1 Corinthians 13:1-2 - Sounding Brass Tinkling Cymbals

Sounding brass and tinkling cymbals: Peter warned against casual treatment of Paul's writings; Paul warned against speaking in tongues or pagan prophesying (1 Corinthians 11:5) and prophetesses. In 1 Corinthians he equates the sounding to the Familiar Spirit which we first saw after Israel's rejection of God resulted in the musical prophesiers from the Philistine high places. We will look at the classical Greek writers to understand the connection between echoing or ringing musical instruments and the prophesying, often by women, as a way to be able to speak the language from the gods or from angels.

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Ephesians 4 Unity in Diversity Outlaws all of the performing arts.
Ephesians 5 Singing amd Making Melody
Ephesians 6 We Wrestle not with Musical Instruments.
Clangs and Gongs in the Classics

We believe that Paul outlawed instrumental music as a worship device. He called them lifeless instruments and carnal weapons or instruments and associated them with the instruments of warfare. He as well defined away pagan styles of singing and removed external melody and put it in the heart.

See how Paul commands the word SPEAK in relationship to the Word of Logos and dfines the speaking connected to tongues to outlaw any form of musical instrument which cannot send certain signals.  1 Corinthians 14

We have no urge or power to be judgmentally exclusive or judgmentally inclusive. Rather, our goal to to try to understand the Word of God in its historical context.

Whatever your choice of worship activities it is a true act of worship to try to understand Paul's words in the context of 1 Corinthians 13.

The Meaning of to Corinthianize. Click for Strabo to define the paganism in Corinth from which they never recovered.

The Corinthians clearly understood the connection between LIFELESS INSTRUMENTS and singing and speaking in tongues. A prostitute or courtesan is a:

-Korinthios , a, on, Corinthian, Hdt., etc.; K. korê courtesan, Pl.R. 404d; hetairai K. Ar.Pl.149; oinos K. Alex.290; K. kadoi Diph.61.3 . Adv. -iôs in Corinthian fashion, oikos (house, Temple) K. estegasmenos J.AJ8.5.2 :-- fem. Korinthias , ados, hê, St.Byz.:--also Korinthiakos , ê, on, X.HG6.2.9; K. gluphai Ph.1.666 : Korinthikos , AP6.40 (Maced.).

-B. Korê.. the Daughter (of Demeter), name under which Persephone (Proserpine) was worshipped in Attica

Solomon's Temple was built after the Corinthian Order.

-PL.Republic:

[404d] he said, "in that they know it and do abstain." "Then, my friend, if you think this is the right way, you apparently do not approve of a Syracusan table (Phaedrus) and Sicilian variety of made dishes." "I think not." "You would frown, then, on a little Corinthian maid as the chère amie of men who were to keep themselves fit?" "Most certainly." "And also on the seeming delights of Attic pastry?" "Inevitably." "In general, I take it, if we likened that kind of food and regimen to music and song expressed in the Pan Harmonic mode.

Proverbial, like the “Corinthian maid” and the “Attic pastry.” Cf. Otto, Sprichw. d. Rom. p. 321, Newman, Introduction to Aristotle's Politics, p. 302. Cf. also Phaedrus 240 B.

-Pan-harmonic mode... [A. embracing all modes or scales, in neut. of a style of Music, ouk ara poluchordias, II. metaph., complex, elaborate, 2. harmonious, choros  [dance] “ouk ara polukhordias

-Organon , to, ( [ergon, erdô] ) I. an implement, instrument, engine of any kind (mostly post-Aug.), Col. 3, 13, 12.--Of military or architectonic engines (whereas machina denotes one of a larger size and more complicated construction)
A. instrument, implement, tool, for making or doing a thing
3.musical instrument,
2.organ of sense or apprehension, -theaomai, gaze at, behold, mostly with a sense of wonder, 3.view as spectators, esp. in the theatre
Doing hard work in warfare or the shock and awe to cause fright in religious rituals.
(ergon, erdō) I.work, 1. in Il. mostly of deeds of war, polemêïa erga, 3.a hard piece of work, a hard task, Il.: also, a shocking deed or act,

-Polemeios: warlike, aoida war-note, of the trumpet, B.17.4 2. to -kon signal for battle (paiōn p. in Pl.Ep.348b), epeidan ho salpiktēs
-aoid-ê  5. = eppsdê, spell, incantation

-orgi-a , iôn, ta, A.secret rites, secret worship, practised by the initiated, a post-Hom. word ; used of the worship of Demeter at Eleusis, h.Cer.273,476. Ar.Ra.386, Th.948 ; of the rites of the Cabeiri and Demeter Achaia, Hdt.2.51,5.61; of Orpheus, Id.2.81; of Eumolpus, App.Anth.1.318 ; of Cybele, E.Ba.78 (lyr.): most freq. of the rites of Dionysus, Hdt.2.81, E.Ba.34, al., Theoc.26.13.

II. generally, rites, sacrifices, SIG57.4 (Milet., v B. C.), A.Th.179 (lyr.), S.Tr.765, Ant.1013 ; “orgia Mousōn” Ar.Ra.356.

2. metaph., mysteries, without reference to religion, “epistēmēs” Hp.Lex5 ; “tois tēs Aphroditēs o. eilēmmenon” Ar.Lys.832, cf. Ach.Tat.4.1; “ta Epikourou theophanta o.” Metrod.38.—The sg. orgion is rare, Jahresh.13Beibl.29 No.3 (Erythrae, iv B. C.), Luc.Syr.D.16, Orph.H.52.5. (Prob. cogn. with erdō, rhezō, cf. ergon, orgeōn.）

The flute-girls (prostitutes) often used WINE and beer. A courtesan is a hetaira is a harp-playing prostitute:

-Hetaira     Hetairos
1. a companion, Il.; “phormigx.. hēn ara daiti theoi poiēsan he.” Od.17.271, cf. h.Merc.478 ; “Nikēn, hē khorikōn estin he.” Ar.Eq.589 ; “mimētikē., hên daiti (feast) theoi (god) poiêsan (make) hetairên Od.; penia sphin hetaira Theocr.
2. courtesan, Hdt.2.134, Ar.Pl.149, Ath.13.567a,571d, etc.; opp. pornē (a common prostitute), Anaxil.22.1 ; opp. gametē, Philetaer.5 ; Aphroditē he. Apollod.Hist.17.

-Phorm-igx , iggos, hē,

A. lyre, freq. in Hom., esp. as the instrument of Apollo, “phormiggos perikalleos hēn ekh' Apollōn” Il.1.603, cf. 24.63, Od.17.270, Hes.Sc.203; of Achilles, “phrena terpomenon phormiggi ligeiē kalē daidaleē” Il.9.186; with seven strings (after Terpander's time), heptaktupos, heptaglōssos, Pi.P.2.71, N.5.24; “antipsallōn elephantodeton ph.” Ar.Av.219 (anap.).

2. ph. akhordos, metaph. for a bow,

Epic cannot be sung: the Bible is not metrical in the "tuneful" sense but in the accent or emphasis sense.  Lyric poetry was composed to be accompanied by the lyre: still not a "tuneful" sense.

-Rhapsodus Epic verses were originally sung to musical accompaniment, but after the time of Terpander, as lyric poetry became more independently cultivated, the accompaniment of stringed instruments [Cithara; Lyra; Sambuca]. fell into disuse;  and then gradually, instead of a song-like recitation, a simple declamation, in which the rhapsodist held a branch of bay in his hand, came to be generally adopted. This had happened even before the time of Plato and Aristotle (see especially Plato's Ion). As in earlier times the singers moved from place to place, in order to get a hearing at the courts of princes or before festive gatherings, so the rhapsodists also led an unsettled and wandering life.

-Terpander flourished c. 647 BC, , Lesbos, Asia Minor [Greece]Greek poet and musician of the Aegean island of Lesbos. Terpander was proverbially famous as a singer to the accompaniment of the kithara, a seven-stringed instrument resembling a lyre, which he was said to have invented, and from the name of which the word "guitar" derives. He was also credited with important developments in music for that instrument and is said to have won a prize for music at the 26th Olympiad held in Sparta (676/672).

The word "melody" is melos or other words: Psallo is never translated as "melody" in the Greek Texts. The same Paul in Col 3:16 substitutes the word "grace." Simple melody points directly to Apollo or the Apollyon in Revelation.

-Strabo Geography 9.3.10 through this melody  [melos] he means to celebrate the contest between Apollo and the dragon, setting forth the prelude [melous humnein] as anakrousis [anakrou-sis], the first onset of the contest as ampeira, the contest itself as katakeleusmos, the triumph following the victory as iambus and dactylus, the rhythms being in two measures, one of which, the dactyl, is appropriate to hymns of praise, whereas the other, the iamb, is suited to reproaches (compare the word "iambize"), and the expiration of the dragon as syringes, since with syringes (pipes) players imitated the dragon as breathing its last in hissings. (pipings) [surigmos]

-Surig-mos , ho,A. shrill piping sound, hissing, as of serpents, Arist.HA536a6, Str.9.3.10 (pl.); in sign of derision, X.Smp.6.5; as a military signal, Aen. Tact.24.17; “s. kai khleuasmoi” Plb.30.29.6; s. kalōn the whistling of rigging, D.H.Comp.16; of the sound of sibilants, ib.14; hissing in the theatre, Plu.Cic.13; of the cry of elephants, Arr.An.5.17.7; singing in the ears, Dsc.2.78.

