Mark.Beast.Colony

More recent accounts have confirmed Nietzsche's intuition, perhaps in part because they are formed knowingly or unknowingly in the shadow of his commanding Apollo/Dionysus dichotomy. Emanuel Winternitz finds in the Renaissance a deep and sustained 'antinomy between the orgiastic, intoxicating 'low' music and temperate "ethical" music, and with it the differing symbolic characters of the kithara and the aulos, of stringed and the wind instruments' (Wnternitz 1979, 152). Winternitz saw the saxophone as the inheritor of this rasping, orgiastic sound: had he been framing this judgement in the wailing heyday of Jimi Hendrix and Jimmy Page in the mid 1970s, rather than ten years earlier, he might well have commented instead on the appropriation by the electric guitar of the excitingly fuzzy and dirty timbre that had always been proper to the reed (Winternitz 1979, 153).

We are perhaps far from being sensitive enough to the cultural phenomenology of musical instruments, and, more particularly, the forms of bodily fantasy they represent. Before instruments acquire their specific values and associations, they enact a primary transformation of the human body.

Of Ceremonial objects: On occasion, objects have been used to compel the sacred (or divine) realm to act or react in a way that is favourable to the participants of the ceremonies or to the persons or activities with which such rituals are concerned, or to prevent the transcendent realm from harming or endangering them.

These objects thus can be mediatory devices to contact the divine world,
        as, for example, the drums of shamans (religious personages
        with healing and psychic-transformation powers).
Conversely, they can be mediatory devices used by a god or other supernatural being to relate to man in the profane realm.

They may also be used to ensure that a chief or sovereign of a tribe or nation achieves,
and is recognized to have, the status of divinity in cultic or community ceremonies.
      Of such a nature may be phallic cults.

If the two extremes of human existence are the animal or biological being of the body and the power of thought and self-representation given by language, then the realms of sound, voice and music lie between body and language.

They are no longer merely body, for they are the emanations of the body, the body put forth or doubled.

But neither are they yet language, in the sense of grammar, syntax, or semantics. [Paul connected instruments to speaking in tongues]

Rather, they are the body of language, sometimes thought of as the inert mass or form out of which music will be shaped, or words selected, sometimes as an unchannelled impetus or power.

An instrument, of whatever kind, is a paradoxical fixing in visible form of this possibility of bodily morphology.
A tool performs work upon an object in the world, enabling it to be reshaped and re-produced.

Organon 1 [*ergô or work]

I. an organ, instrument, tool, for making or doing a thing,
3. a musical instrument,
II. a work, product, laïnea Amphionos organa the stony works of Amphion,

THE RETURN OF THE CROOKED, TWISTED RACE

Seeing Sound, Steven Connor

In his book Untwisting the Serpent, Daniel Albright uses the Apollo/Marsyas conflict to characterise two kinds of twisting or overlayering of medium. The Marsyan artist is impelled by a vision which is fundamentally premodal, or cross-modal. He has no concern with the niceties of form and the differing powers and possibilities of different modalities of expression.

The spasmodic immediacy of music -- music 'that cuts to the quick of the player and the listener' means that it 'naturally lends itself to intensification through other artistic media, such as singing and dancing... [and] tends to confound the distinctness of media' (Albright 2000, 19) Yet the Marsyan artist is so possessed by his vision that he can allow no possibility of alternative modes, and sees them as contaminations. The Apollonian artist, by contrast, has a much more abstract and formalised conception of what it is that he has to convey, and is thus much more tolerant of conglomerations and associations between different art forms. Because [Apollyon, Abaddon] Apollo deals with distinctions and differences, his art can conceive and tolerate relations. Because for Marsyas all is intensity and originary paroxysm, in which there are no distinctions, all relation seems like betrayal.

As its name suggests, an instrument also works as a mediation: it is instrumental.

Musical worship teams CLAIM that they are MEDIATORS and they DO stand in the holy places.

