Women Preachers Making Souls Fly Ezekiel 13
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5/11/03 Rubel Shelly and John York REPUDIATE Paul's clear statement on women oversight or non-sedentary roles. Their "proof person" is Deborah and therefore JUDGES must be inspired. However, Deborah was a judge and no one objects. She SHAMED the effeminate males into protecting their own nation (church?). However, another woman, Jael, violated the most fundamental ethic of hospitality to drive a tent peg (clapped) into the sleeping Sisera's head. This is the MOTIFF of all musical "worship."
Rubel Shelly: Women in the assembly
Wine, New Wineskins and the Prophetess connection: It isn't pretty.
Music and the Holy Whores. In the Bible------
Contrary to Ezekiel 13, Rubel Shelly, in Faith Matters, from Woodmont Hills gives women the right to exercise the prophetic gift of revelation. A God-given talent which God needs for the assembly, of course, would be a supernatural gift of the Holy Spirit:
Rubel Shelly: "In the Old Testament tradition of Miriam (Ex. 15:20), Deborah (Judg. 4:4), Huldah (2 Kings 22:14), and Noadiah (Neh. 6:14), the New Testament acknowledges Anna as a "prophetess" (Luke 2:36). Both Priscilla and Aquila took the man Apollos into their home "and explained to him the way of God more adequately" (Acts 18:26). The evangelist Philip had "four unmarried daughters who prophesied" (Acts 21:9).
"The Bible is not against women ministering, using their God-given talents, standing up and speaking, administering church programs, singing (congregationally, small groups, or solo), reading.
While Dr. Shelly reserves some roles for men, he interprets the Corinthian Confusion as a model of "unity in diversity" and disputes Paul and said, in effect, that Paul did not prohibit but rather gave women permission to sing or speak in the assembly but not the authority to determine whether they were inspired or raving maniacs. Click Here for more details. This would MARK a false church because only women or effeminate males fell into the dilema of "musical prophesying" and that is why Paul condemned LIFELESS instruments:
The word PROPHECY means
MAKE SELF A PROPHET but usually means a FALSE PROPHET: only
the writing prophets were moved by the Spirirt of Christ.
These self-made prophets were sorcerers, shamans and used
music to induce a MAD state in which their "speaking in
gibberish" was sold as the voice of the "demons" or Gods.
That is why it happened ONCE in the wilderness and never
again. That is why this outbreak happened initially at and
following PENTECOST but would CEASE to mark out the false,
musical prophesier.
See
John Mark Hicks with a different "reading" which says
that women are COMMANDED to have the authority
to pray or prophesy in the assembly of
the church.
The nature of prophecy is twofold: either inspired (by visions or revelatory auditions), or acquired (by learning certain techniques). In many cases both aspects are present. The goal of learning certain prophetic techniques is to reach an ecstatic state in which revelations can be received. That state might be reached through the use of music, dancing, drums, violent bodily movement, and self-laceration. The ecstatic prophet is regarded as being filled with the divine spirit, and in this state the deity speaks through him.
Ecstatic oracles, therefore, are generally delivered by the prophet in the first-person singular pronoun and are spoken in a short, rhythmic style. (See inspiration, revelation, ecstasy.)
That prophets employing ecstatic techniques have been called madmen is accounted for by descriptions of their loss of control over themselves when they are "possessed" by the deity. Prophets in ecstatic trances often have experienced sensations of corporeal transmigration (such as the 6th-century-BC Old Testment prophet Ezekiel and the 6th-7th-century-AD founder of Islam, Muhammad). Such prophets are believed to have a predisposition for such unusual sensations.
Greek: ekstasis, "to stand outside of or transcend [oneself ]"), in mysticism, the experience of an inner vision of God or of one's relation to or union with the divine. Various methods have been used to achieve ecstasy, which is a primary goal in most forms of religious mysticism. The most typical consists of four stages:
(1) purgation (of bodily desire);
(2) purification (of the will);
(3) illumination (of the mind); and
(4) unification (of one's being or will with the divine).Other methods are: dancing (as used by the Mawlawiyah, or whirling dervishes, a Muslim Sufi sect); the use of sedatives and stimulants (as utilized in some Hellenistic mystery religions); and the use of certain drugs, such as peyote, mescaline, hashish, LSD, and similar products (in certain Islamic sects and modern experimental religious groups).
