Clement of Alexandrian notes why
emasculated men could not be priests:
"One of these charges the
Egyptians thus: "If you believe them to be gods, do not
mourn or bewail them; and if you mourn and bewail them, do
not any more regard them as gods." And another, taking an
image of Hercules made of wood (for he happened most likely
to be cooking something at home), said,
"Come now, Hercules; now is the time to undergo
for us this thirteenth
labour, as
you did the twelve for Eurystheus, and make this ready for
Diagoras," and so cast it into the fire as a log of wood. For the extremes of ignorance
are atheism and superstition, from which we must endeavour
to keep.
And do you not
see Moses, the hierophant of the truth,
enjoining that no
eunuch, or emasculated man, or son of a harlot,
should enter the congregation?
By the two first he alludes to the impious custom by which men were deprived
both of divine energy and of their virility;
and by the third, to him who, in place of
the only real God, assumes many gods falsely so called,-as the son of a harlot, in ignorance of his true
father, may claim many putative fathers.
THE PERSONA OF RELIGIOUS MUSICIANS OR ACTORS ENDS THE SEARCH FOR
ALL OF THOSE FLEEING THEIR CHURCHES.
Galatians 5
I.Wish.They.Would.Go.the.Whole.Way.and.Emasculate.Themselves
Brothers, if I am still
preaching circumcision, why am I still being persecuted? In
that case the offense of the cross has been abolished.
Galatians 5:11
As for those agitators, I
wish they would go the whole way and emasculate themselves! Galatians 5:12
Chrysostom's Commentary on Galatians:
Galatians
5:1.-"With freedom did Christ set us free; stand fast
therefore.115 ."
Ver. 12. "I would that they which unsettle
you would even cut themselves off." And he says well "that
unsettle you." "A man that is heretical after the first
and second admonition refuse." (Tit. iii: 10) If they
will, let
them not only be circumcised, but mutilated.
Where then are those who
dare to mutilate themselves; seeing that they draw
down the Apostolic
curse, and accuse
the workmanship of God, and take part with the Manichees?
Chrysostom understood that
the pagans used vocal or instrumental noise to stir up or
create anxiety so that they could steal your food money.
Christ outlawed this in Isaiah 55. Christ
outlawed BLASPHEMY in the modern context of saying that God
commanded instrumental distractions when He DID NOT.
But if you
will not allow this, why do you not mutilate the tongue for
blasphemy, the hands for rapine, the feet
for their evil courses, in short, the whole body?
For
the ear enchanted by the sound
of a flute hath often enervated
the soul;
and the perception of
a sweet perfume by the nostrils hath bewitched
the mind, and made it frantic for pleasure .
David's PRAISE word threatened the same sexual proof of
superiority:
Ululo Ulŭlo
I. Neutr., to howl, yell,
shriek, utter a mournful cry. B.Transf.,
of places, to ring, resound, re-echo
with howling: penitusque cavae plangoribus aedes Femineis ululant,Verg.
A. 2, 488 : resonae ripae, Sil. 6, 285 : Dindyma sanguineis Gallis, Claud. Rapt. Pros. 2,
269 .--
The Goddess
Cybele (The Sophia - Zoe Usurpation)
"Here, devote to me thy manhood and become one of my faithful dogs! (emasculated priests) I shall
be quick, and the cut will be clean!!!" Catullus: "Oh,
Great Goddess, Goddess Cybele, Goddess and
Lady of Dindymus! May all your fury be far from my house!
Incite others, go! DRIVE OTHER MEN MAD!!!"
Holy Spirit: NO prophecy of the
scripture is of any private interpretation.
John Mark Hicks Refutes: "MY
Journey in Interpreting the Bible." 2.Peter.1.Prophecy.No.Private.Interpretation
Mike Cope finds Cracts: But
for Hicks, and for many of US, there were CRACKS
in the wall of certainty.
Rom. 15:4 For whatsoever
things were written aforetime were written for our learning,
that we through patience and comfort of the scriptures
might have hope.
God therefore says: I am so sorry that I was
STUPID and needed
"A" holy spirit god to make me INTELLIGIBLE THROUGH Theologians.
SUMMARY OF RECORDED FACTS NOT AVAILABLE
TO ANY "DOCTOR OF THE LAW" WHOM JESUS SAID "TAKES AWAY THE
KEY TO KNOWLEDGE."
1. Israel fell from grace beyond redemption because of Instrumental-Trinitarian-Perverted
Idolatry at Mount Sinai.