The sounding brass was, in effect, a Pipe Organ which reproduced certain pitches of speech or music. The "wind" of the speaker "blew" across the theater into the "pipe" with the same effect of a modern instrument. 1Co 13:1 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. -Q. Horatius Flaccus, Odes 1.17 The pleasures of Lucretilis Tempt Faunus from his Grecian seat; He keeps my little goats in bliss [capellis=She Goats] Apart from wind, and rain, and heat. In safety rambling o'er the sward For arbutes and for thyme they peer, The ladies of the unfragrant lord, Nor vipers, green with venom, fear, Nor savage wolves, of Mars' own breed, My Tyndaris, while Ustica's dell Is vocal with the silvan reed, And music thrills the limestone fell. Heaven is my guardian; heaven approves A blameless life, by song made sweet; Come hither, and the fields and groves Their horn shall empty at your feet. Here, shelter'd by a friendiy tree, In Teian measures you shall sing         Bright Circe and Penelope,         Love-smitten both by one sharp sting. Here shall you quaff beneath the shade Sweet Lesbian draughts that injure none, Nor fear lest Mars the realm invade Of Semele's Thyonian son, Lest Cyrus on a foe too weak Lay the rude hand of wild excess, His passion on your chaplet wreak, Or spoil your undeserving dress. 1Co 13:2 And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 1Co 13:3 And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not charity, it profiteth me nothing. Iamblichus 1.   The chief token may be adduced as follows: Many, through the divine affiatus, are not burned when brought to the fire, nor when the fire touches them. Many, also, who are burned, do not perceive it, because in this case they are not living the life of an animal. Some, also, who are pierced with spits do not feel it; and others who have been struck on the shoulders with axes, and others still whose arms are cut with knives,11 do not mind12 it at all. Indeed, their performances. are not at all usual with human beings. For to those who are divinely possessed inaccessible places become accessible: they are thrown into the fire; they go through fire they pass through rivers like the holy maids in Kastabalis.13 From these examples it is shown that they who are enthusiasts do not have any thought of themselves, and that they do not live a human or an animal life so far as relates to sense or natural impulse, but that they exchange it for another more divine life by which they are inspired and by which they are held fast. 11. This is probably an allusion to the mutilations practiced at Rites like the orgies of the Great Mother. Similar suspensions of sensibility are reported in cases of burning alive and the tortures inflicted upon religious devotees. The enthusiasm or mental ecstasy overcomes the corporeal sensation. 1Co 13:4 Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up, For the literate Paul points to all forms of musical "religion" as pagan. EVEN if you could do all of those things and had no love it would have no value. Paul DOES NOT commend any of them. Remember: We finally gotta tell 'em that we gonna make this church a THEATER FOR HOLY ENTERTAINMEN. Fine, Just in time to fulfill prophecy. I have been waiting for GOD'S spectacle! --THEATRUM The acoustic properties of a Greek theatre would be naturally good, since the actors had a high wall behind them and a rising slope in front. Vitruvius, indeed, says that artificial aid was sought from brazen vessels, which the Greeks call êcheia, so placed in the auditorium as to reverberate the voices of the actors. He even speaks of these resonators as being nicely adapted to the required musical pitch (ii. 1, 9). The theatre at Aizani in Cilicia has a series of niches above the diazôma: and similar niches exist elsewhere. According to one view, these niches held the êcheia, while another connects them merely with the substructions of seats. The statement of Vitruvius leaves no doubt that êcheia were used, at least sometimes, in the theatres of his own day: but it remains uncertain whether such a device was employed by the Greeks of an earlier time. ēkheion , to, (ēkhos) A.drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2. II. in the lyre, = khalkōma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5. 2. Adj. ēkheion organon sounding instrument, ekhidn-a , hē, (ekhis) A.viper, Hdt.3.108, S.Tr.771, Pl.Smp.218a, etc.; prob. of a constrictor snake, Act.Ap.28.3: metaph., of a treacherous wife or friend, A.Ch.249, S.Ant.531; himatismenē e., of woman, Secund.Sent.8; gennēmata ekhidnōn brood of vipers, term of reproach, in Ev.Matt.3.7. II. pr. n. of a monster, Hes.Th.297, S.Tr. 1099. ĕchidna , ae, f., = ekhidna, I.an adder, viper. The Furies were said to have them twined in their hair; “hence: stipite te Stygio tumidisque adflavit Echidnis E tribus una soror,” Ov. M. 10, 313.— II. Nom. prop. A. Lernaea, the Lernaean hydra, killed by Hercules, Ov. M. 9, 69; 158; id. F. 5, 405.— B. A monster, half woman and half serpent, the mother of Cerberus, Ov. M. 4, 501.—Hence, Echidnēus , a, um, adj., of Echidna: “canis,” i. e. Cerberus, Ov. M. 7, 408. cănis (cănes , Plaut. Men. 5, 1, 18; id. Trin. 1, 2, 133 a. Tergeminus, i. e. Cerberus. Ov. A. A. 3, 322; id. Tr. 4, 7, 16; “called also viperius,” id. Am. 3, 12, 26: “Tartareus,” Sen. Herc. Fur. 649: “triformis,” id. Herc. Oet. 1202: Echidnaea. Ov. M. 7, 409; cf.: “infernae canes,” Hor. S. 1, 8, 35; Verg. A. 6, 257; Luc. 6, 733. —  Charis “canibus circumdare saltus,” Verg. E. 10, 57: “hos non inmissis canibus agitant,” id. G. 3, 371: “leporem canibus venari,” The Cymbal or Sistrum was the BADGE of the prophetess of Hathor and was used by Miriam as the MARK that Israel's FIRST sin was to SING God's praise just across the dead sea with no intention of obeying God's Will --Cymbălum , i, n. ( I.gen. plur. cymbalum, Cat. 63, 21), = kumbalon, a cymbal. I. Prop., an instrument consisting of two hollow plates of brass, which emit a ringing sound when struck together. They were used in the festivals of Cybele and Bacchus, and on other festive occasions; also to hinder the flight of bees, etc. (usu. in plur.), Lucr. 2, 619; Cat. 63, 21; 63, 29; Ov. F. 4, 213; Verg. G. 4, 64; Liv. 39, 8; Cic. Pis. 9, 20 sq.; Plin. 5, 1, 1, § 7; Quint. 11, 3, 59; Plin. Ep. 2, 14, 13.— B. Transf., in hydraulics, a sounding basin of similar form, a bell, Vitr. 10, 8, 5.— II. Trop.: Apion Grammaticus, hic quem Tiberius Caesar cymbalum mundi vocabat, i. e. as making the world ring with his ostentatious disputations, Plin. H. N. praef. § 25; cf. Verg. Cat. 7, 5 Wagn.; App. Orth. § 8 p. 129 Mai. --CY´MBALUM The cymbal was a very ancient instrument, and unquestionably came from the East, where among other nations it was familiar to the Jews (see Dict. of Bible, s. v.). It is represented in a Phoenician bronze from Cyprus, now in the Cesnola collection at New York (D. and S. i. 1697 a). We find sacred trees depicted with cymbals hung on them as votive offerings, so as to be blown about by the wind (Guhl and Koner, p. 5, fig. 1). Among the Greeks and Romans they were especially used in orgiastic rites of Eastern origin, like those of Cybele (Pind. fragm. 48 = 79 Bergk4; Lucret. ii. 618; Catull. lxiii. 29; Verg. Georg. iv. 64; Propert. iv. 7, 61; Ov. Fast. iv. 213) and Dionysus (Aesch. fragm. cit.; Liv. xxxix 8 fin., 10), as well as in the Eleusinian mysteries of Demeter and Cora (Pind. Isthm. vi. 3; Clem. Alex. Protrept. 2, § 15, p. 14; Schol. Aristoph. Acharn. 708). It will be noticed how constantly, in these passages, the cymbal and the tympanum are coupled together. Art monuments tell the same tale as literature, both as to the joint use of the two instruments and the deities in whose worship they occur. A cymbal figured in Daremberg and Saglio (i. 1697 b) is a votive offering to Cora. As with the crotalum, the performers represented on works of art are mostly females. As with the crotalum, the performers represented on works of art are mostly females. Verg. Georg. iv. 64; The Georgics IV Virgil For then 'tis ever the fresh springs they seek And bowery shelter: hither must you bring The savoury sweets I bid, and sprinkle them, Bruised balsam and the wax-flower's lowly weed, And wake and shake the tinkling cymbals heard By the great Mother: on the anointed spots Themselves will settle, and in wonted wise Seek of themselves the cradle's inmost depth.   But if to battle they have hied them forth- For oft 'twixt king and king with uproar dire Fierce feud arises, and at once from far You may discern what passion sways the mob, And how their hearts are throbbing for the strife; Hark! the hoarse brazen note that warriors know Chides on the loiterers, and the ear may catch A sound that mocks the war-trump's broken blasts; -ēkheion , to, (ēkhos) A. drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2. II. in the lyre, = khalkōma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5. 2. Adj. ēkheion organon sounding instrument, Ph.1.588, cj.ib.444,510. 10. -Organon, 3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organôn ekêlei anthrôpous, of Marsyas, Pl.Smp.215c ; aneu organôn psilois logois ibid., cf. Plt.268b ; o. poluchorda Id.R.399c , al.; met' ôidês kai tinôn organôn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2. -ēkhetēs , ou, ho, Ep. ēkheta^ , Dor. akhetas , akheta^ , (ēkheō) A. clear-sounding, musical, shrill, “donax akhetas” A.Pr.575 (lyr.); “kuknos” E.El.151 (lyr.); epith. of the cicada, chirping, “ēkheta tettix” Hes.Op.582, AP 7.201 (Pamphil.); akhetat. ib.213 (Arch.): abs., akhetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. ēkheta porthmon the sounding strait. -Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]  2. shepherd's pipe, Pi. P.12.25 (pl.), A.Pr.574 (lyr.), Theoc.20.29.   Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?   -Don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree kardian to agitate one's mind, hêmas edonêsen hê mousikê, II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humnōn rouse the voice of song, Pi.N.7.81:—also in Med. or Pass., “luran te boai kanakhai t' aulōn doneontai” Id.P.10.39; of bees, Choeril.2; “rhoizēmasin aithēr doneitai” Ar.Av.1183.—Poet. word, used in Ion., X.Smp.2.8, and late Prose; of medical percussion, Aret.SD2.1. "Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.  -Hippolytus V "Yobal made reed instruments, and harps, and flutes, and whistles,          and the devils went and dwelt inside them.         When men blew into the pipes, the devils sang inside them,   And Satan had been made ruler (or prince) of that camp          Fol. 12b, col. 2. And when the men and women were  stirred up to lascivious frenzy by the devilish playing of the reeds which emitted musical sounds, and by the harps which the men played through the operation of the power of the devils, and by the sounds of the tambourines and of the sistra which were beaten and rattled through the agency of evil spirits, the sounds of their laughter were heard in the air above them, and ascended to that holy mountain. But what went ye out for to see? A man clothed in soft (clothes of a Catamite=male prostitute) raiment? Behold, they which are gorgeously apparelled, and live delicately (effeminate), are in kings courts. Luke 7:25 They expected that the "prophesiers" would be male prostitutes who would help you locate a goat or serve your needs. Jesus identifies the HYPOCRITES by point to Isaiah and Ezekiel 33 to point directly to the "love" songs and well played instruments.   Luke 7:26 But what went ye out for to see? A prophet? Yea, I say unto you, and much more than a prophet.   -Pi.N.7.81 Pindar, Nemean Odes 7   [9] For he lives in a city that loves music, the city of the Aeacidae with their clashing spears; [10] and they very much want to foster a spirit familiar with contests. If someone is successful in his deeds, he casts a cause for sweet thoughts into the streams of the Muses. For those great acts of prowess dwell in deep darkness, if they lack songs, and we know of only one way to hold a mirror up to fine deeds   [15] if, by the grace of Mnemosyne with her splendid headdress, one finds a recompense for toils in glorious song. [17] Skillful men know the wind that will come on the day after tomorrow, and they do not suffer loss through the love of gain. The rich man and the poor man alike travel together to the boundary of death. [20] And I expect that the story of Odysseus came to exceed his experiences, through the sweet songs of Homer, [22] since there is a certain solemnity in his lies and winged artfulness, and poetic skill deceives, seducing us with stories, and the heart of the mass of men is blind.   Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly. On this spot it is fitting to sing with a gentle voice of the king of gods. To plough the same ground three or four times [105] is poverty of thought, like babbling "Corinth of Zeus" to children. Id.P.10.39 Pindar.Neaman 10. [31] Once Perseus, the leader of his people, entered their homes and feasted among them, when he found them sacrificing glorious hecatombs of donkeys to the god. In the festivities of those people [35] and in their praises Apollo rejoices most, and he laughs when he sees the erect arrogance of the beasts. [37] The Muse is not absent from their customs; all around swirl the dances of girls, the lyres loud chords and the cries of flutes. [40] They wreathe their hair with golden laurel branches and revel joyfully. No sickness or ruinous old age is mixed into that sacred race; without toil or battles [43] they live without fear of strict Nemesis. The Muses work for Apollo, Abaddon or Apollyon. The Muses are identified as the LOCUSTS who werel to be unleashed by Apollo the "having fallen star." -Tettix cicala, Cicada plebeia or allied species, a winged insect fond of basking on trees, when the male makes a chirping or clicking noise by means of certain drums or 'tymbals' underneath the wings, a prov. for garrulity, and Plato calls them hoi Mousōn prophētai, Phdr.262d; but they also became a prov. for garrulity, “lalein tettix” Aristopho10.7: “t. polloi ginomenoi nosōdes to etos sēmainousi”   Musical prophesying is defined by John in Revelation as SORCERERS.   Usually used with: -Aeidō compare the morphological problems with aeirō I. to sing, Il., etc.:—then of any sound, to twang, of the bowstring, Od.; to whistle, of the wind, Mosch.; to ring, of a stone struck, Theocr. II. trans., 1. c. acc. rei, to sing, chant, mēnin, paiēona, klea andrōn Hom.:—absol., aeidein amphi tinos to sing in one's praise, Od.:—Pass., of songs, to be sung, Hdt.; asma kalōs asthen Xen. -Aeirō , Ep., Ion., and poet.; airō (once in Hom., v. infr.), Att. and Trag. (exc. A. Th.759, Pers.660, both lyr.); Aeol. aerrō , Alc.78: impf. ēeiron （sun-) Il.10.499, Hdt.2.125, Ep. 2. raise by words, hence, praise, extol, E.Heracl.322, etc.; ai. logō to exaggerate, D.21.71. 2. ogkon arasthai to be puffed up, S.Aj. 129; “thaumaston ogkon aramenoi tou muthou” Pl.Plt.277b. FORBIDDEN FOR THE EKKLESIA OR CHURCH ASSEMBLY Romans 15:1 We then that are strong ought to bear the infirmities of the weak,         and not to please ourselves. G700 areskō ar-es'-ko Probably from G142 (through the idea of exciting emotion); to be agreeable (or by implication to seek to be so):—please. G142 airō ah'ee-ro A primary verb; to lift; by implication to take up or away; figuratively to raise (the voice), keep in suspense (the mind); specifically to sail away (that is, weigh anchor); Romans 15:2 Let every one of us please his neighbour for his good to edification. These are the LOCUSTS or musical performers under Apollo who is the Apollyon or Abaddon of John. In Revelation 17 they SERVE the Babylon Harlot and the singers and musicians in Revelation 18:22 are called SORCERERS by which they deceived the world. Sounding brass intends to DECEIVE and overpower the paying audience. That is why when Moses heard idolaltry at Mount Sinai he said: "It is SINGING that I heard." Paul put the SPEAK or SAY in the human spirit and said nothing about external MUSIC.

Summary:

Paul had just listed all of the spiritual gifts in First Corinthians chapter 12 and defined their use.

Then he described "a better way" where love forbids imposing legalistic or pagan forms of worship.
Because the Corinthian church was still "carnal" and not spiritual, and could not solve their least problem, Paul used common irony to ridicule the whole church.

For instance, if Pavarotti comes into our church and says: "I see that you are all singing opera; I wish that you could all sing opera." Do we foolishly take this as a compliment and a recommendation that we all sing opera in church assembly each week? Or, are we just a bit skeptical and understand Pavarotti, like Paul, to say, "But, you don't all have the gift of opera, do you?" Oh, how crushing Jesus and Paul could be but those who have already wounded their souls will think that they are kidding.

If we understand his "hard to understand writing" we see Paul's comments about singing and speaking non-Biblical messages as just making fun of Corinth as a parable-like warning. According to Jesus' definition of parables "to fool the insincere," Paul uses key words which point directly back to the idolatry of Israel and pagan, Babylon-type worship rituals. They didn't like the Words of Christ and were just looking for a better deal direct from the heavens or the gas vent at Delphi.

