet sound)
but now he hath promised, saying,
Yet once more I shake not the earth only, but also heaven.
Hebrews 12:27 And this word, Yet once more,
signifieth the removing of those things that are shaken, as of things that are made, t
hat those things which cannot be shaken may remain.
Hebrews 12:28 Wherefore we receiving a kingdom which cannot be moved,
let us have grace, whereby we may serve God acceptably with reverence and godly fear:
Hebrews 12:29 For our God is a consuming fire.
Christ in Isaiah 30 says that hell is prepared for God to drive His enemies into: the MARKS are wind, string and percussion instruments.
II. . having a mark, inscription or device on it, esp. of money, stamped, coined, khrusos e., opp. asēmos, Hdt.9.41; “argurion” Th.2.13; “khrusion” X.Cyr.4.5.40, cf.IG12.301, al.; so anathēmata ouk e. offerings with no inscription on them, Hdt.1.51; aspides e., opp. leiai, IG12.280, cf. Men.526.Hdt. 1.51When these offerings were ready, Croesus sent them to Delphi, with other gifts besides: namely, two very large bowls, one of gold and one of silver. The golden bowl stood to the right, the silver to the left of the temple entrance. [2] These too were removed about the time of the temple's burning, and now the golden bowl, which weighs eight and a half talents and twelve minae, [mna= about 15 oz. Troy weight.] is in the treasury of the Clazomenians, and the silver bowl at the corner of the forecourt of the temple. This bowl holds six hundred nine-gallon measures: for the Delphians use it for a mixing-bowl at the feast of the Divine Appearance. [The Theophania was a festival at Delphi, at which the statues of gods were shown.] [3] It is said by the Delphians to be the work of Theodorus of Samos, and I agree with them, for it seems to me to be of no common workmanship. Moreover, Croesus sent four silver casks, which stand in the treasury of the Corinthians, and dedicated two sprinkling-vessels, one of gold, one of silver. The golden vessel bears the inscription “Given by the Lacedaemonians,” who claim it as their offering. But they are wrong, [4] for this, too, is Croesus' gift. The inscription was made by a certain Delphian, whose name I know but do not mention, out of his desire to please the Lacedaemonians. The figure of a boy, through whose hand the water runs, is indeed a Lacedaemonian gift; but they did not give either of the sprinkling-vessels. [5] Along with these Croesus sent, besides many other offerings of no great distinction, certain round basins of silver, and a female figure five feet high, which the Delphians assert to be the statue of the woman who was Croesus' baker. Moreover, he dedicated his own wife's necklaces and girdles.
2. . of epileptic patients, bearing the marks of the disease, Hp.Morb.Sacr.8; of cattle, spotted or striped, LXX Ge.30.42.3. . notable, remarkable, mnēm' e. a speaking remembrance, S.Ant.1258(anap.); “xumphorai” E.Or.543; eunē, lekhos, Id.HF68, Or.21; “tukhē” Id.Med.544; “kharaktēr” Id.Hec.379; taphos “episēmotatos” Th.2.43; “timōria” Lycurg.129; “topoi” IG12(3).326.42 (Thera, Sup.); of garments, fine, SIG695.39 (Magn. Mae., ii B.C.); and of persons, e. sophiēn notable for wisdom, Hdt.2.20; “e. en brotois” E.Hipp.103; “e. xenoi” Ar.Fr.543: in bad sense, conspicuous, notorious, “es ton psogon” E.Or.249; desmios e. Ev.Matt.27.16; “dia dēmokopian” Plu.Fab.14; “epi tē mokhthēria” Luc.Rh.Pr.25.III. . Adv. “-mōs” Plb.6.39.9, Sm.Ps.73(74).4, J.BJ6.1.8: Comp. “-oteron” Gal.9.762; “-oterōs” Artem.2.9: Sup. “-otata” Luc.Hist.Conscr.43.
Sophia , Ion. -iē, h(, prop. A. cleverness or skill in handicraft and art,
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.; in driving, Pl. Thg.123c; in medicine or surgery, Pi.P.3.54; in divination, S.OT 502 “ou sophia alla phusei poiein” Id.Ap.22b
to sophon ou sophia (v. “sophos” 1.3) Ba.395
Soph-izō ,
3. c. acc. pers., deceive, “ton Titon” J.BJ4.2.3; “mē me sophizou” AP12.25 (Stat. Flacc.); “ton dēmon” Hdn.7.10.7; also “s. tēn aisthēsin” Aret.SD 1.15.4. 'counter' by a device, “sophizetai tēn bian tou mēkhanēmatos” J.BJ3.7.20.
y/counter_Anathema.And.Musical.Worship.html.dat">
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