2. The NOBILITY turned the REST of God into a day of
the Worship as the ABOMINATION they brought from
Egypt.
3. The REST of God is Sabbath or the Greek PAUO
and demands STOPPING anything beyond Rest, Reading
and Rehearsing the Word delivered by Moses.
4. The Civil-Military-Clergy were abandoned behind closed
gates to engage in the Lust of Blood and Flesh and the
HOLOCAUST of INFANTS and GOATS.
5. The Godly Jews were never gathered to engage in group
singing with or without instruments: this was outlawed
for the SYNAGOGUE as A School--only of the
Word-only.
6. Any kind of musical or theatrical performance would MARK
the Effeminate and their refusal to HEAR the
Word of God.
7. Even worse any kind of self-exhibition especially SINGING
is that which MARKS and produces ALL of the data defining:
A CRACKED POT will not Ring True:
A further
peculiarity of Dodona
was the "bronze," a large
gong set vibrating at
every breeze by a scourge
held in the hand of a
figure standing over it;
the
persistent ringing passed into a Greek proverbial phrase--Khalkos Dodones ("Brass
of Dodona")-- for a
continuous TALKERS who has nothing to say. Britannica Members
"A famous oracle in Epi'ros, and the most ancient of
Greece. It was dedicated to Zeus
(Jupiter), and situate in the village of Dodona.
The tale
is, that Jupiter presented his daughter Theb with two black
pigeons [Doves, Rock
Pigeons] which had the
gift of human speech.
Lemprière tells us that the Greek word peleiai (pigeons)
means, in the dialect of the Eprots, old women; so that the two black doves with human
voice were two black or
African women. One
went to Libya, in Africa, and founded the oracle of Jupiter Ammon; the other went to Eprus and founded
the oracle of Dodna. We are also told that plates of
brass were suspended on the oak trees of Dodona,
which being struck by thongs when the wind blew, gave various sounds from which the
responses were concocted. It appears that this suggested
to the Greeks the phrase Kalkos Dod ns (brass
of Dodona), meaning a babbler, or one who talks an infinite deal of nothing. Bartleby
God's Word, Logos or Regulative Principle
MARKS the enemies as rhetoricians, singers, instrument
players, actors or fleecers of widows.
GOD GAVE US THE WORD OR REGULATIVE PRINCIPLE AS THE WAY TO
MARK "THE SONS OF THE DEVIL WHO SPEAK ON THEIR OWN" AND MAKE
YOU PA
Logos
computation, reckoning
2. statement of a theory, argument, ouk
emeu
alla
tou
l.
akousantas
prob. in Heraclit.50; logon
ēde
noēma
amphis
alētheiēs
discourse and reflection on reality,
IV. inward debate of the
soul, reflection, deliberation
Regulative and formative forces,
derived from the intelligible and operative in the
sensible universe,
Opposite to epithumia
A. desire, yearning, longing after
a thing, desire of or for it, Theaomai :--gaze at,
behold, mostly with a sense of wonder, 3.
view as spectators
Opposite Pathos A. that
which happens to a person or thing, incident,
accident, Moralizing Rhetoric
Opposite Poiein to excite passion,
Arist.Rh.1418a12;
V. Rhet., emotional style or
treatment,
Opposite Enthousi-astikos , ē, on, A. inspired, “phusis” Pl.Ti.71e;
esp. by music,
Prose, OPPOSITE -poiêsis, Id.R.390a;
OPPOSITE -poiêtikê, D.H.Comp.6;
OPPOSITE poiêmata, onomatopoeic
word
OPPOSITE emmetra Modus 2. The
measure of tones, measure, rhythm, melody, harmony, time;
in poetry, measure, metre, mode: Mūsĭcus a, um, adj., = mousikos.
X. the Word or Wisdom
of God, personified as his agent in creation and
world-government,
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
The Muses are the LOCUSTS Apollyon unleashed in a church
near you. He is the only personified SPIRITUS over his
prostitute WorshipTeam
http://www.piney.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
Leonard.Allen.POURED.OUT.The.Spirit.of.God.Empowering.the.Mission.of.God
The WORD
or LOGOS is God's only
Regulative and Governing
principle. God names and
Defames personal opinions,
personal experiences, rhetoric,
singing, playing instruments,
acting or "seeing godliness as a
means of financial gain. Among the
Greeks and others RATIONAL (Logos)
are marked by SPEAK or READ
identifies Disciples.
Disciples are STUDENTS of what
Jesus commanded to be taught
Anything beyond being A School of
Christ or those OF the World,
Kosmos, Ecumenical or the kingdom
of the Devil MAKING war against
the Kingdom of Christ. All
Rhetoric, singing, speaking or
acting is the universal marks of
the effeminate or worse.