Furthermore, by the "hard to be understood" symbols used by Paul, we understand that he is directly connecting their music and speaking in tongues to the old Greek paganism out of which many had just come, bringing along their musical instruments which was the key weapon to bring on charismatic prophesying or madness. This is the understanding that a well-informed Corinthian would have had. This is why secular history records no instrumental music after Paul had "cleaned their plow."

In 1 Corinthians 10 Paul had warned against the musical worship of Apis at Mount Sinai.

"From time immorial music had been especially valued in the service of prophecy. Pliny the Elder gives us a report of the cult of Apis:

"In Egypt an ox is honored in place of the god. He is called Apis and he lives in isolation. If he ever goes among the people he stalks along while the lictors make way for him and throngs of boys accompany him, singing songs in his honor.

He appears to understand what is happening and seems to wish to be adored.
The throngs [of boys] suddenly become inspired and prophesy the future. (Pliny, Natural History)
Consequently Apollo was god of prophets and musicians and Pan was god of medicine, music and divination. Also recorded by Heredotus..

Origen Book VI, Chapter XLI.

In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysus, an Egyptian musician,

the latter told him, with respect to magic arts, that it was only over the uneducated and men of corrupt morals that they had any power,while on philosophers they were unable to produce any effect, because they were careful to observe a healthy manner of life."

Click Here for more on Egyptian worship with music adopted by Israel at Mount Sinai.
Click Here to see what "rising up to Play meant."
Click Here to see how Israel lost the Covenant and was cursed with the Law.

The Out of Assembly Uncovered Prophesying 1 Corinthians 11

"The Hithpa'el of nb', in the ancient texts, refers to ecstasy and delirium rather than to the emission of a 'prophecy'." (de Vaux, Roland, The Bible and the Ancient Near East, p. 243, Doubleday)

"Maniac inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed or glaring eyes--

have no place in the self-controlling dignity of Christian inspiration. Even Jewish prophets, in the paroxysm of emotion, might lie naked on the ground and rave (1 Sam. xix. 24);

but the genuine inspiration in Christian ages never obliterates the self-consciousness or overpowers the reason. It abhors the hysteria and stimulation and frenzy which have sometimes disgraced revivalism and filled lunatic asylums." (Pulpit Commentary, 1 Cor., p. 460).

David's praise was often a form of madness:

Halal (h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

"In the environment in which Christianity arose was surcharged with such phenomena (raving prophecy). In the Greek oracles messages were uttered by priests or priestesses in a state of ecstasy,

consciousness being in abeyance, and it was necessary to interpret them to the laity, as both Plutarch and Heraclitus testify... In the orgies of the cult of Dionysus music, dancing, drink, and other means were employed to supereninduce the ecstatic state, in which the devotees ate raw flesh, disported themselves with frenzied enthusiasm in the forests, and indulged in wild phallic excesses.

The ecstatic person was 'in the divinity' and out of normal consciousness. Cicero makes prophecy and madness practically synonymous." (Clark, Elmer T., The Small Sects in America, p. 86, Abingdon)

"The religious ecstasy induced by music expressed itself either in an outburst of emotions,
        thus giving rise to religious catharsis,
        or in a transfer to the state of prophecy.

In this way music became an important factor in divination. In the mysteries of the Magna Mater this relationship between music and divination is particularly clear.

Through the din of tambourines, cymbals and flutes the ecstatic worshiper of the goddess prophesied the future to those present.

Bronze cymbals from Luristan (Iran), 9th-7th centuries B.C.

In Aeschylus Agamemnon:

Cassandra

And now, no more shall my prophecy peer forth from behind a veil like a new-wedded bride; but it will rush upon me clear as a fresh wind blowing against the sun's uprising so as to dash against its rays, like a wave, a woe far mightier than mine.

No more by riddles will I instruct you. And bear me witness, as, running close behind, ] I scent the track of crimes done long ago.
For from this roof never departs a choir chanting in unison, but singing no harmonious tune; for it tells not of good. And so, gorged on human blood, so as to be the more emboldened, a revel-rout of kindred Furies haunts the house, hard to be drive away.

Lodged within its halls they chant their chant, the primal sin; and, each in turn, they spurn with loathing a brother's bed, for they bitterly spurn the one who defiled it. Have I missed the mark, or, like a true archer, do I strike my quarry?

Or am I prophet of lies, a door-to-door babbler? Bear witness upon your oath that I know the deeds of sin, ancient in story, of this house.

Chorus

How could an oath, a pledge although given in honor, effect any cure? Yet I marvel at you that, though bred beyond the sea, you speak truth of a foreign city, even as if you had been present there.

"In Greek ritual the sacrifice was accompanied by the invocatory cries of women.
        Their purpose was to call the good gods so that they cound enjoy the sacrifice.
        Music had the same character of epiclesis. It was understood to "call down" the good gods.

Menander attests to the attribution of this significance to music. According to Plutarch,

the inhabiants of Argos blew trumpets on the feast of Dionysos so as to call the god up from the depths of the river Lerne for the sacrifice.

Because song and music increased the efficacy of the epiclesis the words of epiclesis were nearly always sung to instrumental accompaniment.

Thus the Dionysian fellowship used the ritual of women in order to obtain the appearance of their god.

Arnobius alludes to such songs of the pagans performed to flute accompaniment, and he mockingly asks whether the sleeping deities will be awakened by them." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 17)

Euripides Iphigeneia in Taurus 1123

And you, lady, the Argive penteconter will bear you home; [1125] the wax-bound reed of the

mountain god Pan, piping, will shout to the oars,
and Phoebus the prophet, with the ring of his seven-stringed lyre,
singing, will guide you well to the gleaming land of the Athenians. Leaving me here, you will go with splashing oars. In the breeze, the forestays of the ship that carries you swiftly will spread out over the front beyond the prow.

May I come to the bright race-course, where the sun's fire goes; [1140] over the chambers of my home, may I cease to flutter the wings on my back.

May I take my stand in the dances of glorious marriages, where I stood as a maiden, [1145]

twirling about in the dancing bands of other girls, away from my dear mother; rushing on to the contest of charms, the luxuriant strife of hair, I covered my cheeks with the multi-colored veil [1150] and shadowed them with the locks of my hair.

"I saw in Byblos a great temple of Aphrodite of Byblos, in which they perform ceremonies in memory of Adonis, and I was told about the ceremonies. They say that the story of Adonis and the boar actually took place in their country, and in memory of this unhappy incident, they beat their breasts each year and wail and perform certain rites, and hold a great funeral ceremony throughout the whole land. When they have given their breasts a good beating and done enough weeping, they first bring presents to Adonis as though to a dead man;

but then, the morning after, they say that he is alive and up in the air.

Then they shave their heads as the Egyptians do at the death of Apis. As for the women, all those who do not wish to be shaved pay the following forfeit: for one day, they must put their beauty on sale, but the market is open only to strangers, and the price is used for a sacrifice to Aphrodite." (de Vaux, p. 224-225)

"Singing served as a means of inducing ecstatic prophecy (speaking in tongues).

Thus the essential relationship between music and prophecy can be clearly seen.
This relationship also explains why the expression for "making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67.The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

The other form of prophecy could be truly revealing a message from God by a unique designated prophet. There were no true prophets in Corinth. In addition, one becomes a "prophet" when they deliver a previously-inspired message.

Paul begins 1 Corinthians chapter 13:1

THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding , or a tinkling cymbal. 1 Corinthians 13:1

Tongues are from the Greek:
Glossa (g1100) gloce-sah'; of uncert. affin.; the tongue; by impl. a language (spec. one naturally unacquired): - tongue.

We should understand that the Judas bag was the:

Glossokomon (g1101) gloce-sok'-om-on; from 1100 and the base of 2889; prop. a case (to keep mouthpieces of wind-instruments in), i.e. (by extens.) a casket or (spec.) purse: - bag.

Speaking to the end-time horde of plague bringers restricted to a small tribe, the Catholic Encyclopedia notes:

"It seems that in addition to the public and official cult of the "twelve great gods" and their subordinate divinities, the Assyrians had a more sacred and secret religion,

a religion of mystery and magic and sorcery.

These "religious" texts, moreover, together with a mass of talismanic inscriptions on cylinders and amulets, prove the presence of an exceedingly rich demonology. Below the greater and lesser gods there was a vast host of spirits, some of them good and beneficent and some of them evil and hurtful. And these spirits were described and classified with an exactness

which leads some to liken the arrangement to that of the choirs and orders of our own angelic hierarchy.

The antiquity and importance of this secret religion, with its magic and incantations of the good spirits or evil demons, may be gathered from the fact that by order of King Assurbanipal his scribes made several copies (songbooks) of a great magical work according to a pattern which had been preserved from a remote antiquity in the priestly school of Erech in Chaldea.

Paul used a word similar to the FAMILIAR SPIRIT of the Witch of Endor: an old wineskin from its hollow sound. Paul was speaking of the sorcerers which included rhetoricians, sOPHISts (serpents), singers and musicians:

THOUGH I speak with the tongues of men and of angels, and have not charity,
        I am become as sounding brass, or a tinkling cymbal. 1 Cor 13:1

La^l-eō, Mark of the Locusts II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday,  III.  of musical sounds, “aulō [flute] laleō” Theoc.20.29; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echo,  magadin lalein sound the magadis,  [double flute]

Aggelos ,  of a loquacious person 2.  generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet
Aggelos , ho, hē,

A. messenger, envoy, Il.2.26, etc.; “di' aggelōn homileein tini” Hdt.5.92.z, cf. SIG229.25 (Erythrae):— prov., Arabios a., of a loquacious person, Men.32.
2. generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet,“aggelon glōssan logōn” E.Supp.203; “aisthēsis hēmin a.” Plot.5.3.3; neut. pl., “aggela nikēs” Nonn.D.34.226.

4. In later philos., semi-divine being, “hēliakoi a.” Jul.Or.4.141b,  “a. kai arkhaggeloi”  also in mystical and magical writings, “aggela nikēs”

nik-ēi_, hē,  II. pr. n., Nike, the goddess of victory, Hes.Th.384, cf. Pi.I.2.26, etc.; “Nikē Athana Polias” S.Ph.134, cf. E. Ion457 (lyr.), 1529.

Eur. Supp. 203 Theseus
[195] Full often have I argued out this subject with others. For there are those who say, there is more bad than good in human nature; but I hold a contrary view, that good over bad predominates in man, [200] for if it were not so, we should not exist. He has my praise,
        whichever god brought us to live by rule from chaos and from brutishness,
        first by implanting reason, and next by giving us a tongue to declare our thoughts,
        so as to know the meaning of what is said..

And where sight fails us and our knowledge is not sure, the seer foretells by gazing on the flame, by reading signs in folds of entrails, or by divination from the flight of birds.
        Are we not then too proud, when heaven has made such [215] preparation for our life,
                 not to be content with it?
        But our presumption seeks to lord it over heaven,
                 and in the pride of our hearts we think we are wiser than the gods.

Chalkos (g5475) khal-kos'; perh. from 5465 through the idea of hollowing out as a vessel (this metal being chiefly used for that purpose); copper (the substance, or some implement or coin made of it): - brass, money.

Chaldaios (g5466) khal-dah'-yos; prob. of Heb. or. [3778]; a Chaldoean (i.e. Kasdi), or native or the region of the lower Euphrates: - Chaldaean.

Kasdiy (h3778) kas-dee' (occasionally with enclitic kasdymah, kas-dee'-maw; towards the Kasdites: -into Chaldea), patron. from 3777 (only in the plur.); a Kasdite, or desc. of Kesed; by impl. a Chaldoean (as if so descended); also an astrologer (as if proverbial of that people: - Chaldeans, Chaldees, inhabitants of Chaldea

Dodona: ancient sanctuary of the chief Greek god, Zeus, in Epirus, Greece; the ceremonies held there had many remarkable and abnormal features. The earliest mention of it is in the Iliad (xvi, 234), where its priests are called the Selloi (or Helloi) and are described as "of unwashen feet, sleeping on the ground." The description suggests worshipers or servants of an earth goddess or of some chthonian power with whom they kept in continual contact, day and night. Homer (Odyssey, xiv, 327) was also the first to mention the oracle at Dodona.

A tree (or trees) was reputed to give oracles, presumably through the rustling of its leaves and other sounds. Herodotus, but no earlier writer, mentions priestesses, whom he describes as the givers of the oracles, doubtless under some kind of inspiration from the god.

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 talker 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 Dodna.

The tale is, that Jupiter presented his daughter Theb with two black 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

Our goal is not to convert you; it is to try to fill in the lacking information when people use evidence like "it might have been" as authority. See how scholars link Psalms (psalloing) with the spiritual world and singing to the earthly realm or KOSMOS:

"Psallo is best translated by chant, not sing. The Greeks sharply distinguish chanting (psalmodia) from singling (tragoudi). The first is a sacred activity; the second, a secular one. In English, unfortunately, the distinction is not sharp, and the word singing is frequently employed to refer to the sacred activity of chanting. A Greek would never, never say tragoudo (I sing), instead of psallo; the two terms have connotations and associations which are worlds apart --

the first is related to the earthly realm, 1 13:,
the second to the heavenly."