Most mystics, both in the East and in the West, frown on the use of drugs because no permanent change in the personality (in the mystical sense) has been known to occur.
In certain ancient Israelite prophetic groups, music was used to achieve the ecstatic state, in which the participants, in their accompanying dancing, were believed to have been seized by the hand of Yahweh, the God of Israel, as in the case of Saul, the 11th-century-bc king of Israel.
The Pythia (priestess) of the Greek oracle at Delphi often went into an ecstatic state during which she uttered sounds revealed to her by the python (the snake, the symbol of resurrection), after drinking water from a certain spring.
Her "words" were then interpreted by a priest to help a suppliant find a way to avoid calamities, especially death. In primitive religions, ecstasy was a technique highly developed by shamans, religious personages with healing and psychic-transformation powers, in their "soul," or "spirit," flights. (See Delphic oracle.) "ecstasy" Encyclopędia Britannica Online
Most of the naba prophets warned the priestly class that they were doing just what Dr. Shelly and the Willow Creek model wants us to do. That is, Job, Isaiah, Ezekiel, Amos and others warned that the religious leaders who were ruling like the nations were involved with wine (symbolic), women, song and musical instruments as a replacement for the revealed Words of God. From the Old Testament historical record we know that if we had a true prophetess (foreteller-forthteller) rather than a prophesier (sing with music) she would not be caught dead standing before the assembly, dressed for sexual authority, singing songs out of her own head. She would say: "Woe, Woe, Woe" to you faithless men just like Deborah.
As a follow up to Rubel Shelly's NEW VISION for worship gained through NEW glasses Lipscomb's speaker claims THERE'S NOTHING WRONG EXTERNALLY. Wow!
God, through Isaiah, warned of worship services to make the mercenary worship ministers and teams visible. Then He promised that:
If thou turn away thy foot from the sabbath, from doing thy pleasure on my holy day; and call the sabbath a delight, the holy of the Lord, honorable; and shalt honour him, not doing thine own ways, nor finding thine own pleasure, nor speaking thine own words: Isa 58:13
Then shalt thou delight thyself in the Lord; and I will cause thee to ride upon the high places of the earth, and feed thee with the heritage of Jacob thy father: for the mouth of the Lord hath spoken it. Isa 58:14
Note that the Sabbath was NOT a day of worship but a day of rest to protect the Jews against the Babylonian Sabbath. Among the Babylonians the "gods" or their priestly agents got to rest. However, the musical women entertained and "serviced" the agents with their musical worship team. All people worked to feed, cloth, house, entertain with music and sexually serve the "agents" of the gods.
In this world, the musicians were always "the harem of the gods." Paul outlined non-sedentary, vocal women in the assembly because they naturally project sexual authority: authentia which is both "erotic and murderous."
Almost every deep truth of God is commentary and warning against pagan worship which had fallen into the hands of the professional prophets and prophetesses who sold the elite "ease in Zion" to the beat of musical worship teams. For instance, a powerful theme which the ancient Jews understood, tells the story of the Babylonian Genun who is a composite of Jubal, Jabal, Tubal-Cain and Naaman all of whom speak of the whispering bronze of the serpent's message of the Babylonians. Paul called it 'booming gongs and clanging cymbals" as they tried to "speak the unknown tongues of angels and men."
Genun is the genii or kabiri or ancient priest used by Satan to introduce musical instruments to make the souls of the holy Sethites fly off the Holy Mountain in the presence of the living Word. Once, down into the vally of the Cainites (farmers devoted to fertility rituals) they could never get back on the sides of the mountains as the place of the shepherd tribes like Abel. He is the composite of Jubal, Jabal, Tubal-Cain and Naamah as the ongoing Canaanite culture of devil worship:
"Genun the Canaanite, son of Lamech the Blind, living in the Land of the Slime Pits, was ruled by Azael from his earliest youth, and invented all sorts of musical instruments. When he played these, Azael entered into them too, so that they gave forth seductive tunes entrancing the hearts of all listeners. Genun would assemble companies of musicians, who inflamed one another with music until their lust burned bright like fire, and they lay together promiscuously. He also brewed beer (for new wineskins), gathered great crowds in taverns, gave them to drink, and taught them to forge iron swords and spear-points, with which to do murder at random when they were drunk.