Here is a short
list of PERFORMANCE and
PERFORMING Enabled by
rhetoric, singing
or any kind of instruments which
CLAIMS that God is ignorant.
An Abomination,
Witchcraft, the BEASTS,
Sorcery, Charming, Soothsaying,
enchantment, harlots, beguile, serpents,
vipers, Serpo, Herpo, inducing
wine-dranking, Cunning Craftsmen or
Sophists, Rhetoricians, Dogs or Catamites,
magic, Voodoo in primitive
America, Melodies
to deceive, Deceiver, Cunning Crafts,
Techne, religious craftsmen,
Lucifer, Locusts, Apollyon,
Levi-Leviathan
If any kind of
metrical or recurring sounds are PROOFS of
Sorcery (Revelation) why would it become a
MAJOR COMMERCIAL INTEREST in imposing any
kind of rhetoric, singing, playing
(Anti-Logos) instruments and 'passing the
plate' to fund it? Jude says that they
are FOREORDAINED.
The Greek and Latin overflows with identifying
anyone who tried to control another's mind
with anything but FACTS
THE PATTERN IN SCRIPTURE AND ALL RELIGIOUS
GROUPS. IN THE CLASSICS
STRAIGHT
OR RATIONAL was identified by the LOGOS which
Jesus SPOKE and did not sing or play.
CROOKED
OR GAY by SING, PLAY, DANCE ETAL.
John Mark Hicks:
I understand that the positive
argument for acapella music
in the assembly of worshiping saints
involves other considerations. For
example, it includes the contrast with
Israel's worship, the limited and situated
use of instruments in the Levitical
worship authorized for the tabernacle and
the temple, the value of human voice as
God's created instrument for worship, and
the history of the church in the first few
centuries after the apostles.
A capella is a PLACE: the Sistine Chapel
where the male singers were replaced by
the Pope's castrated opera singers. They
CHANTED the same note and the melody
could consist of one or two notes.
Everyone singing in UNISON means that
they are in HARMONY.
The godly Jews were quarantined "to
quarters" on the evil Babylon Sabbath to
prevent them from going to Jerusalem or
any other pagan "worship centers."
Not even a Jacob-Cursed and
God-Abandoned Levite could go NEAR the
Holy Space without being executed. The
Holy Place was the PAGAN PATTERN
replaced by the Church PATTER which
contained the Lampstand representing the
7 spirits OF god all devoted to
knowledge.
Music. Cantillation
signs
guide the READER
in applying a
chant to
Biblical READING.
This chant is
technically
regarded as a
ritualized form
of SPEECH
intonation
rather than as a
musical exercise
like the singing
of metrical
hymns: for this
reason Jews
always speak of
SAYING or
READING
a passage rather
than of singing
it. (In Yiddish the word is leynen
'read', derived
from Latin
legere,
giving rise to
the Jewish
English
verb "to leyn".)
http://www.piney.com/Cantillation.2.html
The Philipedium: I
n most western European languages, the
word for “read” starts with the letter “L”. These
languages can be divided into two main groups — those of
Latin origin and those of Germanic origin. In each of the
Latin languages (Italian, Spanish, French, etc.), the
modern word is derived from legere,
the Latin word for “read”. The Italian word is still leggere, essentially unchanged from the
Latin. In the other Romance languages, the “g” sound was
lost, and so we have leer in Spanish,
ler in Portuguese, and lire
in French.
(Note: The Old Testament
understands that instrumental music--called NOISE--was authorized only in certain dedicatory or purification
rituals associated
with the temple and with Jerusalem. Without both there was never any
rationale for instrument to make a great crashing
sound during animal sacrifices.)
"At the dedication of the later edifice, the priests blew
the trumpets at the same
time that the Levites
sang and played upon instruments of music,
so as 'to make one sound;' but it is evident that on that great
occasion of rejoicing, what was aimed at was not musical harmony, but a powerful crash of jubilant sound. We are shut up to the conclusion that
there was nothing in the tabernacle-worship, as ordered by
Moses, which could be
justly characterized as instrumental music." (George Girardeau, Instrumental Music,
p. 29 - a Presbyterian)
Because of
Instrumental-Trinitarian-Perverted
Idolatry at Mount Sinai, that generation
has Sinned BEYOND REDEMPTION. God
turned them over to worship the STARRY
HOST including Apollon or Abaddon in
Egypt before the Exodus.