But the object of the work performed by an instrument is the body itself. An instrument is an image of this body transformed, or rather of its transformability, a congelation of the idea of the body's possibility of remaking itself in sound, and, reciprocally, of the casting of sound in a bodily form. [IDOLATRY]

Instruments provide precipitations in space of the many different postures and phantasms of what I have elsewhere called the 'voice-body' (Connor 2000). These postures are usually ecstatic, involving various forms of stretching, twisting, unbalancing or doubling of the body. Here we might note that the very word instrument (from Latin instruere, to instruct) has acquired overtones suggestive not only of enacted purpose but also of torture. The Inquisition practice of 'showing the instruments' to potential victims of torture, Joan of Arc and Galileo being the most famous victims, perhaps resonates with the Christian idea of the 'instruments of the passion -- the lance, nails and crown of thorns -- which were depicted in icons and stained glass, and celebrated in the medieval festival of the 'Arma Christi'. The singing bones and skins of legend and ballad retain this connection between suffering and music. When the body has become an instrument of torture to its owner, it can then become a musical instrument to preserve and recall that suffering.

Augustine wrote of those under the burden of musical superstition. This is why lifeless instruments and carnal weapons mean the same thing.

Again, if you prefer to test the presence of God by the agreeable effects on the hearing, and not sight, or smell, or taste, harps get their strings and pipes their bones from animals; and these become musical by being dried, and rubbed, and twisted.

So the pleasures of music, which you hold to have come from the divine kingdom, are obtained from the refuse of dead animals, and that, too, when they are dried by time, and lessened by rubbing, and stretched by twisting. Such rough treatment, according to you, drives the divine substance from living objects; even cooking them, you say, does this. Why then are boiled thistles not unwholesome? Is it because God, or part of God, leaves them when they are cooked?

MARKS OF CRUCIFYING CHRIST ALL OVER AGAIN

In all pagan religionism MUSIC is only for MYTHS and myths mean to SILENCE THE VOICE OF THE VICTIM. When the MUSIC begans the "lambs are made dumb before" the slaughter priest. The VICTIM of religion which is always a VIOLENCE must NOT be allowed to speak: that is the MARK of music.

When God abandoned Israel to the Sacrificial system after they fell into musical idolatry, it was to permit their SACRED VIOLENCE or BLOOD LUST as the "animal" instinct in ALL ceremonial religions.

Paul Nuechterlein. Comments on René Girard.  In more ancient cultures, it is the sacred violence of ritual blood sacrifice. The New Testament witness is that in Jesus Christ we arrive at the end of both Law and Sacrifice -->cease to live according to the previous practices of Law and Sacrifice. Christ is also the end in the sense of the fulfillment of both Law and Sacrifice. Jesus Christ ushers in the way of God's Culture ("Kingdom"), based on the Law of Love (cf., Rom. 13:8-10; Gal. 5:14; James 2:8) and the way of self-sacrifice (cf., Rom. 12:1; Heb. 9:26).

4.2.3 Behind both of these forms of righteous violence -- namely, the cultural order based on law and/or sacrifice -- are real collective murders. The unity, or "unholy communion," of a community is founded on the majority heaping its violence on a few, or the one.

The meaning of the cross is that Jesus COOLS our animal violence: the word Louo as in baptism signifies that we have climbed down from the ritual violence Jesus called the laded burden which points specificially to the MUSIC or MYTH to shut God's face.

Crucify: G4717 stauroō stow-ro'-o From G4716 ; to impale on the cross; figuratively to extinguish (subdue) passion or selfishness: crucify.

Ab-luo abluere sibi umbras, to remove darkness (by bringing a light), Of the washing away of earth by a shower, Varr. R. R. 1, 35.--In eccl. Lat., of baptism: munere divinitatis abluti,
II. Trop., of calming the passions: omnis ejusmodi perturbatio animi placatione abluatur, be removed (fig. derived from the religious rite of washing in expiation of sin),

Comments on René Girard. 4.2.4 At the heart of such collective violence is the accusation against scapegoats, arising out of both (1) the situation of envious rivalry in which there is a need to blame others and (2) the mimesis of accusation itself. Relative unity is achieved by a mimetic focusing of blame around one person, or a small minority. Compared to the threat of all-against-all mimetic violence, this relative unity based on all-against-one violence is experienced as an awe-inspiring peace -- literally "awe-inspiring," for that awe is the anthropological beginning of human religion and foundation of human culture. But, as we shall see, this is the fundamental mistake of human idolatry: to mistake the satanic for the divine. We mistake the satanic power of an awe-inspiring unanimous accusation as the power of a god who is bringing us together through our obedience. We obey the command of a sacred violence against the accused.