In Hezekiah's musical ritual cleansing the temple, the tribe and the national leaders, the Levites added musical instruments to the TRUMPETS OF GOD. This was for the offering of the he-goats which were directed either to or against Azael. Click to see how the instruments are connected to Satan.
Defining Satan's Seeker Center
"It was the Cainite's punishment to have a hundred daughters borne them for each son; and this led to such husband-hunger that their women began to raid houses (2 Tim 3:6) and carry off men. One day it pleased them to seduce them Sethites, after daubing their faces with rouge and powder, their eyes with antimony, and the soles of their feet with scarlet, dyeing their hair, putting on golden earrings, golden anklets, bracelets, and many-colored garments.
In their ascent of the holy mountain, they twanged harps, blew trumpets, beat drums, sang, danced, clapped hands;
then, having addressed the five hundred and twenty anchorites in cheerful voices, each caught hold of her victim and seduced him.These Sethites, after once succumbing to the Cainite women's blandishments, became more unclean than dogs (male prostitutes), and utterly forgot God's laws.
Even the "Sons of Judges" now corrupted the daughters of the poor. Whenever a bride was beautified for the bridegroom, one such would enter the nuptial chamber and enjoy her first. (THE SONS OF GOD AND THE DAUGHTERS OF MEN. From Hebrew Myths: The Book of Genesis By Robert Graves and Raphael Patai Chapter 18 p. 100-107)
You remember that Eli's sons got involved in these practices and the Danites caught wives here.
For the complete story of Genun (Jubal) and the Biblical parallel of Satan's use of musical worship teams Click Here.
Musical instruments with songs were always corrupting when turned toward God. Then and now people believed that the demons lived within musical instruments and inspired songsters and drama inventors. This dishonored God and helped lead Scripture-hungry people away from God's perfectly adequate Word.
Ezekiel speaks of these false male-female prophets where "prophesy" means to sing and play musical instruments to teach out of the preacher's own head:
The word of the LORD came to me: Ezekiel 13:1
"Son of man, prophesy against the prophets of Israel who are now prophesying. Say to those who prophesy out of their own imagination: 'Hear the word of the LORD! Ezekiel 13:2
This is what the Sovereign LORD says: Woe to the foolish prophets who follow their own spirit ("Old Wive's Tales or self-composed songs or incantations with instruments) and have seen nothing! Ezek 13:3
(This was speaking out of their own spirit into the air 1 Corinthians 14:2, 9. Their "god" was Juno)
My hand will be against the prophets who see false visions and utter lying divinations. They will not belong to the council of my people or be listed in the records of the house of Israel, nor will they enter the land of Israel. Then you will know that I am the Sovereign LORD. Ezekiel 13:9
"Prophesying" in the case of David and in most ancient literature and music are companions:
"Here 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 word PROPHET means to "make self a prophet." I might prophesy somethiing but I would be a false prophet.
Even as the merchants of musical worship try to break down the walls with Promise Keepers, Jubilee 98, the Willow Creek model and others, they know without a doubt that they are just building new walls within the fellowship which puts food in their trough:
Because, even because they have seduced my people, saying, Peace; and there was no peace; and one built up a wall, and, lo, others daubed it with untempered morter: Ezekiel 13:10
Untempered mortar is:
Taphel (h8602) taw-fale'; from an unused root mean. to smear; plaster (as gummy) or slime; (fig.) frivolity: - foolish things, unsavoury, untempered.
We noted above that Genun came from the "Land of the Slime Pits." This word is closely related to drums, timbrels, the tabret, and contempt. Job called it "spitting in my face."
Tophel (h8603) to'-fel; from the same as 8602; quagmire; Tophel, a place near the Desert: - Tophel.