Amos 5:26 But ye have borne the
tabernacle of your Moloch and Chiun your
images,
the STAR of
your god, which ye made to yourselves.
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
The practice in the wilderness, tyre and Jerusalem
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?
Amos 5:27 Therefore will I cause you to go into
captivity beyond Damascus,
saith the LORD, whose name
is The God of hosts.
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.
Mark.10.They.Shall.Mock.Him.With.Music
Trumpet, drums, flute, cymbals and castinets
with buffoons
Psallo permits ONLY smiting a string with your
FINGERS: not a plectrum
Psallo and SOP have the same root meaning.
Revelation 18F: they are all called Sorcerers who HAD once
deceived the whole world.
They WILL BE CAST ALIVE INTO THE LAKE
OF FIRE.
John Mark Hicks: At the same time,
when it comes to specific
authorization and the required
exclusion of instruments,
that is rooted in the above pattern
argument. Otherwise, the argument
against instruments in the worship of God
is more like a theological argument
than it is a blueprint argument. (I
will explain what a theological
hermeneutie is in coming pages.)
There is nothing inappropriate about that,
of course. Eastern Orthodox churches have
done that for centuries.
THE EPHESUS PATTERN
AT ANY PROGRESSIVE CHURCH
And in truth
against these Heraclitus
the EPHESIAN PROPHESIES as
"the night-walkers, the magi, the bacchanals, the Lenaean revellers, the
initiated."
Ephesos , hē, Ephesus,
Hdt.1.142,
etc.:—Adj. Ephesios , a, on, grammata
[Scribes MAN'S writing, notes
in music] A. magic formula,
Plu.2.706e, Eust.1864.16 (also Ephesēia , “gr.” Anaxil.18.7 (anap.)):
Ephesia , hē, = aristolokheia stroggulē, Ps.-Dsc. 3.4; = artemisia, [wormwoodp. hodos tōn theōn
BROAD WAY”]: Ephesia , ta, festival
of Artemis at Ephesus, Th.3.104
(also Epheseia, ta, OGI10.10): Ephesēo
nikēs
[Nike the GODDESS OF VICTORY] victor
in these games, Ephes.2.72
(iii A.D.): Ephesis , idos, hē, in pl., title
of poem by Aeschrio,
Sch.Lyc.688.
aristolokheia
lokhios
, epith. of Artemis
Eur. IT 1097
[1100] and the well-grown laurel and the holy shoot of
gray-green olive, Leto's dear child, and the lake that rolls
about its ripples, where the melodious swan [1105]
serves the Muses.
metaph.
of words and expressions, wellrounded,
compact, terse, “s. rhēmata”
Krēt-ikos
Cretan
Ar.Ra.849
2. Krētikos
(sc. pous),
ho,
a metrical foot [_ ^ _], = amphimakros,
Heph.3.2, cf. A.D. Pron.50.16; so egeire
. . , Mousa,
K. “melos”
Cratin.222; to
K. (sc. metron)
Heph.13.1; K. rhuthmos,
rhuthmoi,
D.H.Comp.25,
Str.10.4.16.
Aristoph. Cl. 595
Chorus
Hear me again, King Phoebus, Delian Apollon,
who inhabitest the high-peaked Cynthian rock!
And thou, blessed goddess, who
inhabitest the all-golden house of Ephesus,
in which Lydian damsels
greatly reverence thee; and thou, our national
goddess, swayer of the aegis, Minerva,
guardian of the city! And thou, reveler
Bacchus, who, inhabiting the Parnassian rock,
sparklest with torches, conspicuous among the
Delphic Bacchanals!
One can make a
good theological case for acapella music,
but it is a different sort of animal than
the blueprint argument. One may seek to
justify acapella music as an
apostolic practice based upon a prescribed
pattern, or one may seek to justify it by
a theological argument, or both. Though
both may be true, the two approaches are
quite different. Sometimes they arrive at
similar conclusions; sometimes they do
not. Sometimes they arrive at opposite
conclusions. What do we do when the
theological argument runs contrary' to the
blueprint argument? More on that a bit
later.
THE
ONLY PASSAGE WHICH RECOMMENDS "SINGING"
James 5:13 Is any among
you afflicted? let him pray. Is any
merry? let him sing psalms. or SING PSALLO.
This is AT HOME and he would not call the
ELDERS if he was sick meaning Spiritually
Down.
Audible: The command
is ALWAYS to SPEAK the Word and never to Sing
the Word for our LEARNING.