Plato

Mimesis is the Greek term meaning "imitation." Both Plato and Aristotle saw, in mimesis (Greek μίμησις), the representation of nature. Plato wrote about mimesis in both Ion and The Republic (Books II & III and Book X). In Ion he states that poetry is the art of divine madness, or inspiration. Because of the poet being subject to this divine madness, it is not his function to convey the truth. As Plato has it, truth is the concern of the philosopher only. As culture in those days did not consist in the solitary reading of books, but in the listening to 'performances', the recitals of orators (and poets), or the acting out by classical actors of tragedy, Plato maintained in his critique that theatre was not sufficient in conveying the truth. He was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth.

In Book II of The Republic, Plato describes Socrates’ dialogue with his pupils. Socrates warns we should not seriously regard poetry as being capable of attaining the truth and that we who listen to poetry should be on our guard against its seductions, since the poet has no place in our idea of God.

In developing this in Book X, Plato tells of Socrates' metaphor of the maker of beds, the carpenter who is compared with God, the maker of Earth and Heaven and everything on it:

See Justin on The Greeks,

the ideas of things in the mind of God were the realities; the things themselves, as seen by us, were the images of these realities;and poetry, therefore, describing the images of realities, was only at the third remove from nature.

As Plato puts it briefly in this same passage, "the painter, the bed-maker, God-these three are the masters of three species of beds."

In Sacrificial systems, the role of the "musician" was called a PARASITE. His job was to make the lamb dumb before the slaughter priests. The priest was called the HERETIC which meant with the help of the parasite musicians he LIFTED THE LAMB UP TO CUT ITS THROAT.

Comments on René Girard 5.4.1 The ordinary matrix by which we humans live is the perspective of the perpetrators of collective violence against victims. Human enslavement to the perpetrator's perspective of sacred violence is at the foundation of all human culture. With the perpetrator's perspective penetrating everywhere to things human, it is the victim's perspective which is truly unique.

5.4.2 Behind the anthropological predilections against the victim's perspective, there is a very practical, quasi-historical reason: namely, the victim is shunned and often killed. In the ancient world, the role of music during ritual sacrifice was often to drown out any cries from the victim.⁽⁴⁵⁾ It is crucial that the victim not be heard. The practical mechanics of making victims means that it is unusual for the victim's perspective to survive. In the world of ancient ritual it was probably impossible.

45. The Greek verb myo means to close the mouth or shut the eyes. There is debate about whether myo plays a crucial role in the etymology of other significant words such as myth, mystery, and even music. These etymologies make sense within the Girardian hypotheses. Myth means to close ourselves to the victim and tell the tale according to the perpetrator's perspective; mystery cults are based on the silence of the victims; music derives from drowning out the voice of the victim.

3466. musterion, moos-tay´-ree-on; from a derivative of mu/w muo (to shut the mouth); a secret or “mystery” (through the idea of silence imposed by initiation into religious rites): mystery.

Muthos , skipping some of the uses:
2.fiction (OPPOSITE logos, historic truth), Pi.O.1.29 (pl.), N.7.23 (pl.), Pl.Phd.61b, Prt.320c, 324d, etc.

1450a4 Aristotle 1451a16 What we have said already makes it further clear
        that a poet's object is not to tell what actually happened
        but what could and would happen either probably or inevitably.
        The difference between a historian and a poet is not that one writes in prose
and the other in verse--

1451b][1] indeed the writings of Herodotus could be put into verse and yet would still be a kind of history, whether written in metre or not.
        The real difference is this, that one tells what happened and the other what might happen.
        For this reason poetry is something more scientific and serious than history,
        because poetry tends to give general truths while history gives particular facts.