And her prophets have daubed them with untempered morter, seeing vanity, and divining lies unto them, saying, Thus saith the Lord God, when the Lord hath not spoken. Eze.22:28
Jesus understood these children:
But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Mt 11:16
And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt11:17
After condemning the false prophets who undoubtedly permitted the false prophetesses, Ezekiel is told by God:
Likewise, thou son of man, set thy face against the daughters of thy people, which prophesy out of their own heart; and prophesy thou against them, Eze 13:17
And say, Thus saith the Lord God; Woe to the women that sew pillows (seductive suggestion) to all armholes, and make kerchiefs upon the head of every stature to hunt souls Will ye hunt the souls of my people, and will ye save the souls alive that come unto you? Ezekiel13:18
Other methods are: dancing (as used by the Mawlawiyah, or whirling dervishes, a Muslim Sufi sect); the use of sedatives and stimulants (as utilized in some Hellenistic mystery religions); and the use of certain drugs, such as peyote, mescaline, hashish, LSD, and similar products (in certain Islamic sects and modern experimental religious groups).
Most mystics, both in the East and in the West, frown on the use of drugs because no permanent change in the personality (in the mystical sense) has been known to occur.
In certain ancient Israelite prophetic groups, music was used to achieve the ecstatic state, in which the participants, in their accompanying dancing, were believed to have been seized by the hand of Yahweh, the God of Israel, as in the case of Saul, the 11th-century-bc king of Israel.
The Pythia (priestess) of the Greek oracle at Delphi often went into an ecstatic state during which she uttered sounds revealed to her by the python (the snake, the symbol of resurrection), after drinking water from a certain spring.
Her "words" were then interpreted by a priest to help a suppliant find a way to avoid calamities, especially death. In primitive religions, ecstasy was a technique highly developed by shamans, religious personages with healing and psychic-transformation powers, in their "soul," or "spirit," flights. (See Delphic oracle.) "ecstasy" Encyclopędia Britannica Online.
Sewing pillows or decorating armholes and making special veils were unsophisticated ways of making themselves attractive and putting the "audience" at ease. Those trained in dramatic presentation and mental programming put these ancient witches to shame. Sewing pillows is from the Hebrew:
Taphar (h8609) taw-far'; a prim. root; to sew: - (women that) sew (together).
A close word means to drum or "taber" the breast as the mourning women Jesus forcefully ejected so that he could heal the young girl:
Taphaph (h8608) taw-faf'; a prim. root; to drum, i. e. play (as) on the tambourine: - taber, play with timbrels.
Taphas (h8610) taw-fas'; a prim. root; to manipulate, i. e. seize; chiefly to capture, wield; spec. to overlay; fig. to use unwarrantably: - catch, handle, (lay, take) hold (on, over), stop, * surely, surprise, take.And his brothers name was Jubal: he was the father of all such as handle the harp and organ. Ge.4:21
Therefore, Jubal "handled" musical instruments to seduce others "without warrant" or "withoug authority."
Apollo is the first credited with WEAVING
songs together: he is the Apollyon of Revelation who
unleashes the Locusts who are the Muses as his "musical
worship team." This weaving always had a
musical-sexuality connection.
Oedipus
[380] O wealth, and empire, and skill surpassing skill in life's keen rivalries, how great is the envy in your keeping, if for the sake of this office which the city has entrusted to me, a gift unsought, [385] Creon the trustworthy, Creon, my old friend, has crept upon me by stealth, yearning to overthrow me, and has suborned such a scheming juggler as this, a tricky quack, who has eyes only for profit, but is blind in his art! [390]Come, tell me, where have you proved yourself a seer? Why, when the watchful dog who wove dark song was here, did you say nothing to free the people? Yet the riddle, at least, was not for the first comer to read: there was need of a seer's help, [395] and you were discovered not to have this art, either from birds, or known from some god. But rather I, Oedipus the ignorant, stopped her, having attained the answer through my wit alone, untaught by birds. It is I whom you are trying to oust, assuming that [400] you will have great influence in Creon's court. But I think that you and the one who plotted these things will rue your zeal to purge the land: if you did not seem to be an old man, you would have learned to your cost how haughty you are.
In Deipnosophistai 3 which we have now linked and posted:
And among the barbarians the Celts also, though they have very beautiful women, enjoy boys more; so that some of them often have two lovers to sleep with on their beds of animal skins.