Inaudible: Ode (opposite of
Speak) as an enchantment or Sorcery and
Psallo means PLUCK
something with your FINGERS but never with a PLEKTRON
or PICK.
Psallo in the Latin Literature
and used as AUTHORITY by the Instrumental Sect
Almost
always
speaks of Girls or pseudo-girls who, with
Alexander The Great, had his
pubic
hairs PLUCKED and seduced by Alexander's Harp
Plucking which embarrased
his
father, Philip.
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.
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 15:21 For Moses of old time hath in
every city
them
that PREACH him, being READ
in the synagogues every sabbath day.
Acts 15:31 Which when they had READ,
they rejoiced for the consolation.
Acts 23:34 And when the governor had READ
the letter, he asked of what province he
was. And when he understood that he was of
Cilicia;
2Cor. 1:13 For we write none other things
unto you,
than
what ye READ or acknowledge; and I
trust ye shall acknowledge even to the end;
2Cor. 3:2 Ye are our epistle written in our
hearts, known and READ of all men:
2Cor. 3:14 But their minds were blinded:
for
until this day remaineth the same vail
untaken away
in the
READing of the old testament;
which vail is done away in Christ.
2Cor. 3:15 But even unto this day, when
Moses is READ, the vail is upon
their heart.
Eph. 3:4 Whereby, when ye READ, ye
may UNDERSTAND my knowledge in the
mystery of Christ)
Col. 4:16 And when this epistle is READ
among you,
cause
that it be READ also in the church
of the Laodiceans;
and
that ye likewise READ the epistle
from Laodicea.
1Th. 5:27 I charge you by the Lord that this
epistle be READ unto all the holy
brethren.
1Tim. 4:13 Till I come, give attendance to READing,
to exhortation, to doctrine.
Rev. 5:4 And I
wept much, because no man was found worthy
to open and to READ the book,
neither to look thereon. also in the church
of the Laodiceans; and that ye
1Th. 5:27 I charge you by the Lord that this
epistle be READ unto all the holy
brethreN
Theology.and.AntiChrist.html
PAUL WRITING THE WORDS GOD PUT INTO HIS MOUTH (the meaning of
Spirit) Commanded SPEAKING or READING in the assembly
which met ONLY to (learn the WORD)
Both ODE and PSALLO are in the heart meaning SILENT so that WE
can mark those who are FOREORDAINED
JUDE WARNED AGAINST THE RETURN OF THE MOUNT SINAI
INSTRUMENTAL-TRINITARIAN-PERVERTED DEMON WORSHIP.
Jude 1 Jude, the servant of
Jesus Christ, and brother of James,
to them that are
sanctified [Given A holy spirit at
baptism]
by God the
Father, and PRESERVED in Jesus Christ, and CALLED:
2822. kletos,
klay-tos´; from the same as 2821; invited, i.e. appointed,
or (specially), a saint: — called.
Heb. 12:23 To the general
assembly and church of the firstborn, [Church of Christ]
which are written
in heaven,
and to God the Judge
of all, and to the SPIRITS
of just men made PERFECT,
Jude 2 Mercy unto you, and peace, and
love, be multiplied.
Jude 3 Beloved, when I gave all diligence to write unto you
of the common salvation,
it was needful for me
to write unto you,
and exhort you that ye
should earnestly contend
for THE FAITH which
was ONCE delivered unto the saints.
g530. hapax, hap´-ax;
probably from 537; one (or a single) time (numerically or
conclusively): — once.
Jude 4 For there are certain men crept
in unawares,
who were before of old
ORDAINED to this condemnation,
ungodly men, turning
the grace of our God into lasciviousness,
and denying the
only Lord God
[Theos] |
AND
our | These are trinitarians
(Jesus-Blasphemers, John-Antichrists)
Lord [Kurios]
Jesus Christ. |
Jude 5 I will therefore put you in
remembrance, though ye once knew this,
how that the Lord,
having saved the people out of the land of Egypt,
afterward
destroyed them that believed not.
Jude 6 And the angels which kept not their first estate, but
left their own habitation,
he hath reserved in
everlasting chains under darkness unto the judgment of the
great day.
Jude 7 Even as Sodom and Gomorrha, and the cities about them
in like manner,
giving themselves over
to fornication, and going after strange flesh,
are set forth for an EXAMPLE,
suffering the vengeance of eternal FIRE.
EVIL-PERVERSION
MARKS OF PSALLO “psallere
saltare
ēlĕgans
I. In the
ante-class. period in a bad sense, luxurious,
effeminate, fastidious,
nice: elegans homo non dicebatur
cum laude “mulier (Phryne—with formo
Elegans .