(Letter to James D. Bales of Harding University, September 22, 1959, from Constantine Cavarnos, of the Institute for Byzantine and Modern Greek Studies, 113 Gilbert Road, Belmont 78, Massachusetts.)

This is really speaking in tongues of the Kosmos or world. And this effeminate principle was involved in the worship the Corinthians brought with them past the "waters of baptism" just as Israel brought "Egyptian, musical worship and female prophesying with instruments" past the baptismal waters of the Red Sea. Paul directly connects the two in 1 Corinthians 10:20 and Romans 10:5. The following illustration is common in the pagan use of music to bring on charismatic speaking in tongues. Remember that Paul said, "Don't get drunk on wine?" Well, the fellow on the right is carrying the crooked stick to keep from falling down during his dance which the Jewish clergy tried to induce into Jesus with "piping" trying to force Him to dance. They even accused Him of drinking alcohol!

"A fourth-century BC hymn in honor of Dionysus contains the invocation: 'Come to us, King Dithyramb, Bacchus, god of the holy chant.'" Dithurambos, Dithyramb "comes to be used of a Dionysiac song which possessed some infectious quality that led his votaries to take it up as a ritual chant. Later it became the subject for competition at Dionysiac festivals, and with its formalization it lost any spontaneity it may have possessed originally." "At the beginning of the fifth century BC tragedy formed part of the Great Dionysia, the Spring festival of Dionysus Eluethereus. Three poets completed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross Psalm 41 prophesied that Judas would not "triumph over Messiah." (with wind instruments). The clergy tried to get Jesus involved in an identical affair. You don't have to strip naked to expose yourself.

Sketch from vase:. The fawn or leapord-skin flute bag is to the right and the square box is the Judas Bag. The kings from the East or Babylon are coming to your neighborhood (Revelation 16:12) but their instruments and musicians will be lost (Rev 18) as those things which the Babylonian church "lusts after": And I saw three unclean spirits like frogs (quack messages) come out of the mouth of the dragon, and out of the mouth of the beast, and out of the mouth of the false prophet. Rev 16:13 For they are the spirits of devils (demons or evil angels who distributes fortunes), working miracles, which go forth unto the kings of the earth and of the whole world, to gather them to the battle of that great day of God Almighty. Rev 16:14 Behold, I come like a thief! Blessed is he who stays awake and keeps his clothes with him, so that he may not go naked and be shamefully (homosexual) exposed." Rev 16:15 And he gathered them at a place called Armageddon.

The Voice of Angels and the Mysteries 1 Corinthians chapter 13:,

The good angels sent by God were always able to speak Hebrew to a Hebrew and I am sure they could speak English to us if God wanted them to. Therefore, there is no spiritual "voice of angels." However, as Paul used the generic word for "gods" he also used the world or kosmos principle of having angels come to you and speak angelic tongues. Not even the best performer would have value in the church assembly. Paul had read the Greek writers who spoke of the tongues of angels to send messages.

See that Paul was speaking of the 70 DIALECTS or TONGUES. Most of the people at Corinth--probably meeting at Cenchrea--were travellers. Therefore, in the common dialog of a REAL church or ekklesia or school of the Bible people would attempt to sing, pray or preach in their native dialect. Because most could understand the commercial language, Koine, Paul wanted them to speak in the SPIRIT and then INTERPRET or have someone interpret into the language of the majority. Then they must speak about Scripture which is "prophesying" if in your Amen you can say "Thus Saith the Lord."

If, as in the synagogue which Paul promotes to allow unity in diversity, they spoke with one mind and one voice "that which was written" they could glorify God. Diverse backgrounds of the Dionysiacs and Orphics would not be DIVISIVE because it wasn't allowed in the synagogue or church.

Tertullian, Apology: Chapter XXIII.

Moreover, if sorcerers call forth ghosts, and even make what seem the souls of the dead to appear; if they put boys to death, in order to get a response from the oracle; if, with their juggling illusions, they make a pretense of doing various miracles; if they put dreams into people's minds by the power of the angels and demons whose aid they have invited, by whose influence, too, goats and tables are made to divine,-

how much more likely is this power of evil to be zealous in doing with all its might, of its own inclination, and for its own objects, what it does to serve the ends of others! Or if both angels and demons do just what your gods do, where in that case is the preeminence of deity, which we must surely think to be above all in might?

Will it not then be more reasonable to hold that these spirits make themselves gods, giving as they do the very proofs which raise your gods to godhead, than that the gods are the equals of angels and demons?

You make a distinction of places, I suppose, regarding as gods in their temple those whose divinity you do not recognize elsewhere; counting the madness which leads one man to leap from the sacred houses, to be something different from

that which leads another to leap from an adjoining house; looking on one who cuts his arms and secret pans as under a different furor from another who cuts his throat. The result of the frenzy is the same, and the manner of instigation is one.

Aristotle Poetics 1456a identifies the NEW STYLE WORSHIP defined by Fred Peatross which is quite identical to the ancient worship where the SORCERER manipulates the people into RELIGION whereas the ekklesia is a synagogue or school of the Bible.

The fourth element is spectacle, like the Phorcides and Prometheus, and all scenes laid in Hades. One should ideally try to include all these elements or, failing that, the most important and as many as possible, especially since it is the modern fashion to carp at poets, and,

because there have been good poets in each style, to demand that a single author should surpass the peculiar merits of each.

Note: The text is obscure, and our ignorance of the play or rhapsody adds to the darkness,
but the reference may be to the ruse, common in detective stories,
        of misleading the audience by false clues in order to make the final revelation more effective.

Of the Essenes, it is demanded of one initiated into the mysteries: "that he will keep his hands clear from theft, and his soul from unlawful gains; and that he will neither conceal any thing from those of his own sect, nor discover any of their doctrines to others, no, not though anyone should compel him so to do at the hazard of his life.

(Note: Those given to mysteries in music and speaking in tongues used language which hid their "trade secrets" from the people {as did the Levites}. They had no interest in teaching you how to live but to impress you that they had a direct connection to the gods)

Moreover, he swears to communicate their doctrines to no one any otherwise than as he received them himself; that he will abstain from robbery, and will equally preserve the books belonging to their sect, and the names of the angels or messengers.

These are the oaths by which they secure their proselytes to themselves.

(Note: They, of course, pretended that the "tongues of angels" revealed a secret message to them which should never, never be "preached" into all the world. It, like speaking in tongues, was for self edification and had no real spiritual value):

Translators Note 58: This mention of the "names of angels," so particularly preserved by the Essenes, (if it means more than those "messengers"

which were employed to bring them the peculiar books of their Sect, looks like a prelude to that "worshiping of angels," blamed by St. Paul, as superstitious and unlawful, in some such sort of people as these Essense were, Colossians 2:8; as is the prayer to or towards the sun for his rising every morning, mentioned before, very like those not much later observances made mention of in the preaching of Peter, Authent. Rec. Part II. p. 669,

Beware lest any man spoil you through philosophy and vain deceit, after the tradition of men, after the rudiments of the world, and not after Christ. Col 2:8

and regarding a kind of worship of angels, of the month, and of the moon, and not celebrating the new moons, or other festivals, unless the moon appeared.

Which, indeed, seems to me the earliest mention of any regard to the phases in fixing the Jewish calendar, of which the Talmud and later Rabbins talk so much, and upon so very little ancient foundation.) Flavius Josephus The Jewish War 2.137, Whiston)

Remember that Paul has equated musical instruments not used for the proper military signals but for creating a pagan form of religion, to speaking in tongues. There was always music and speaking in tongues in contrast to filling up with the Word of Christ and then letting the overflow be used to teach one another so that the melody will be in the heart and directed to God who is Lord Jesus Christ. Trying to get a message from the Holy Spirit while bypassing the Words of Christ was and is an overwhelming temptation for those who would hide the Words from you and substitute as singing the hollow philosophy using the Judas-Bag principle of the Kosmos or the adorning world (the effeminate principle in the classics).

As Josephus' translator connects the voices of angels and the worship of angels to Colossians 2:8 it may help to compare the context with Paul's restatement in Colossians 3 as he speaks of singing contrasted to the music from the traditions of the world or from Jewish traditions:

Plutarch Brutus 37 "The spirit (of angels speaking to him) presently vanished away: and Brutus called his men unto him, who told him that they heard no noise, nor saw anything at all. Thereupon Brutus returned again to think on his matters as he did before: and when the day brake, he went unto Cassius, to tell him what vision had appeared unto him in the night. Cassius being in opinion an Epicurean, and reasoning thereon with Brutus, spake to him vouching the vision thus."

"In our sect, Brutus, we have an opinion, that we do not always feel or see that which we suppose we do both see and feel,

but that our senses being credulous and therefore easily abused (when they are idle and unoccupied in their own objects) are induced to imagine they see and conjecture that which in truth they do not.

For our mind is quick and cunning to work (without either cause or matter) anything in the imagination whatsoever. And therefore the imagination is resembled to clay, and the mind to the potter: who, without any other cause than his fancy and pleasure, changeth it into what fashion and form he will.

And this doth the diversity of our dreams shew unto us. For our imagination doth upon a small fancy grow from concept to concept, altering both in passions and forms of things imagined. For the mind of man is ever occupied, and that continual moving is nothing but an imagination. But yet there is a further cause of this in you.

For you being by nature given to melancholic discoursing, and of late continually occupied,
your wits and senses , having been over-laboured, do easier yield to such imaginations.

For, to say that there are spirits or angels; and if there were, that they had

the shape of men, or
such voices or any power at all to come unto us,
it is a mockery.

And for mine own part, I would there were such, because that we should not only have soldiers, horses, and ships, but also the aid of the gods, to guide and further our honest and honourable attempts."

The common people who heard Jesus readily while the scholars rejected him fully understood that the speaking in tongues of the pagans was like a parlor game or a visit to a palm reader. They knew that the voice from the echo chamber or old wineskin made into a musical instrument was not really the voice of the angels. For this reason, God sent men speaking in tongues to fool the fools (experts in the law) on the day of Pentecost while the common people heard the pure gospel in the pure words of their own language.

Scripture clearly shows that while messages may be sent by men as angels, supernatural beings including Christ the Spirit do not speak to uninspired men nor through them. However, even it this happened, the message would not be as valuable as love for Christ, love for His revelation and love for the "audience" we are trying to fool just because they are still simple-minded and just out of pagan angelic messages spoken by the prophetesses as she gets drunk on fumes from her hollow place in the earth.

Sounding in Hebrew: Again, we quote

Dodona: ancient sanctuary of the chief Greek god, Zeus, in Epirus, Greece; the ceremonies held there had many remarkable and abnormal features. The earliest mention of it is in the Iliad (xvi, 234), where its priests are called the Selloi (or Helloi) and are described as "of unwashen feet, sleeping on the ground." The description suggests worshipers or servants of an earth goddess or of some chthonian power with whom they kept in continual contact, day and night. Homer (Odyssey, xiv, 327) was also the first to mention the oracle at Dodona. A tree (or trees) was reputed to give oracles, presumably through the rustling of its leaves and other sounds. Herodotus, but no earlier writer, mentions priestesses, whom he describes as the givers of the oracles, doubtless under some kind of inspiration from the god.

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 talker who has nothing to say.

Sounding includes the silver trumpets ordained by God to which He assigned certain "clear" signals. If the priestly trumpeter gave an "unclear" sound you wouldn't know whether to march, attack or retreat for your lives. If the children got hold of the instruments and tried to get their playmates to sing, dance, march, get married or die on signal from the sound of the trumpet, the security of the entire nation would be at risk.

And it came to pass, when the priests were come out of the holy place: (for all the priests that were present were sanctified, and did not then wait by course: 2 Chronicles 5:11

Also the Levites which were the singers, all of them of Asaph, of Heman, of Jeduthun, with their sons and their brethren, being arrayed in white linen, having cymbals and psalteries and harps, stood at the east end of the altar, and with them an hundred and twenty priests sounding with trumpets:) 2 Chronicles 5:12

Chacar (h2690) khaw-tsar'; a prim. root; prop. to surround with a stockade, and thus separate from the open country; in (2 Chron. 5:12) as dem. from 2689; to trumpet, i. e. blow on that instrument: - blow, sound, trumpeter

"Sounding" under the worship of the Israelite state deliberately created division between the "clergy" and that small part of the "congregation" present. The common Jews were excluded from the animal sacrifices when the music began. Their duty was to fall on their face "outside the gates." To speak in the language of "song" or "dance" in a congregation which understands English is to build a wall between the performers and the audience.

Sounding in Greek is:

Echeo (g2278) ay-kheh'-o; from 2279; to make a loud noise, i.e. reverberate: - roar, sound.

Echos (g2279) ay'-khos; of uncert. affin.; a loud or confused noise ("echo"), i.e. roar: fig. a rumor: - fame, sound.