As for the Persians, Herodotus says they learned the use of boys from the Greeks.
King Alexander also was madly devoted to boys. Dicaearchus, at any rate, in his book On the Sacrifice at Ilium, says that he was so overcome with love for the eunuch Bagoas that, in full view of the entire theatre, he, bending over, caressed Bagoas fondly, and when the audience clapped and shouted in applause, he, nothing loath, again bent over and kissed him...
"As for the Lesbian Alcaeus, thou knowest in how many revels he engaged, when he smote his lyre with yearning love for Sappho. And the bard who loved that nightingale caused sorrow, by the eloquence of his hymns, to the Teian poet...
Yes, he is the god of whom Anacreon, the poet on every man's lips, is constantly singing. Hence the most excellent Critias says of him:
"Teos brought to Hellas that poet who once wove the strains of song with Woman as his theme, delightful Anacreon, flame of drinking-parties, cheater of women, of flutes the foe, lover of the lyre, full of delight, healer of pain. Never shall love of thee grow old or die, so long as a slave-boy solemnly bears round water and wine mingled for the cups, dispensing toasts from left to right, --Peter warned the women using terms of vesture, hair plaiting as a magical sign, and performing corrupting rituals. He was not concerned with their dress in the privacy of their own homes:so long as feminine choirs do their ministry in holy night- long vigils, and the scale-pan, daughter of bronze, sits upon the high peak of the cottabos to receive the drops of Bromian."
Licymnius of Chios in his Dithyrambs says that Hymenaeus was the beloved of Argynnus. Aristocles the harp-singer was the beloved of King Antigonus, concerning whom Antigonus of Carystus, in his Life of Zeno, writes as follows:
"King Antigonus used to have revels at the house of Zeno. On one occasion, coming away from a drinking-party at daybreak, he rushed to the house of Aristocles the harp-singer, whom the king loved greatly."Sophocles was fond of young lads, as Euripides was fond of women. The poet Ion, at any rate, in the work entitled Sojournings, writes as follows:
"I met Sophocles the poet at Chios when he was sailing as general to Lesbos; he was playful in his cups, and clever. A Chian friend of his, Hermesilaus, who was the proxenus of Athens, entertained him,
when there appeared, standing beside the fire, the wine-pourer, a handsome, blushing boy; Sophocles was plainly stirred and said:
'Do you want me to drink with pleasure?' And when the boy said 'Yes' he said, 'Then don't be too rapid in handing me the cup and taking it away.' When the boy blushed still more violently he said to the man who shared his couch:
LIKEWISE, ye wives, be in subjection to your own husbands; that, if any obey not the word, they also may without the word be won by the conversation of the wives; 1Pe 3:1
While they behold your chaste conversation coupled with fear. 1Pe 3:2
Whose adorning (worldly decoration) let it not be that outward adorning of plaiting (to enchant often with music) the hair, and of wearing of gold, or of putting on of apparel (official robes or vesture) ; 1Pe 3:3
But let it be the hidden man of the heart, in that which is not corruptible, even the ornament of a meek and quiet spirit, which is in the sight of God of great price. 1 Peter 3:4
This is very similar to Paul's put down of the wine induced music in Ephesus and his demand that the melody not be external but internal. The singing and melody is in the heart and the external act is speaking to teach and admonish with Biblical resources:
Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; Eph 5:19
Melody means to "twitch or twang" and it is from 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. The word sop is from the same source!!
External melody was proof of devotion to Apollo (Abaddon, Apollyon) in the seeker center at Delphi. Apollo was the father of "arrow shooters" and "musical harmony."
Something corruptible is directly related to musical terms such as melody. For instance, melody in Hebrew is derived from a word meaning "to prune the vines" in order to "take one's inheritance." and cause it to wither.
Phtheiro (h5351) fthi'-ro; prob. strength. from phthio, (to pine or waste): prop. to shrivel or wither, i.e. to spoil (by any process) or (gen.) to ruin (espec. fig. by mor. influences, to deprave): - corrupt (self), defile, destroy
Phthoggos (h5353) fthong'-gos; from 5350; utterance, i.e. a musical note (vocal or instrumental): - sound.