Luxurious, effeminate, fastidious,
B. Of things: “nec magis compositum quicquam, nec magis elegans, oratorium
The Orator rejects Scripture:
ōrātōrĭus
He “
ornamenta,
gestus,
“
compositio,
He. ingĕnĭum have acted out“inhumanum,” one's natural bent, to
one's old courses, vanum dictatoris
ingenii celeritas, with
cleverness b.
Of things, an invention, a
clever thought: “exquisita ingenia
Tac. Hist. 2.71 The nearer the Emperor
approached to Rome,
the greater was the license of his
march, accompanied as it was by players and
herds of eunuchs, in fact by all that had
characterised the court of Nero. Indeed,
Vitellius used to make a display of his
admiration for Nero,
and
had constantly followed him when he sang,
not
from the compulsion to which the noblest had
to yield,
but
because he was the slave and chattel of
profligacy and gluttony. [Religious
Musicians are Parasites]
Vitellius
admiratione
celebrabat.
sectari
cantantem
solitus,
“Mercurio
Sais
fertur
Virgineum
conposuisse
latus,”
Mercury is Hermes or KAIROS as the messenger of the gods who
knows when and where to ATTACK.
Mercury, the son of Jupiter and Maia, the messenger of
the gods; as a herald, the god of dexterity; in speaking,
of eloquence; the bestower of prosperity; the god of
traders and thieves; the presider over roads, and
conductor of departed souls to the Lower World:
virgĭnĕus
Helicon,
as
the
seat
of
the
Muses
Ov. M. 2, 219:
The Locusts unleashed were the MUSES or Apollon's musical
worship. They were known as filthy adulteresses and
became the SHEPHERDESSES
conposuisse
1. To bring together in hostility, to
oppose
a. To compose, write, construct.
Oationibus
compositus,
“carmina,
“epistulas
saltātor
, ōris, m. salto,
I.
a
dancer (generally among the Romans
with an accessory contemptuous signif.),
Cic. Off.
1, 42, 150;
id. Mur.
6, 13;
id.
Deiot. 10, 28;
id. Fin.
3, 7, 24;
Quint. 1,
12, 14;
11, 3, 89;
Suet.
Calig. 54;
id. Ner.
6;
Macr.
S. 2, 10 al.
--saltātĭo
, ōnis, f. id.,
I.
a
dancing; concr.,
a dance,
Quint. 1,
11, 18 sq.;
2, 18, 1;
Scipio Afric. ap.
Macr.
S. 2, 10: “
multarum deliciarum comes est extrema saltatio,”
Cic. Mur.
6, 13;
id.
Brut. 62, 225;
id. Fin.
3, 7, 24;
Quint.
11, 3, 128;
Suet.
Tit. 7 al.—
Plur.,
Plaut.
Stich. 5, 2, 11.
All people
accuse God with being ignorant. Even a simple
person would would understood that Music would
include
rhythm of voice AND body.
Paul guided by Jesus Christ in the STATE
of Holy Spirit would have said.
"Ode AND Mŏdus Out Loud and to
the Paying but rarely admiring Audience.:
Mŏdus
2. The measure of tones, measure,
rhythm, melody, harmony, time; in
poetry, measure, metre, mode: “vocum,” Cic.
Div. 2, 3, 9: “musici,”
Quint.
1, 10, 14: “lyrici,” Ov. H.
15, 6: “fidibus Latinis Thebanos aptare modos,” Hor. Ep. 1, 3, 12:
Bacchico exsultas (i. e. exsultans)
modo, Enn. ap. Charis
[grace]. : “flebilibus modis concinere,”
Cic.
Tusc. 1, 44, 106: saltare
[dance] ad tibicinis modos, to the
music or sound of the flute,
Liv. 7,
2: “nectere canoris Eloquium vocale modis,” Juv. 7,
19.—Fig.: “verae
--dēlĭcĭae.
dēlĭcĭa ,
ae, f.; [delicio; that which allures, flatters
the senses], delight, pleasure, charm,
allurement; deliciousness, luxuriousness,
voluptuousness, curiosities of art; sport,
frolics, etc. (freq. and class.; for
syn. cf.: voluptas, libido, delectatio,
oblectatio, delectamentum, oblectamentum).
E-lēgoI.to
convey away (from the family)
by
bequest,
to bequeath away,
Petr. 43, 5;
Gai. Inst. 2, 215.