It is clear, then, from what we have said that the poet must be a "maker" not of verses but of stories, since he is a poet in virtue of his "representation," and what he represents is action.
        Even supposing he represents what has actually happened, he is none the less a poet,
    for there is nothing to prevent some actual occurrences being the sort of thing
                that would probably or inevitably happen,
              and it is in virtue of that that he is their "maker."

That means that rhetoricians, poets and musicians tell YOU what God WOULD HAVE told you if He had been as smart!

Comments on René Girard 5.4.1 Yahweh confronts Cain as having heard the voice of his murdered brother's blood cry out from the ground. Talk about hearing the voice of the victim! Taken as a whole, then, Girard argues that the Bible presents us with a matrix of the victim's perspective the extent to which cannot be found in any other text.

Girard’s point o departure is what he calles “mimesis,” the conflict that arises when human rivals compete to differentiate themselves from each other, yet succeed only in becoming more and more alike. At certain points in the life of a society, according to Girard, this mimetic conflict erupts into a crisis in which all difference dissolves in indiscriminate violence. In primitive societies, such crises were resolved by the “scapegoating mechanism,” in which the community, en masse, turned on an unpremeditated victim. The repression of this collective murder and its repetition in ritual sacrifice then formed the foundations of both religion and the restored social order.

5.5.4 The Resurrection of the Jewish Messiah, as proclaimed by the Jewish followers of Jesus of Nazareth, thus fulfills this process of the victim's perspective coming to light.

THE MARK OF THE CROOKED GENERATION: A RACE OF VIPERS

Acts 2:40 And with many other words did he testify and exhort, saying,
        Save yourselves from this untoward generation.

4646 skolios, skol-ee-os´; from the base of 4628; warped, i.e. winding; figuratively, perverse: — crooked, froward, untoward.

Jesus called the Scribes hypocrites pointing to "rhetoricians (liars), singers and instrument players." In Ezekiel 33 it is clear that the people lusted to come heare the word of the lord as they came to the musical prostitutes: to be entertained. They not only tell crooked lies but lead you in crooked paths like a pied piper

There were, in the Middle Ages, two different types of jesters, morally subnormal (under the norm) but not mentally deranged individuals whose acknowledged, socially "deviant" behavior is acceptable as a source of entertainment: a) buffoons who used BODILY EXCESSES, gossips, and TRICKS to entertain audiences in the MARKETPLACE and during popular festivities, and b) court-jesters who entertained at court.

In the Middle Ages there was a widespread belief that good-humored joking protected a person from misfortune. Therefore, the jesters were considered naturally "lucky" and as such could transfer their good fortune to their noble PATRONS. Indeed, the court prince (or king) often charged the jesters with the task of continually PROVOKING his courtiers in order to DEFLECT pent-up frustration or WRATH away from himself and the other noblemen and ladies.

They became a sort of SCAPEGOAT or living MASCOT who could, through PRANKS and witty banter, bring good luck to his master and likewise "ABSORB" social FRICTION. It is because of this special social function that court jesters were generally exempted from censorship and were allowed to behave in ways which would have been unacceptable for other members of the court. (B. C) Welsford, Enid. The Fool, his Social and Literary History London: Faber & Faber,1968.
Hesiod, Works and Days
[180] And Zeus will destroy this race of mortal men also when they come to have grey hair on the temples at their birth. The father will not agree with his children, nor the children with their father, nor guest with his host, nor comrade with comrade; nor will brother be dear to brother as aforetime. [185] Men will dishonor their parents as they grow quickly old, and will carp at them, chiding them with bitter words, hard-hearted they, not knowing the fear of the gods. They will not repay their aged parents the cost of their nurture, for might shall be their right: and one man will sack another's city. [190] There will be no favor for the man who keeps his oath or for the just or for the good; but rather men will praise the evil-doer and his violent dealing. Strength will be right, and reverence will cease to be; and the wicked will hurt the worthy man, speaking false words against him, and will swear an oath upon them. [195] Envy, foul-mouthed, delighting in evil, with scowling face, will go along with wretched men one and all