Sounding in Greek Mythology Which Paul undoubtedly understood

Echo

in Greek mythology, a mountain nymph, or oread. Ovid's Metamorphoses relates that Echo offended the goddess Hera by keeping her in conversation, thus preventing her from spying on one of Zeus' amours. To punish Echo, Hera deprived her of speech, except for the ability to repeat the last words of another. Echo's hopeless love for Narcissus, who fell in love with his own image, made her fade away until all that was left of her was her voice.

According to the Greek writer Longus, Echo rejected the advances of the god Pan; he thereupon drove the shepherds mad, and they tore her to pieces. Gaea (Earth) buried her limbs but allowed her to retain the power of song. (Britannica Members )

Aristophanes Thesmophoriazusae

Something strange happened to the nymph Echo: her speech was curtailed by Hera, so that she merely repeated the concluding phrases of a speech and returned the words she heard. Echo was a nymph. Hera did this because Echo, holding the goddess in long talk, prevented her to catch the NYMPHS who had been in company with her husband.

"That tongue of yours, by which I have been tricked, shall have its power curtailed and enjoy the briefest use of speech." [Hera]

Echo was educated by the NYMPHS, and taught to play music by the MUSES.

Some say Echo fled from all males, whether men or Gods, because she loved virginity. Seeing that, Pan took occasion to be angry at her, and to envy her music because he could not come at her beauty.

Therefore he turned mad the shepherds and goatherds, and they, like dogs and wolves, tore her to pieces and flung them about them all over the earth.

Gaia buried them, preserving their musical property, and by a decree of the MUSES they breathe out a voice, imitating all things.

But it is also said that she, because of grief, faded away with the exception of her voice. This happened when Echo fell in love with Narcissus (self-love) and he spurned her love.

Liddell and Scott words related to the echo of sounding brass:

Echetês , achetas , acheta^ , ( [êcheô] ) clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., achetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.

The cymbal is also defined by the Hebrew word for CYMBAL. The Locust, in the book of Revelation is, therefore, along with other musical "worship" instruments the meaning of Paul in 1 Cor. 13. These speak of making war or making incantations or charms to be sold as prophesies: Jesus said of them, I never knew you.

donax [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]

doneô 1. to shake, of wind, Il.; d. gala to shake it, as to make butter, Hdt.

2. to drive about, Lat. agitare, Od., Pind.:--Pass., hê Asiê edoneeto Asia was in commotion, Hdt.; aithêr doneitai Ar

I. a reed, Hom.; donakes kalamoio reed- stalks, Hhymn.
II. anything made of reed,
1. the shaft of an arrow, Il.
2. a shepherd's pipe, Aesch., Theocr.

Shepherd's pipe
Shepherd's pipe invented by Hermes: Apollod. 3.10.2
given by him to Apollo: Apollod. 3.10.2

êcheion , to, ( [êchos] ) drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2.

II. in the lyre, = chalkôma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5.

organon 1 [*ergô]

I. an organ, instrument, tool, for making or doing a thing, of a person, hapantôn aei kakôn org. Soph.
2. an organ of sense,
3. a musical instrument,
4. a surgical instrument

II. a work, product, laïnea Amphionos organa the stony works of Amphion, i. e. walls of Thebes, Eur.

ergon 1 [ *ergô]

1. in Il. mostly of deeds of war, polemêïa erga ergou echesthai to engage in battle, the result of work, ergon chrêmatôn profit on money,

Commonly used with:

theskelos , on, Ep. Adj. perh. set in motion by God ( [kellô] ), and so marvellous, wondrous, always of things, th. erga deeds or works of wonder.

polemêïos aoida war-note, of the trumpet,
aeidô To sing. Cantio: An incantation or charm. This word has te effect of

aeirô raise up, lift for the purpose of carrying away, to raise or stir up, aeirasthai polemon to undertake a long war. metaph. to be lifted up, excited

I. to sing, Il., etc.:--then of any sound, to twang, of the bowstring, Od.; to whistle, of the wind, Mosch.; to ring, of a stone struck,

Which is often used of the tettix or Locust:

tettix cicala, Cicada, Plato calls them Mousôn prophêtai. The Muses are the Locusts of musical performers of Apollo. Apollo is Apollyon or Abaddon who originated the Musical "seeker center."

Ovid Metamorphoses 7.346.

against the magic-making sound of gongs

O wonder-working Moon, I draw you down

against the magic-making sound of gongs

and brazen vessels of Temesa's ore;

I cast my spells and veil the jeweled rays

of Phoebus' wain, and quench Aurora's fires.

"At my command you tamed the flaming bulls

Therefore, God issued a clear command: they sound the trumpet with its "clear" signal to call the "congregation" into assembly (only for instruction) but they could not use them as musical devices to whip the congregation into shouting or making a joyful sound which is always "casting a spell." This might be the time when the enemy (Satan) would attack and the people could not comprehend the speaker. Therefore, God demanded:

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Numbers 10:7

The alarm is much like the echo which Paul clearly condemns and equates to speaking in tongues:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.

Rumph (h7322) roof; a prim. root; prop. to triturate (in a mortar), i. e. (fig.) to agitate (by concussion): - tremble.

This is quite identical to the pre-biblical Greek word psallo which is also closely associated with triturating or grinding to bits with stringed instruments:

Psallo (g5567) psal'-lo; prob. strengthened from psao , (to rub or touch the surface; comp. 5597); to twitch or twang, i.e. to play on a stringed instrument

Psocho (g5597) pso'-kho; prol. from the same base as 5567; to triturate, i.e. (by anal.) to rub out (kernels from husks with the fingers or hand): - rub.

As Judas put the stolen money into the Judas Bag which was "to keep the mouthpieces of wind instruments," Jesus applied a literal form of melody or triumphing over him by personally grinding off a piece of bread, dipping it into bitter herbs and hand feeding it to Judas. Sop, like the Judas Bag, is used only once and it is from the Greek:

Psomion (g5596) pso-mee'-on; dim. from a der. of the base of 5597; a crumb or morsel (as if rubbed off), i.e. a mouthful: - sop.

Paul Repeats God's Law Against Using Musical Instruments Used Under the Law because there would be no spiritual rational and to do so would repudiate the finished work of Jesus Christ.

Paul's demand that the "Melody" be made upon the "heart strings" and his connecting the Kingdom of Christ to the Law of punishing ceremonial legalism Israel brought upon themselves by musical idolatry, means that absolutely insisted :

For ye are not come unto the mount that might be touched, and that burned with fire, nor unto blackness, and darkness, and tempest, Hebrews 12:18

And the sound (echos g2279) of a trumpet, and the voice of words (directly from God); which voice they that heard intreated that the word should not be spoken to them any more: Hebrews 12:19

Salpigc (g4536) sal'-pinx; perh. from 4535 (through the idea of quavering or reverberation): a trumpet: - trump (- et). (see echo above)

As in the Old Testament, the wind instruments must not to be used for making a joyful noise because this will be the signal at the end of the world. Don't get caught tooting your own horn when the "whispered silence" of Jesus alarms those who are listening intently:

And he shall send his angels with a great sound of a trumpet, and they shall gather together his elect from the four winds, from one end of heaven to the other. Matthew 24:31

Remember that the wind instruments could be used for gathering the congregation much like we might use a church bell or a buzzer; they must not be used when Jesus comes, as promised, to be in our gathered midst.

(For they could not endure that which was commanded, And if so much as a beast touch the mountain, it shall be stoned, or thrust through with a dart: Hebrews 12:20

But ye are come unto mount Sion, and unto the city of the living God, the heavenly Jerusalem, and to an innumerable company of angels, Hebrews 12:22

The literal temple and the literal worship in the literal Jerusalem was worship like the nations. Therefore, we have and will have nothing to do with the earthly Jerusalem because it is a model of Sodom and Egyptian captivity:

Their bodies will lie in the street of the great city, which is figuratively called Sodom and Egypt, where also their Lord was crucified. Revelation

Therefore we do not go inside the gates to the sound of trumpets but we are called:

To the general assembly and church of the firstborn, which are written in heaven, and to God the Judge of all, and to the spirits of just men made perfect, Hebrews 12:23

And to Jesus the mediator of the new covenant, and to the blood of sprinkling, that speaketh better things than that of Abel. Hebrews 12:24

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 12:25

There is no role in this "church of the firstborn" which is worships "in spirit and in truth" for performing women or performing men trying to entertain a Holy God as they would their audience:

Wherefore we receiving a kingdom which cannot be moved, let us have grace, whereby we may serve (serve as a menial) God acceptably with reverence and godly fear (circumspect, moving carefully): Hebrews 12:28

For our God is a consuming fire. 1 Timothy 12:29

Reverence is:

Aidos (g127) ahee-doce'; perh. from 1 (as a neg. particle) and 1492 (through the idea of downcast eyes); bashfulness, i.e. (towards men), modesty or (towards God) awe: - reverence, shamefacedness.

In like manner also, that women adorn themselves in modest apparel, with shamedfacedness and sobriety; not with braided hair, or gold, or pearls, or costly array; 1 Timothy 2:9

Without repudiating the "Once for all worshipful act of Jesus" we cannot worship in the Old Testament sense of external rituals. Rather, worship is "in spirit and in truth."

After Israel's musical idolatry at Mount Sinai, God placed the Levites squarely between the Tabernacle as a symbol of God's presence and the people who had lost their ability to approach Him without a human mediator who was guilty of sin and "bore the burden of the tabernacle and of sin."

All of that standing between God and mankind came to an end with Jesus. Therefore,

Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in time of need. Heb.4:16

Musical worship teams by their own definition stand as mediators between God (Who might still be dangerous) and the worshiping "audience." We, however, do not come to that throne on God's Holy Mountain with trumpets! Thank God!

Paul clearly says: don't use a joyful noise created by musical instruments when you are gathered in the holy place where music, even in the temple, was not allowed.

Clanging is from the Greek:

Chalkos (g5475) khal-kos'; perh. from 5465 through the idea of hollowing out as a vessel (this metal being chiefly used for that purpose); copper (the substance, or some implement or coin made of it): - , money.

Chalao (g5465) khal-ah'-o; from the base of 5490 (termination); to lower (as into a void): - let down, strike.

Chalkos (g 5475) khal-kos'; perh. from 5465 through the idea of hollowing out as a vessel (this metal being chiefly used for that purpose); copper (the substance, or some implement or coin made of it): - , money.

This word is related to the Chaldeans -- to say Chaldean was to say soothsayer or astrologer:

Chaldaios (g5466)khal-dah'-yos; prob. of Heb. or. [3778]; a Chaldoean (i.e. Kasdi), or native or the region of the lower Euphrates: - Chaldaean.

Kasday (h3779) kas-dah'ee; corresp. to 3778; a Chald an or inhab. of Chalda; by impl. a Magian or professional astrologer: - Chaldean.

Nebel (h5035) neh'-bel; or neÇbel nay'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Quasten notes that the tambourine FathersLucian.html

"had already occupied an important position in the cult of the Egyptians, for its sound, which was deep and hollow, expelled the demons. The rhythmic musical character of the tambourine was highly suited to induce psychic stimulation."( p. 37)

Nabel (h5034) naw-bale'; a prim. root; to wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked; causat. to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, * surely, make vile, wither..

The Familiar Spirit of the witch of Endor had a similar meaning including "speaking in tongues and of the world or out of the ground."

Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.

And thou shalt be brought down, and shalt speak out of the ground, and thy speech shall be low out of the dust, and thy voice shall be, as of one that hath a familiar spirit, out of the ground, and thy speech shall whisper out of the dust. Is.29:4

Cymbal: Kumbalon (g2950) koom'-bal-on; from a der. of the base of 2949; a "cymbal" (as hollow): - cymbal.

Chanaanaios (g5478) khan-ah-an-ah'-yos; from 5477; a Chanaanoean (i.e. Kenaanite), or native of gentile Pal.: - of Canaan.

Chanaan (g5477) khan-ah-an'; of Heb. or. [3667]; Chanaan (i.e. Kenaan), the early name of Pal.: - Chanaan

Chamai (g5476) kham-ah'ee; adv. perh. from the base of 5490 through the idea of a fissure in the soil; earthward, i.e. prostrate: - on (to) the ground.

Kananites (g2581) kan-an-ee'-tace; of Chald. or. [comp. 7067]; zealous; Cananites, an epithet: - Canaanite [by mistake for a der. from 5477].

Qanna (h7067) kan-naw'; from 7065; jealous: - jealous. Comp. 7072.

Thou shalt not bow down thyself to them, nor serve them: for I the Lord thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me; Ex.20:5

For the Lord thy God is a consuming fire, even a jealous God. De.4:24

(For the Lord thy God is a jealous God among you) lest the anger of the Lord thy God be kindled against thee, and destroy thee from off the face of the earth. De.6:15

In that day shall there be upon the bells of the horses, HOLINESS UNTO THE LORD; and the pots in the Lords house shall be like the bowls before the altar. Zec 14:20

Every pot in Jerusalem and Judah will be holy to the LORD Almighty, and all who come to sacrifice will take some of the pots and cook in them. And on that day there will no longer be a Canaanite [f] in the house of the LORD Almighty. Zec.14:21

Kenaaniy (h3669) ken-ah-an-ee'; patrial from 3667; a Kenaanite or inhabitant of Kenaan; by impl. a pedlar (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker.