"carried
away by pride and arrogance, would they believe themselves
to be deities of the first rank, and fellows of the highest in
his exaltation, because they had devised the
arts of grammar, music, oratory, and geometry. For we do not
see what is so wonderful in these arts, that
because of their discovery the soul should
be believed to be above the sun as well as
all the stars, to surpass both in grandeur
and essence the whole universe, of which
these are parts. "
"For what
else do these assert that they can either
declare or teach, than that we may learn to
know the rules and differences of nouns, the intervals
in the sounds of different tones, that we may speak
persualsively in lawsuits, that we may
measure the confines of the earth? Now if the soul had brought these
arts with it from the celestial regions, and it were impossible not to
know them, all men would long before this be
busied with them all over the earth... But
see now how few musicians, logicians, and geometricians
are there in the world! How few orators,
poets, critics!..." (Arnibious,
Ante-Nicene, VI, p. 441)
I am SO sorry but I don't
think that history knows any exception:
CTESIAS.OF.CNIDUS: Why did you do this,
you lowlife?" Parsondes now spoke
without flattery,
"I thought I was
more worthy to have this prize
since I am manlier
and more useful to the king than you,
a man who keeps his
face clean-shaven, wears eye-liner,
and anoints his
skin with white make- up."
Then he answered,
"Aren't you ashamed that such a great
man as yourself, defeated by your
belly and genetalia, has been
conquered by the lesser one? I,
however," he continued, "will soon
make your skin softer and whiter than
a woman's." He then swore an oath to
Belos and Molis (this is how the
Babylonians call Aphrodite).
Nanaros then
summoned the eunuch in charge of the
songstresses and said to him,
"take this man and shave
his entire body except for his head,
rub it
with pumice stone, wash him twice a day and
rinse him with egg-yolk,
and
then put eye-liner on him and braid his hair
like a woman's.
Teach him to
sing, play the cithara, and pluck the lyre
so he can
perform like a woman for me with the
music-girls,
with whom he
will share a lifestyle by having a soft
body,
wearing the
same clothes, and practicing the same
skills."
After he
spoke, the eunuch took Parsondes, shaved
his entire body except for the head,
taught him what he was asked, keeping him
out of the sunlight, washing him twice per
day, softening him up,
and
keeping him in the same quarters with the
women as his master had ordered.
Soon
after, Parsondes was a white, smooth, and
woman-like man,
who sang
and played the cithara more beautifully
than the music-girls with
whom
he had performed and surpassed them in
beauty as well
and
no one who saw him perform at one of
Nanaros' dinner-parties would realize
that he was not a woman.
After this, he invited
the angaros to join him
for a drink and dinner and when the
meal was served, the music-girls
entered, 150 women in with Parsondes
among them. Some women played the
cithara or aule while others plucked
the lyre; Parsondes was the most
prominent of them in beauty and talent
as he appeared to be a woman too. When
they had their fill of dinner, Nanaros
asked the angaros which of the
girls he thought was the most
attractive and talented and without
much thought he replied, "that one"
while pointing to Parsondes. Nanaros
clapped his hands and laughed for a
long time before saying, "How would
you like spending the night with her?"
to which the angaros readily
assented. Nanaros then said, "However,
I won't let you have her.", and the angaros relied,
"Then why did you ask me?" Nanaros
paused for a while and said, "That
is Parsondes, the man for whom you
have come."
Athenaeus
Deipnosophist 4.5.5
So piped he the drunken
bagatelles of the Muses sung by Glauce,
or the tune
of the Stutterer
who
delights in the drinking of unmixed wine,
or
of Cotalus or Pacalus.77 Nay, then, of
Theon the reed-piper say, Farewell, Theon!'
OF
EDUCATED PEOPLE:
Plat.
Prot. 347c
But if he does not
mind, let us talk no more of poems and
verses, but consider the points on
which I questioned you at first,
Protagoras, and on which I should be glad
to reach, with your help, a conclusion.
For it seems
to me that arguing about poetry is
comparable to the wine-parties of
common market-folk.
These people,
owing to their inability to carry on a
familiar conversation o
ver their
wine by means of their own voices and
discussions—
[347d]
such is their lack of
education—put a premium on flute-girls
by hiring the extraneous voice of the
flute
at a high price, and carry on their
intercourse by means of its utterance.