Skolios A. curved, bent (opp. orthos, euthus) muthos
III. skolion, to, intestine, splanchana kai nephron kai skolion
Muthos used with tragoidia, mimesis, poetes etc. Latin fabula II. In partic. (freq. and class.), a fictitious narrative, a tale, story; 1. Most freq., a dramatic poem, drama, play;

Delicatus, I. That gives pleasure, i. e. alluring, charming, delightful; luxurious, voluptuous. delicatiores in cantu flexiones, soft, tender, delicate (poet. and in post-Aug. prose): capella,Cat. 20, 10

Cano n., to produce melodious sounds, whether of men or animals; later, with a designation of the subject-matter of the melody, as v. a., to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc. B. Transf., soft, tender, delicate (poet. and in post-Aug. prose): capella (a she goat), II. Addicted to pleasure; luxurious, voluptuous; and subst., a voluptuary, a wanton. 1. Spoiled with indulgence, delicate, dainty, effeminate,
COMMENTARY CATULLUS: [9] patrona virgo [VESTAL VIRGIN]: the muse of lyric poetry, to whom, as one of the guardians of song, the poet prays for the long life of his book: cf. Suet. Gram. 6 scriptores ac poetae sub clientela sunt Musarum; Sulpicia Caleni 11 precibus descende clientis et audi. With virgo, of the Muse, cf. Catul. 65.2; Prop. 3.30.33 nec tu virginibus reverentia moveris ora. But some critics, with Guarinus, understand the reference of Pallas.

Flexĭo ,I.a bending, swaying, turning; a bend, turn, curve, B. In partic., of the voice, a modulation, inflection, change:

Isa 59:8 The way of peace they know not;
         and there is no judgment in their goings:
         they have made them crooked paths;
         whosoever goeth therein shall not know peace.

H6140 âqash aw-kash' A primitive root; to knot or distort; figuratively to pervert (act or declare perverse):--make crooked, (prove, that is) perverse

James 3:14 But if ye have bitter envying and strife in your hearts,
        glory not, and lie not against the truth.
James 3:15 This wisdom descendeth not from above,
        but is earthly, sensual, devilish.
James 3:16 For where envying and strife is,
        there is confusion and every evil work.
James 3:17 But the wisdom that is from above is first pure, then peaceable, gentle,
        and easy to be entreated, full of mercy and good fruits,
        without partiality, and without hypocrisy.
James 3:18 And the fruit of righteousness is sown in peace of them that make peace.

In Romans 15 the assembly is to speak that which is written." In Ephesians were to fill up with SPIRIT (the words of Christ John 6:63) or the Word of Christ (Col 3). That is the ONLY way to glorify or praise God who finished all of the songs and sermons.

The commanded method of presentation is the SPEAK which is defined as opposite of poetry or music.

Strabo agrees with all history:

[941b] if convicted. Theft of property is uncivilized, open robbery is shameless: neither of these has any of the sons of Zeus practiced, through delight in fraud or force. Let no man, therefore, be deluded concerning this or persuaded either by poets or by any perverse myth-mongers into the belief that, when he thieves or forcibly robs, he is doing nothing shameful, but just what the gods themselves do.1 That is both unlikely and untrue; and whoever acts thus unlawfully is neither a god at all nor a child of gods;

1 Cp.Plat. Rep 378 ff., Plat. Rep. 388 ff. Hermes is specially in mind, as notorious for his thefts and frauds; cp. Homer Iliad 5. 390; 24. 395, etc.

[941c] and this the lawgiver, as it behoves him, knows better than the whole tribe of poets. He, therefore, that hearkens to our speech is blessed, and deserves blessing for all time; but he that hearkens not shall, in the next place, be holden by this law:--

If anyone steals any piece of public property, he shall receive the same punishment, be it great or small. For he that steals a small thing steals with equal greed, though with less power, while he that takes a large thing which he has not deposited does wrong to the full;

Stealing the bread of widows was not nice: Jesus called the Scribes and Pharisees "hypocrites" and by pointing to Isaiah and Ezekiel MARKED slick speakers, singers and instrument players.