Kasday (h3779) kas-dah'ee; corresp. to 3778; a Chald an or inhab. of Chalda; by impl. a Magian or professional astrologer: - Chaldean

-Musica , I. the art of music, music; acc. to the notions of the ancients, also every higher kind of artistic or scientific culture or pursuit: “musicam Damone aut Aristoxeno tractante? etc.,” Cic. de Or. 3, 33, 132: “socci et cothurni,” i. e. comic and dramatic poetry, Aus. Ep. 10, 43: “musice antiquis temporibus tantum venerationis habuit, ut,” Quint. 1, 10, 9.

Similar meaning:

-Exe-ge-tice , es, f., = exêgêtikê, the art of interpretation, exegesis,

-Măgĭcē , ēs, f., = magikē (sc. tekhnē),

I. the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam dico magicenque, Plin. 30, 1, 2, § 10; 30, 1, 2, § 7: “magices factio,” id. 30, 1, 2, § 11.

-Măgīa , ae, f., = mageia,  , ae, f., = mageia, the science of the Magi, magic, sorcery (post-class.), App. M. 3, 16, p. 201 fin.; id. Mag. p. 290, 23; 304, 24; id. M. 3, p. 136, 19; p. 137, 36; Prud. adv. Symm. 1, 89.

-Ma^geia , hē,

A. theology of the Magians, “m. hē Zōroastrou” Pl.Alc.1.122a.

II. magic, Thphr.HP9.15.7 (pl.), Act.Ap.8.11 (pl.), PMag.Berol.1.127, etc.; tēn goētikēn m. oud' egnōsan hoi magoi] Arist. Fr.36.

He may have been, however, an ecstatic priest-singer, or zaotar, who used special techniques (especially intoxication) to achieve a trance.

Mageia (g3095) mag-i'-ah; from 3096; "magic": - sorcery.
Mageuo (g3096) mag-yoo'-o; from 3097; to practice magic: - use sorcery.

Magos (g3097) mag'-os; of for. or. [7248]; a Magian, i.e. Oriental scientist; by impl. a magician: - sorcerer, wise man.

O Timothy, keep that which is committed to thy trust, avoiding profane and vain babblings, and oppositions of science falsely so called: 1 Tim 6:20

Gnosis (g1108) gno'-sis; from 1097; knowing (the act), i.e. (by impl.) knowledge: - knowledge, science.

Kenophonia (g2757) ken-of-o-nee'-ah; from a presumed comp. of 2756 and 5456; empty sounding, i.e. fruitless discussion: - vain.

-Rhythmice - , e-s, f., = rhuthmikê, sc. technê, the art of observing rhythm: rhythmice est ars omnis in numeris, Mart. Cap. 9, § 969 .

-Histrĭōnĭa , ae, f. (sc. ars) [id.],

I. the art of stage-playing, dramatic art: “facere histrioniam,” to assume the character of an actor, Plaut. Am. prol. 90; Macr. S. 2, 10, 12: “exercere,” Petr. Fr. 10.

Ovid Metamorphoses 12.72.more (More)

There is a spot

convenient in the center of the world,

between the land and sea and the wide heavens,

the meeting of the threefold universe.

From there is seen all things that anywhere

exist, although in distant regions far;

and there all sounds of earth and space are heard.

 

Fame is possessor of this chosen place,

and has her habitation in a tower,

which aids her view from that exalted highs.

And she has fixed there numerous avenues,

and openings, a thousand, to her tower

 

and no gates with closed entrance, for the house

is open, night and day, of sounding ,

reechoing the tones of every voice.

It must repeat (echo) whatever it may hear;

and there's no rest, and silence in no part.

 

There is no clamor; but the murmuring sound

of subdued (whispering or muttering) voices, such as may arise

from waves of a far sea, which one may hear

who listens at a distance; or the sound

which ends a thunderclap,

 

when Jupiter

has clashed black clouds together. Fickle crowds

are always in that hall, that come and go,

and myriad rumors--false tales (1 Tim 4:7) mixed with true--

are circulated in confusing words. (like speaking in tongues)

 

Some fill their empty ears with all this talk,

and some spread elsewhere all that's told to them.

The volume of wild fiction grows apace,

and each narrator adds to what he hears.

Credulity (god) is there and rash Mistake, (a god)

 

and empty Joy, and coward Fear alarmed

by quick Sedition, and soft Whisper--all

of doubtful life, sees what things are done

in heaven and on the sea, and on the earth.

She spies all things in the wide universe.

Kenaan (h3667) ken-ah'-an; from 3665; humiliated; Kenaan, a son of Ham; also the country inhabited by him: - Canaan, merchant, traffick.

Kana (h3665) kaw-nah'; a prim. root; prop. to bend the knee; hence to humiliate, vanquish: - bring down (low), into subjection, under, humble (self), subdue.

The Chaldeans answered before the king, and said, There is not a man upon the earth that can shew the kings matter: therefore there is no king, lord, nor ruler, that asked such things at any magician, or astrologer, or Chaldean. Da.2:10

But after that our fathers had provoked the God of heaven unto wrath, he gave them into the hand of Nebuchadnezzar the king of Babylon, the Chaldean, who destroyed this house, and carried the people away into Babylon. Ezr.5:12

Nachash (h5172) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe.

Nachash (h5173) nakh'-ash; from 5172; an incantation or augury: - enchantment.

Nechash (h5174) nekh-awsh'; corresp. to 5154; copper: - .

Nechuwshah (h5154) nekh-oo-shaw'; or nÿchushaÇh nekh-oo-shaw'; fem. of 5153; copper: - , steel. Comp. 5175

Nechiylah (h5155) nekh-ee-law'; prob. denom. from 2485; a flute: - [plur.] Nehiloth.

Chaliyl (h2485) khaw-leel'; from 2490; a flute (as perforated): - pipe.

After that thou shalt come to the hill of God, where is the garrison of the Philistines: and it shall come to pass, when thou art come thither to the city, that thou shalt meet a company of prophets coming down from the high place with a psaltery, and a tabret, and a pipe, and a harp, before them; and they shall prophesy: 1S.10:5

And all the people came up after him, and the people piped with pipes, and rejoiced with great joy, so that the earth rent with the sound of them. 1K.1:40

And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the Lord, neither consider the operation of his hands. Is.5:12

Ye shall have a song, as in the night when a holy solemnity is kept; and gladness of heart, as when one goeth with a pipe to come into the mountain of the Lord, to the mighty One of Israel. Is.30:29

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

Therefore mine heart shall sound for Moab like pipes, and mine heart shall sound like pipes for the men of Kir-heres: because the riches that he hath gotten are perished. Je.48:36

Nachash (h5175) naw-khawsh'; from 5172; a snake (from its hiss): - serpent.

The Pipe is from Chalal:

Hebrew Dictionary linked to Strong Numbers Chalal (h2490) an instructor/ of distance/space, start, commence; to redeem, to desecrate, make void, to create a cavity, vacuum, hollow, an empty space; a hollow/vacuum as a means to trap or bring together, nature; a vault, to make hollow: to wound, pierce, define, violate, make vulgar, wounded, slain, dead, the action of resisting: to break, disregard; violating instruction, to arrange/ an order of instruction; to assign, to pipe, play pipes

Erasmus informs us

[51] Amongst the learned the lawyers claim first place, the most self-satisfied class of people, as they roll their rock of Sisyphus and string together six hundred laws in the same breath, no matter whether relevant or not,

piling up opinion on Opinion and gloss on gloss to make their profession seem the most difficult of all.

Anything which causes trouble has special merit in their eyes. Let's group with them the sophists and dialecticians; a breed of men which can rattle on better than one of Dodona's copper pots. Any one of them could be a match for twenty picked women in garrulity, but they'd be happier if they were only talkative and not quarrelsome as well - they're so stubborn in their fights to the death about things like goats' wool,

and they generally lose sight of the truth in the heat of the argument.
However, self-love keeps them happy, and three syllogisms arm enough to go straight to battle on any subject and any man. You could put Stentor up against them, but their obstinacy would see that they won the day.

[Sisyphus was condemned everlastingly to roll a large rock up a mountain only to see it fall down again just before it reached the top. The humanist lawyers like Erasmus's contemporary Bude were erred to disinter the text of ancient legislation from under the burden of medieval glosses which had hitherto determined its interpretation.

Dodona was the seat of an ancient oracle of Jupiter.. whose priests interpreted the rustling of leaves and the clanging or vibrating of copper pots in the wind.

And in the same article, quotes Diodorus who informs us of the connection with giving our body to be burned and the playing of "sounding pipes.,"

In the area of Corinth and elsewhere charismatic prophesying with instruments (speaking in tongues) came from the virgin prophetess who was "lowered down into the fissure" in the earth so that she might inhale the poisonous gas and get intoxicated without falling in and dying. She came back "speaking the languages" of angels and sold them as real prophecy about: "Should I go on a trip?" Before, the virgins, goats inhaled the gas and the professionals sold their "voice" as the voice of the gods. Later, because the virgins tended to get seduced while the "worshipers" were under the influence, only older women dressed as and pretending to be virgins were allowed to prophesy under the influence.

Chalkos has the same meaning as "nebal" played by the "nabal" or the "familiar spirit" which was an old wineskin or waterskin which echoed the witch's voice which she sold as a message from the demons or angels. In one case, the "angel" of Samuel really spoke and condemned the one seeking a new message in the language of angels. The familiar spirit was:

Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.

Strong's h1 is the Hebrew Ab or Father and speaking in tongues often consisted of monosyllables such as, "Ab, Ab, Ab, Ab" and "this means you should pay the witch." Or, in the mind of Jesus it could be, "Lord, Lord, Lord, Lord, or praise, praise, praise." This was sinful because it displaced the Word of God with the word of the goddess.

And when they shall say unto you, Seek unto them that have familiar spirits, and unto wizards that peep, and that mutter: should not a people seek unto their God? for the living to the dead? Is.8:19

So Saul died for his transgression which he committed against the Lord, even against the word of the Lord, which he kept not, and also for asking counsel of one that had a familiar spirit (sound came from a vase or drum in the

See Heredotus
See Music in Ezekiel

Tinkling in Hebrew:

Akac (h5913) aw-kas'; a prim. root; prop. to tie, spec. with fetters; but used only as denom. from 5914; to put on acklets: - make a tinkling ornament.

The idea of tinkling pretty much says "look at me."

Moreover the Lord saith, Because the daughters of Zion are haughty, and walk with stretched forth necks and wanton eyes, walking and mincing as they go, and making a tinkling with their feet: Isaiah 3:16

In that day the Lord will take away the bravery of their tinkling ornaments about their feet, and their cauls, and their round tires like the moon, Isaiah 3:18

Tinkling Cymbals is from the Greek:

Alalazo (g214) al-al-ad'-zo; (a shout, "halloo"); to vociferate, i.e. (by impl.) to wail; fig. to clang: - tinkle, wail (Yes, they called this music!)

"The verb rendered tinkling, alalazo, originally meant to repeat the cry alala, as in battle. It is used by Mark (6:38) of the wailings of hired mourners. Hence, generally, to ring or clang. Rev., clanging cymbal, is derived from (the Greek) a hollow or cup. The cymbal consisted of two half-gloves of metal which was struck together." (Vincent, p. 263).

This was what the women as the professional worship mourners or lamenters did and used to appease the spirit of the dead girl or to make sure that the evil spirits were chased away until she could be buried. Often messages could be gained from the spirit or angel of the dead. Jesus spoke of tinkling cymbals and other magical musical instruments to reach the nether world of the gods, demons or angels:

And he cometh to the house of the ruler of the synagogue, and seeth the tumult, and them that wept and wailed (tinkled) greatly. Mark 5:38

And when he was come in, he saith unto them, Why make ye this ado, and weep? the damsel is not dead, but sleepeth. Mark 5:39

And they laughed him to scorn. But when he had put them all out (more or less violently), he taketh the father and the mother of the damsel, and them that were with him, and entereth in where the damsel was lying. Mark 5:40

Like the money changers with their "trumpets of " or collection plates in the temple (Judas Bags) to collect ill-gotten gain, Jesus got physical and did them some violence. In the same way, He accused the 'piping' Jewish clergy of being musical children playing the old fertility game of "funeral or wedding." Now, He literally and forcefully throws the "musical worship team" out of the room so that He had the Spiritual environment to "arouse" the girl without any of the magical music. This was a parable or an object lesson to prove that God's power is in God's Words and not in your singing, playing, clapping and dancing.

Clement of Alexandria notes that:

If a man drags the Deity

Whither he will by the sound of cymbals,

He that does this is greater than the Deity;

But these are the instruments of audacity and
means of living Invented by men."