But where the party consists of
thorough gentlemen who have had a
proper education,
you will see neither flute-girls
nor dancing-girls
nor harp-girls,
but only the company contenting
themselves with their own
conversation,
and none of
these fooleries and frolics—each speaking
and listening decently in his turn,
-lēros
(A), ho, A. trash,
trumpery, of what is showy but useless,
useless, futile, “poiētōn l.”
lēroi kai paidiai,
of flute-playing at banquets, Pl.Prt.347d
paidiē
1
paizō
p. paizein pros tina to play a
game with him, paizō 4. play
on a musical instrument, h.Ap.206:
c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230;
dance and sing, Pi. O.1.16.
5. play amorously,
“pros
allēlous”
ADDED NOTES MUSIC IS SORCERY
Plato,
Euthydemus
[289e] For not only do these
speech-writers themselves, when I am in their
company, impress me as prodigiously clever,
Cleinias, but their art itself seems so exalted
as to be almost inspired. However, this is not
surprising; for it is a part of the sorcerer's
art, epōdōn
tekhnēs
Latin
289e:
kai
mentoi
ouden
thaumaston:
esti
gar
tēs
tōn
epōdōn
tekhnēs
morion
mikrō
te
ekeinēs
hupodeestera.
Thaumaston Is a Lying wonder which claims that your
rituals are ordained by God.
-epōdē
, Ion. and poet. epa^oidē
, hē,
A.song sung to or over: hence, enchantment,
spell, LADEN BURDEN
ou
pros
iatrou
sophou
thrēnein
epōdas
pros
tomōnti
pēmati
of the Magi, Hdt.1.132
oute
pharmaka..oud'
au
epōdai”
Pl.R.
426b ; thusiai
kai
e.
ib.364b
;
CHARM for or against.., “toutōn
epōdas
ouk
epoiēsen
patēr”
A.Eu.649.
Hdt. 1.132 And this is their
method of sacrifice to the aforesaid gods: when about to
sacrifice, they do not build altars or kindle fire, employ
libations, or music, or fillets, or barley meal: when a man
wishes to sacrifice to one of the gods, he leads a beast to
an open space and then, wearing a wreath on his tiara, of
myrtle usually, calls on the god. [2]
To pray for blessings for himself alone is not lawful for
the sacrificer; rather, he prays that the king and all the
Persians be well; for he reckons himself among them. He then
cuts the victim limb from limb into portions, and, after
boiling the flesh, spreads the softest grass, trefoil
usually, and places all of it on this. [3] When he has so arranged it, a Magus
comes near and chants over it the song of the birth of the
gods, as the Persian tradition relates it; for no sacrifice
can be offered without a Magus. Then after a little while
the sacrificer carries away the flesh and uses it as he
pleases.
Magos [
a^,
ou, ho,
Magian,
one of a Median tribe,
3.
enchanter, wizard, esp. in bad
sense,
impostor, charlatan,
Heraclit.14,
S.OT387,
E.Or.1498
(lyr.),
Pl.R.572e,
Act.Ap.13.6,
Vett. Val.
74.17:
II
magos,
on, as Adj.,
magical,
“
magps
tekhnē
prattein
ti”
Philostr.VA1.2;
“
kestou
phōneusa
magōtera”
phōn-eō
, (phōnē)
epōd-os
, on,
（epadō）
A.singing to or
over, using songs
or
charms to heal wounds, “
epōdoi
muthoi”
Pl.Lg.903b.
c. c. dat.,
assisting, profitable, 2.
Pass.,
sung to music, “
phōnai”
Plu.2.622d ;
fit for singing, “
poiētikēn
e.
parekhein
2. epōdos,
ho,
verse or
passage returning at
intervals, in Alcaics and Sapphics,
D.H.Comp.19
;
chorus, burden, refrain,
Plat.
Euthyd. 290a and
only slightly inferior to that. The sorcerer's art is
the charming of snakes and tarantulas and scorpions
and other beasts and diseases, while the other is just
the charming [kēlēsis] and soothing of
juries, assemblies [Ekklesia or
church], crowds, and so forth. Or does it
strike you differently? I asked.
No, it appears to me, he
replied, to be as you say.
kēl-ēsis
, eōs,
hē,
*A.
bewitching, charming, ekheōn,
nosōn,
Pl.Euthd.
290a: enchantment by eloquence,
dikastōn
k.
te
kai
paramuthia
ibid.; by music and sweet sounds, Id.R.601b,
Stoic.3.97.
Goes A.sorcerer,
wizard, Phoronis 2, Hdt.2.33,4.105, Pl.R. 380d,
Phld.Ir.p.29 W.; “g.
epōdos
Ludias
apo
khthonos
The Jews had a Covenant with Death and Hell: music while
sacrificing was to dispel the DEMON spirits.
6.16.20 92 8.12.20 127
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