HOW TO SEE AND HEAR THE MARK

If you obey the direct command to "sing" that which is written you CANNOT use music: none of the Bible is meltrical in order to ALERT you to the always-pagan, always-perverted invasion of the soul snatchers.

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.

If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

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Musical Worship Index You will NEVER find anything but showing religious as the MARK to flee.

First Colony list of rebuttals

6.2.08

The Gospel gives us freedom FROM religionists where the basic meaning of a BURDEN is an arousal form of singing which is called sorcery.	Paul's Absolute command for the "synagogue" after silencing ALL of the diversities in Romans 14 is:
Matt. 11:28 Come unto me, all ye that labour and are heavy laden, and I will give you rest.	Rom. 15:1 We then that are strong ought to bear the infirmities of the weak, and not to please ourselves.
Laden is: 5412. phortizo, for-tid´-zo; from 5414; to load up (properly, as a vessel or animal), i.e. (figuratively) to overburden with ceremony (or spiritual anxiety): lade, by heavy laden. Epôidos chorus, burden, on, epaidô A. singing to or over, using songs or charms to heal wounds, epôidoi muthoi Areskos A. pleasing, mostly in bad sense, obsequious, cringing, staff borne by pornoboskoi [brothel keeper] on the stage,	700. aresko, ar-es´-ko; probably from 142 (through the idea of exciting emotion); to be agreeable (or by implication, to seek to be so): please. 142. airo, ah´-ee-ro; a primary root; to lift up; by implication, to take up or away; figuratively, to raise (the voice), keep in suspense (the mind), specially, to sail away (i.e. weigh anchor); by Hebraism (compare 5375) to expiate sin: away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).
The Synnagogue was a school of the Bible-ONLY	Paul's assembly words are SYNAGOGUE.
Matt. 11:29 Take my yoke upon you, and learn of me;	Rom. 15:2 Let every one of us please his neighbour for his good to edification.
for I am meek and lowly in heart: and ye shall find rest unto your souls.	Rom. 15:3 For even Christ pleased not himself; but, as it is written, The reproaches of them that reproached thee fell on me.
Matt. 11:30 For my yoke is easy, and my burden is light.	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.
	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 drums and with harp. Isaiah 14:32 LXX

Lucretius (98 - c. 55 BC): The Worship of Cybele Wherefore great Mother of gods, and Mother of beasts, And parent of man hath she alone been named. Her hymned the old and learned bards of Greece.... Do name Idaean , giving her Escort of Phrygian bands, since first, they say,	Rev. 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: Rev. 17:5 And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
From out those regions 'twas that grain began Through all the world. To her do they assign The Galli, the emasculate, since thus They wish to show that men who violate The majesty of the Mother and have proved Ingrate to parents are to be adjudged Unfit to give unto the shores of light A living progeny. The Galli come: When Attis, spurious woman, had thus chanted to her comity, the chorus straightway shrills with trembling tongues, the light tambour booms, the concave cymbals clang, and the troop swiftly hastes with rapid feet to verdurous Ida. Then raging wildly, breathless, wandering, with brain distraught, hurries Attis with her tambour, their leader through dense woods, like an untamed heifer shunning the burden of the yoke: and the swift Gallae press behind their speedy-footed leader	Rev. 18:14 And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all. THUS hath the Lord God shewed unto me: and behold a basket of summer fruit. Amos 8:1 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. Amos 8:2 Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog. For dogs have compassed me: the assembly [multitude, swarm] of the wicked have inclosed me: they pierced my hands and my feet. Ps.22:16
And hollow cymbals, tight-skinned tambourines Resound around to bangings of their hands; The fierce horns threaten with a raucous bray; The tubed pipe excites their maddened minds	Rev. 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee;
In Phrygian measures; they bear before them knives, Wild emblems of their frenzy, which have power The rabble's ingrate heads and impious hearts To panic with terror of the goddess' might.	Rev. 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. Rev. 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.

THE MARK OF THE BEAST

Plato