Cymbals in Hebrew is derived from

Calal (h6750) tsaw-lal'; a prim. root [rather ident. with 6749 through the idea of vibration]; to tinkle, i. e. rattle together (as the ears in reddening with shame, or the teeth in chattering with fear): - quiver, tingle.

When I heard, my belly trembled; my lips quivered at the voice: rottenness entered into my bones, and I trembled in myself, that I might rest in the day of trouble: when he cometh up unto the people, he will invade them with his troops. Hab.3:16

Cymbal from the Greek and the Soothsaying Connection

Cymbal is:
Kuma (g2949) koo'-mah; from 2965, (to swell with young, i.e. bend, curve); a billow (as bursting or toppling): - wave.

Kuon (g2965) koo'-ohn; a prim. word; a dog ["hound"] (lit. or fig.): - dog.

For without are dogs, and sorcerers (pharmakos: poison with a magical drug incantation), and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie. Revelation 22:15

In paganism the male prostitutes were the "dogs of Cyble" and in the Old Testament a "dog" is a symbol:

Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog.

And the sorcerer is:

"Applied to Persian priests or astrologers of Babylon. Pharmakos (g5333) an adjective signifying "devoted to magical arts," is used as a noun, "a sorcerer," especially one who uses drugs, potions, spells, enchantments, Rev 21:8, in the best texts (some have pharmakeus) and 22:15" Vine

Glossolalie and its interpretation are mentioned in the Old Testament (Deuteronomy 18:10) as part of pagan religious practices (deu 18:9). The words used in the Septuagint, the Greek version of the Old Testament are: - "mantevomenos" (manteuomenoV): "he who practices glossolalia" (unfortunately translated by "he who practices divination"in the French translation by Louis Segond);   - "mantian klidonizomenos" (manteian klhdonizomenoV): "he who interprets glossolalia (unfortunately translated by "he who looks for omens" by L.Segond) It is noteworthy that in this verse (Deut. 18:10) glossolalia is listed along with practices such as divination and witchcraft (oiwnizomenoV et farmakoV) and is strictly prohibited. oiwnizomenoV et fa rmakoV is oiwnizomeno et farmako and carries a similar meaning in the book of Revelation. The sorcerers was the: pha rmakeus   But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death. Revelation 21:8 in-canto I. To sing in, A. To say over, mutter, or chant a magic formula against some one, 2. To bewitch, enchant 1. To consecrate with charms or spells: “incantata vincula,” lovelcnots, Hor. S. 1, 8, 49.— 2. To bewitch, enchant: “quaesisti, quod mihi emolumentum fuerit incantandi (sc. illam)?” App. Mag. p. 305: “incantata mulier,” id. ib.: “pileum vetitis artibus,” Amm. 14, 7, 7. Greek: katapharmakeuô II. anoint with drugs or charm, 2. enchant, bewitch, Pharmakon  3. enchanted potion, philtre: hence, charm, spell  3. enchanted potion, philtre: hence, charm, spell, Od.4.220 sq., Ar.Pl.302, Theoc.2.15, PSI1.64.20 (i B. C.); “pharmakois ton andr' emēnen” Ar.Th.561; toiauta ekhō ph. such charms have I, Hdt.3.85, cf. Apoc.9.21. Click for the full article.

Plato Cratylus connects musical harmony with these occupation of the witches in worshiping the the god Harmony and the goddess of the air (1 Cor 14:9):

Of Apollo

Hermogenes: How is that?
Socrates: I will try to tell you what I think about it; for no single name could more aptly indicate

the four functions of the god,

touching upon them all

and in a manner declaring his power

in music, prophecy, medicine, and archery.

Hermogenes: Go on; you seem to imply that it is a remarkable name.

Socrates: His name and nature are in harmony;

you see he is a musical god. For in the first place, purification and purgations used in medicine and in soothsaying, and fumigations with medicinal and magic drugs, and the baths and sprinklings connected with that sort of thing all have the single function of making a man pure in body and soul, do they not?

Medicine in the book of revelation is related to sorcery:
pharmakeåia (g5331) far-mak-i'-ah; from 5332; medication ("pharmacy"), i.e. (by extens.) magic (lit. or fig.): - sorcery, witchcraft.
pharmakeåus (g5332) far-mak-yoos'; from pharmakoån , (a drug, i.e. spell- giving potion); a druggist ("pharmacist") or poisoner, i.e. (by extens.) a magician: - sorcerer

Socrates explains further:

Soc. Then in reference to his ablutions and absolutions, as being the physician who orders them, he may be rightly called Apolouon (purifier); or

in respect of his powers of divination, and his truth and sincerity,
which is the same as truth, he may be most fitly called Aplos, from aplous (sincere),
as in the Thessalian dialect, for all the Thessalians call him Aplos; also he is Ballon (always shooting), because he is a master archer who never misses; or again, the name may refer to his musical attributes, and then, as in akolouthos, and akoitis, and in many other words the a is supposed to mean "together,"

so the meaning of the name Apollo will be "moving together," whether in the poles of heaven as they are called,
or in the harmony of song, which is termed concord, because he moves all together by an harmonious power, as astronomers and musicians ingeniously declare.

And he is the God who presides over harmony, and makes all things move together, both among Gods and among men. And as in the words akolouthos and akoitis the a is substituted for an o, so the name Apollon is equivalent to omopolon; only the second l is added

in order to avoid the ill-omened sound of destruction (apolon).

Now the suspicion of this destructive power still haunts the minds of some who do not consider the true value of the name, which, as I was saying just now, has reference to all the powers of the God, who is the single one, the everdarting, the purifier, the mover together (aplous, aei Ballon, apolouon, omopolon).

The name of the Muses and of music would seem to be derived from their making philosophical enquiries (mosthai); and Leto is called by this name, because she is such a gentle Goddess, and so willing (ethelemon) to grant our requests; or her name may be Letho, as she is often called by strangers- they seem to imply by it her amiability, and her smooth and easy-going way of behaving. Artemis is named from her healthy (artemes), well-ordered nature, and because of her love of virginity, perhaps because she is a proficient in virtue (arete), and perhaps also as hating intercourse of the sexes (ton aroton miseasa). He who gave the Goddess her name may have had any or all of these reasons.

Plato in Phaedrus has Socrates discussing the connection between madness and "prophecy."

Then as now the winner of the musical contest was automatically proclaimed the god, goddess or the agent of the gods. They had the power to move into the god's presence and get a revelation which they could sell. As usual, the winning "goddess" was admired because of her talent or beauty:

Woe unto them for they have gone in the way of Cain, and ran greedily after the error of Balaam for reward, and perished in the gainsaying (disputing the revealed Word) of Core. Jude 1:11

These are spots in your feasts of charity, when they feast with you, feeding themselves without fear: clouds they are without water, carried about of winds; trees whose fruit withereth, without fruit, twice dead, plucked up by the roots; Jude 1:12

Raging waves (kuma, coon dogs) of the sea, foaming (frothing from the mouth) out their own shame; wandering stars (planates or astrologers), to whom is reserved the blackness of darkness for ever. Jude 1:13

And Enoch also, the seventh from Adam, prophesied of these, saying, Behold, the Lord cometh with ten thousands of his saints, Jude 1:14

To execute judgment upon all, and to convince all that are ungodly among them of all their ungodly deeds which they have ungodly committed, and of all their hard speeches which ungodly sinners have spoken against him. Jude 1:15

These are murmurers, complainers, walking after their own lusts; and their mouth speaketh great swelling words, having mens persons in admiration because of advantage. Jude 1:16

But, beloved, remember ye the words which were spoken before of the apostles of our Lord Jesus Christ; Jude 1:17

How that they told you there should be mockers (sing and mock like children) in the last time, who should walk after their own ungodly lusts. Jude 1:18

By quoting from Enoch we do not necessarily believe that Jude considered him inspired. However, Paul quotes from pagan resources to point us to more information standing behind his inspired message. We cannot understand Jude without understanding Enoch. He quotes:

From Enoch Chapter 53

Enoch 53:1 There mine eyes saw a deep valley with open mouths, and all who dwell on the earth and sea and islands shall bring to him gifts and presents and tokens of homage, but that deep valley shall not become full.

Enoch 53: 2 And their hands commit lawless deeds, And the sinners devour all whom they lawlessly oppress: Yet the sinners shall be destroyed before the face of the Lord of Spirits,

And they shall be banished from off the face of His earth,
And they shall perish for ever and ever.

Enoch 53: 3 For I saw all the angels of punishment abiding (there) and preparing all the instruments of Satan.

The instruments are not literal instruments or weapon (same word in Hebrew and Greek) but the "sword of the mouth."

In Isaiah 14:

Hell from beneath is provoked to meet thee: all the great ones that have ruled over the earth have risen up together against thee, they that have raised up from their thrones all the kings of the nations Isaiah 14:9 LXX

AII shall answer and say to thee, Thou also hast been taken, even as we, and thou art numbered amongst us. Isaiah 14:10 LXX

Thy glory has come down to Hades, and thy great mirth: under thee they shall spread corruption and the worm shall be thy covering. Isaiah 14:11 LXX

All your pomp has been brought down to the grave, along with the noise of your harps; maggots are spread out beneath you and maggots cover you. Isaiah 14:11

The LXX makes it clear that the great mirth of Lucifer is what destroyed him. The NIV defines the "mirth" as the noise of harps.

The Assyrians are called the "tallest trees in Eden" (Eze 31). In condemning the musical processions to Jerusalem to burn babies, God said of the Assyrians:

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 14:30 LXX

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 14:31 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 drums and with harp. Isaiah 14:32 LXX

And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps:and in battles of shaking will he fight with it. Isaiah 14:32KJV

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

Enoch 53: 4 And I asked the angel of peace who went with me: For whom are they preparing these Instruments?

Enoch 53: 5 And he said unto me: They prepare these for the kings and the mighty of this earth, that they may thereby be destroyed.

Enoch 53: 6 And after this the Righteous and Elect One shall cause the house of his congregation to appear: henceforth they shall be no more hindered in the name of the Lord of Spirits.

Enoch 53: 7 And these mountains shall not stand as the earth before his righteousness, But the hills shall be as a fountain of water, And the righteous shall have rest from the oppression of sinners.

Chapter 54

Enoch 54: 1 And I looked and turned to another part of the earth, and saw there a deep valley with burning
Enoch 54: 2 fire. And they brought the kings and the mighty, and began to cast them into this deep valley.
Enoch 54: 3 And there mine eyes saw how they made these their instruments, iron chains of immeasurable weight.

More prophetic than a recommendation for musical worship, the Psalmist wrote:

Let them praise his name in the dance: let them sing praises unto him with the timbrel and harp. Psalm 149:3
Let the high praises of God be in their mouth, and a twoedged sword in their hand; Psalm 149:6
To execute vengeance upon the heathen, and punishments upon the people; Psalm 149:7
To bind their kings with chains, and their nobles with fetters of iron; Psalm 149:8

Chains are:

Ziyqah (h2131) zee-kaw' (fem.); and 2209 from 2187; prop. what leaps forth, i. e. flash of fire, or a burning arrow; also (from the orig. sense of the root) a bond: - chain, fetter, firebrand, spark

Thus saith the Lord, The labour of Egypt, and merchandise of Ethiopia and of the Sabeans, men of stature, shall come over unto thee, and they shall be thine: they shall come after thee; in chains they shall come over, and they shall fall down unto thee, they shall make supplication unto thee, saying, Surely God is in thee; and there is none else, there is no God. Is.45:14

In condemning the "uncovered prophesying, speaking and singing in tongues" Paul said that if the Corinthians used the Word of God and repeated it:

And thus are the secrets of his heart made manifest; and so falling down on his face he will worship God, and report that God is in you of a truth. 1Co.14:25

Enoch 54: 4 And I asked the angel of peace who went with me, saying: For whom are these chains being prepared ? And he said unto me: These are being prepared for the hosts of Azazel, so that they may take them and cast them into the abyss of complete condemnation, and they shall cover their jaws with rough stones as the Lord of Spirits commanded.

In Enoch Chapter 8

Enoch 8: 1 Moreover Azazyel taught men to make swords, knives, shields, breastplates, the fabrication of mirrors, and the workmanship of bracelets and ornaments, the use of paint, the beautifying of the eyebrows, the use of stones of every valuable and select kind, and all sorts of dyes, so that the world became altered.

Enoch 8: 9 And men, being destroyed, cried out; and their voice reached to heaven.

The second book of Adam and Eve puts the emphasis upon instrumental music and mix-sex choirs. We know from Babylonia that this was a primary method of sorcery.

Ravishing music; strong drink loosed among the sons of Cain. They don colorful clothing.

The children of Seth look on with longing eyes. They revolt from wise counsel; they descend the mountain into the valley of iniquity. They can not ascend the mountain again.

1 AFTER Cain had gone down to the land of dark soil, and his children had multiplied therein, there was one of them,
        whose name was Genun, son of Lamech the blind who slew Cain.

2 But as to this Genun, Satan came into him in his childhood;

and he made sundry trumpets and horns, and string instruments, cymbals and psalteries, and lyres and harps, and flutes; and he played on them at all times and at every hour.

In the Babylonian stories two important gifts or "ME" was the art of homosexual love and making instrumental music. This was important in descending through the seven gates of hell. It was also the practice of lamenting for Tammuz in Ezekiel 8 practiced by the women.

"In the name of my power! In the name of my holy shrine!

To my daughter Inanna I shall give Truth!

Descent into the underworld! Ascent from the underworld!

The art of lovemaking! The art of kissing the phallus!"

 

"In the name of my power! In the name of my holy shrine!

To my daughter Inanna I shall give

The holy priestess of heaven!

The setting up of lamentations! The rejoicing of the heart!

The giving of judgements! The making of decisions!"

 

He gave me the art of kissing the phallus.

He gave me the art of prostitution.

He gave me the resounding musical instrument.

He gave me the art of song.
        He gave me the art of the elder
        He gave me the kindling of strife.

On the day the Boat of Heaven Enters the Nigulla Gate of Uruk,

Let high water sweep over the streets;

Let high water flow over the paths.

Let old men give counsel;

 

Let old women offer heart-soothing.

Let the young men show the might of their weapons;

Let the little children laugh and sing.

Let all Uruk be festive!

Let the high priest greet the Boat of Heaven with song.

 

Let him utter prayers.

Let him slaughter oxen and sheep.

Let him pour beer out of the cup.

Let the drum and tambourine resound.

Let the sweet tigi-music be played.

Let all the lands proclaim my noble name.

Let my people sing my praises."

Enoch 54: 6 And Michael, and Gabriel, and Raphael, and Phanuel shall take hold of them on that great day, and cast them on that day into the burning furnace,

that the Lord of Spirits may take vengeance on them for their unrighteousness in becoming subject to Satan and leading astray those who dwell on the earth.

7 And in those days shall punishment come from the Lord of Spirits, and he will open all the chambers of waters which are above the heavens, and of the fountains which are beneath the earth.
8 And all the waters shall be joined with the waters: that which is above the heavens is the masculine,
9 and the water which is beneath the earth is the feminine. And they shall destroy all who dwell
10 on the earth and those who dwell under the ends of the heaven. And when they have recognized their unrighteousness which they have wrought on the earth, then by these shall they perish.

In verse two Paul continued to say:

And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 1 Corinthians 13:2

Paul will ask the speakers and singers in Corinth if they thought that the truth originated with them. Because they were singing our of their own spirits they believed that they were speaking for God. Furthermore, there was a contest to see who could prove themselves the spokespersons for God. Because they ignored the Word of God while they were singing they were in mortal combat with God to win the applause. Apollo or Apollydon or Abbadon had his oracle just up the coast from Corinth. His spokesperson was always a women:

"There is likewise a palace of the Great King in Celaenae, strongly fortified and situated at the foot of the Acropolis over the sources of the Marsyas river; the Marsyas also flows through the city, and empties into the Maeander, and its width is twenty-five feet. It was here, according to the story, that Apollo flayed Marsyas, after having defeated him in a contest of musical skill; he hung up his skin in the cave from which the sources issue, and it is for this reason that the river is called Marsyas. Xenophon Anabasis [1.2.8]

"In a musical contest between Pan and Apollo, Pan's flute was judged by Tmolus to be inferior to Apollo's lyre. Everyone agreed with the result of this contest except King Midas, who called it unjust. It is for this reason that Midas acquired, through Apollo's will, the ears of an ass, which he tried in vain to conceal under a turban."

"Marsyas, a Phrygian satyr, was so proud of his skill with the flute that he presumed to challenge Apollo, god of music and master of the lyre. The myth appears to be a record of the suppression of the flute by the lyre in Greek favour.

Josephus also speaks to the common use of music to pretend to praise the king but in reality to ridicule him and therefore create division:

[6.193] NOW the women were an occasion of Saul's envy and hatred to David; for they came to meet their victorious army with cymbals, and drums, and all demonstrations of joy, and sang thus:

The wives said, that "Saul had slain his many thousands of the Philistines."
The virgins replied, that "David had slain his ten thousands."

Now, when the king heard them singing thus, and that he had himself the smallest share in their commendations, and the greater number, the ten thousands, were ascribed to the young man; and when he considered with himself that there was nothing more wanting to David, after such a mighty applause, but the kingdom;

Enoch 8: . Accordingly he removed him from the station he was in before, for he was his armor-bearer, which, out of fear, seemed to him much too near a station for him; and so he made him captain over a thousand, and bestowed on him a post better indeed in itself, but, as he thought, more for his own security; for he had a mind to send him against the enemy, and into battles, as hoping he would be slain in such dangerous conflicts. Josephus

Looking at More Background to the Mysteries and Speaking in Tongues

First, there were various forms of prophecy. One was that of the true prophet and another was "singing with musical instruments" to get a message from the gods, demons or angels which you could sell to the fools. This is speaking in tongues. The true prophet warned the priestly class when their ceremonial legalism got in the way of teaching and obeying the Word of God. They could accurately predicted future events.

Second, the gods, demons or angels lived inside of the musical instruments which were carved or beaten out of and when you blowed in one end the voice of the demons came out the other end. Surely, you will pay me handsomely for letting you hear the god's voice or for "moving you into his presence." In the books of First Adam and Eve, the Second Thousand years, the universal tradition is that Satan taught Genun (Jubal and siblings) how to use music to seduce the holy people devoted to the Incarnate Word:

"Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.

"Yobal made reed instruments, and harps, and flutes, and whistles, and
        the devils went and dwelt inside them.
        When men blew into the pipes, the devils sang inside them, and sent out sounds from inside them.

Yobel or Jubal invented musical instruments "without warrant" and used them to call the faithful down from God's holy mountain to have a religious festival with the bisexual Lucifer and his/her priests and musical worship teams. This "Jubilee" is intimately related to sexual exploits.

This would be repeated when Messiah came and the effeminate priesthood tried to seduce Jesus into the singing and dancing of the feminine Dionysus chorus. They piped but He didn't dance. This, is in turn, prophetic from Psalm 41. There Judas would not triumph over Jesus. This word meant blowing the trumpets for religious rejoicing when Moses called the "congregation" into assembly for instruction.. The fact that the "teams" and the instruments were believed to be mediating the voice of the gods is explained by the Jews in this article.

Tobalkin made cymbals, and sistra, and tambourines (or drums). And lasciviousness and fornication increased among the children of Cain, and they had nothing to occupy them except fornication--now they had no obligation [to pay] tribute, and they had neither prince nor governor--and eating, and drinking, and lasciviousness, and drunkenness,

and dancing and singing to instruments of music, and the wanton sportings of the devils, and
the laughter which affordeth pleasure to the devils,

and the sounds of the furious lust of men neighing after women. And Satan, finding [his] opportunity in this work of error, rejoiced greatly,

because thereby he could compel the sons of Seth to come down from that holy mountain.
There they had been made to occupy the place of that army [of angels] that fell [with Satan], there they were beloved by God, there they were held in honour by the angels, and were called "sons of God," even as the blessed David saith in the psalm, "I have said , Ye are gods, and all of you sons of the Most High." Ps. 82:6 (In Rev 18 the craftsmen and musicians will go with Babylon into Sheol).

"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? ST.AUGUSTIN: ON THE MORALS OF THE MANICHAEANS, Ch 16,46

Explaining the problem in Corinth, Ephesus and Colosse where Paul defined "singing" as teaching the revealed Words of Christ to the unsaved; and melody is defined as totally internal. Paul would not even hint of an approval for musical instruments because he fully understood that the outsider would see them as mad or insane like the musical worshipers of various gods and goddesses:

"Among the Oriental cults, that of Cybele strongly resembles the cult of Dionysus in this respect. Here, too, are the typically orgiastic instruments -- tambourines, cymbals, rattles, horns and flutes.

To their accompaniment the worshipers of Cybele,
in a state of enthusiasm approaching madness, would untie, pull and shake their hair and then lash themselves with whips. This rite is described in numerous texts by the authors of antiquity.

"Come follow me to the house of the Phrygian Cybele, to the grove of the Phrygian goddess!
There sounds the clang of cymbals, there echo the tambourines,
there the Phrygian flutest plays upon his deep-sounding twisted reed. There the Maenads, adorned with ivy, toss their head wildly. There they celebrate the holy rites to the sound of shrill screams. There the roving band pursues the goddess. There would we also hurry with quickening dance-step.

"This rite was carried out in a fit of holy frenzy induced by the Phrygian manner of singing, as well as the rapturous music of the tambourine, the cymbal and the flute. (Quasten, p. 36).

The last act in these pagan rituals was often fornication with the priestesses. The sexual ecstasy was and is sold as an encounter with an angel of the gods.

Paul's condemnation of frenzied prophesying or speaking in tongues in First Corinthians chapters 10 through 14 mentions the witch's musical instruments in chapter 13. The documentary evidence almost universally points to these instruments in pagan, largely Dionysus worship. In Ephesians 5 he warned that they not get into the worship of Dionysus with the "corybantes" being the "musical worship team."For instance Dyer on Plato: Apology of Socrates and Crito crito,17.2 notes that:

"hoi korubantiôntes: here a species of madness seems to be indicated, under the influence of which men

imagined that they heard the flutes

that were used in Corybantian revels.

and the song of the bacchanals in Eur. Bacch. 123-127,

Corybantes, wearing helms three-rimmed,

Stretched skins to make my drum's full round;
Then they, in hollowed caves, lithe-limbed,

With drums, and, with the flute's shrill sound

Full Phrygian, bacchic ditties hymned.

The witches, necromancers or soothsayers pretended (for a price) that the demons lived under the ground or in the musical instruments played by the poisonous gases from fissures in the rocks which caused insane ravings or speaking in tongues or prophesying. By drums or holes dug out and covered by a stretched wineskin the professional mediators between the gods and mankind translated their own ravings or ventriloquist's echo as a message from the gods or demons.

More background on The wineskin used by the witch of Endor:

Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.

When Israel demanded a king like the nations so that they could worship like the nations God sent the sign of the musical prophesiers (not true prophets) with musical instruments all of which were previously identified as "the devil's instruments" or the musical worship weapons "like the nations."

After that thou shalt come to the hill of God, where is the garrison of the Philistines: and it shall come to pass, when thou art come thither to the city, that thou shalt meet a company of prophets coming down from the high place with a psaltery, and a tabret, and a pipe, and a harp, before them; and they shall prophesy: 1 Samuel 10:5

Saul was "turned into another man" which the definition of the Hebrew and pagan background means that he was "perverted." You see, he was not God's spiritual leader. He was a secular leader demanded by Israel to replace God, to lead them into battle and to lead them into worship like the nations which was always musical and perverted.

The Psaltery or nebel has much the same meaning of the empty wineskin or the gongs condemned by Paul

The Psaltery carries the same meaning as the familiar spirit or empty wineskin of the witch of Endor. Now the psaltery was a signal that Israel was empty and lost: later, the familiar spirit would be the symbol to Saul that he had had musical judgment passed upon him.

Nebel (h5035) neh'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Nabel (h5034) naw-bale'; a prim. root; to wilt; gen. to fall away, fail, faint; fig. to be foolish or morally wicked; causat. to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, * surely, make vile, wither..

Nabal (h5036) naw-bawl'; from 5034; stupid; wicked (espec. impious): - fool (-ish, -ish man, -ish woman), vile person.

The musical praise used by David as a like the nations king when he had totally lost contact with the true God was:

Halal (h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

The pipe is h2485 or "perforated" or "polluted" which indicates that great work and highly-abrasive (if sold as spiritual) has been added to simple singing is from:

Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

The tabret or toph is from:

Taphaph (h8608) taw-faf'; a prim. root; to drum, i. e. play (as) on the tambourine: - taber, play with timbrels.
Topheth (h8611) to'-feth; from the base of 8608; a smiting, i. e. (fig.) contempt: - tabret.
Topheth (h8612) to'-feth; the same as 8611; Topheth, a place near Jerus.: - Tophet, Topheth.

The place of "the king's music grove" under Solomon came to stand for hell itself.

The church in Corinth was about to return to their old like the nations worship. This included the play (1 Cor. 10:20) or musical worship which condemned Israel at Mount Sinai, triumphed over or polluted Samson and used by David in his naked dance as he separated the Ark from the God-designed tabernacle and he could never again go to it to inquire of God. Therefore, Paul warned that the music and speaking in tongues was a supernatural sign of their "still carnal nature" leading them to destruction. This would be well understood in Corinth:

Paul condemned speaking in tongues, which was a woman's problem in Corinth, by comparing them to sounding and tinkling cymbals which the "prophesying" (usually women) used to get a message in the tongues of angels. However, rather than the instrument or old wineskin being the dwelling place of the gods, demons or angels, the vibrato of the sound (soprano singing by boys was magic in Egypt and Rome) was just an echo of their empty foul breath speaking their own songs and sermons.

Consistent with all pagan background, this would be seen by the outside unbeliever as just another group of mad women telling old wives tales and lying by telling people that the speech, message or instrumental performance was from God and would therefore lead you into the presence of God.

Read Strabo explain clanging and tinkling cymbals.

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