And even things without life (lifeless or carnal instruments) giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped? 1Co.14:7
Ezekiel continues warning against the same musical prophesying even if they could "sell some CDs or get on the lecture circuit)-
And will ye pollute me among my people for handfuls of barley and for pieces of bread, to slay the souls that should not die, and to save the souls alive that should not live, by your lying to my people that hear your lies? Eze 13:19
Pollute is from the Hebrew word:
Chalal (h2490) khaw-lal' to wound, to dissolve; figurative 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): defile, eat as common things, gather the grape thereof, take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute Yes, I know that pollute means different things, but isn't it interesting that God always associates things like pollute, flute and prostitute?
Dialog of Phaedrus and Socrates notes:
- It might be so if madness were simply an evil;
- but there is also a madness which is a divine gift,
- and the source of the chiefest blessings granted to men.
- For prophecy is a madness,
- and the prophetess at Delphi and the priestesses at Dodona
- when out of their senses have conferred great benefits on Hellas,
- both in public and private life,
- but when in their senses few or none.
And I might also tell you how the Sibyl and other inspired persons have given to many an one many an intimation of the future which has saved them from falling. But it would be tedious to speak of what every one knows.
There will be more reason in appealing to the ancient inventors of names,
who would never have connected prophecy (mantike) which foretells the future and is the noblest of arts, with madness (manike), or called them both by the same name,
if they had deemed madness to be a disgrace or dishonour;-
they must have thought that there was an inspired madness which was a noble thing; for the two words, mantike and manike, are really the same, and the letter t is only a modern and tasteless insertion.But he whose initiation is recent, and who has been the spectator of many glories in the other world,
is amazed when he sees any one having a godlike face or form,
which is the expression of divine beauty; and at first a shudder runs through him, and again the old awe steals over him; then looking upon the face of his beloved as of a god he reverences him, and if he were not afraid of being thought a downright madman, he would sacrifice to his beloved as to the image of a god;then while he gazes on him there is a sort of reaction, and the shudder passes into an unusual heat and perspiration; for, as he receives the effluence of beauty through the eyes, the wing moistens and he warms. And as he warms, the parts out of which the wing grew, and which had been hitherto closed and rigid, and had prevented the wing from shooting forth, are melted, and as nourishment streams upon him, the lower end of the wings begins to swell and grow from the root upwards; and the growth extends under the whole soul-for once the whole was winged
During this process the whole soul is all in
a state of ebullition and effervescence,- which may be compared to the irritation and uneasiness in the gums at the time of cutting teeth,-bubbles up, and has a feeling of uneasiness and tickling;
but when in like manner the soul is beginning to grow wings, the beauty of the beloved meets her eye and she receives the sensible warm motion of particles which flow towards her, therefore called emotion (imeros), and is refreshed and warmed by them, and then she ceases from her pain with joy.
But when she is parted from her beloved and her moisture fails, then the orifices of the passage out of which the wing shoots dry up and close, and intercept the germ of the wing;
which, being shut up with the emotion, throbbing as with the pulsations of an artery, pricks the aperture which is nearest, until at length the entire soul is pierced and maddened and pained,and at the recollection of beauty is again delighted. And from both of them together the soul is oppressed at the strangeness of her condition, and is in a great strait and excitement, and in her madness can neither sleep by night nor abide in her place by day...
And when the Muses came and song appeared they were ravished with delight; and singing always, never thought of eating and drinking, until at last in their forgetfulness they died.
And now they live again in the grasshoppers (Locusts); and this is the return which the Muses make to them-they neither hunger, nor thirst, but from the hour of their birth are always singing, and never eating or drinking; and when they die they go and inform the Muses in heaven who honours them on earth.
Socrates. The divine madness was subdivided into four kinds,
- prophetic,
- initiatory,
- poetic,
- erotic,
having four gods presiding over them;
- the first was the inspiration of Apollo,
- the second that of Dionysus,
- the third that of the Muses,
- the fourth that of Aphrodite and Eros.
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Ezekiel continues to warn against Seekerism exhilarating the audienceWherefore thus saith the Lord God; Behold, I am against your pillows (clothing to suggest after hours free time), wherewith ye there hunt the souls to make them fly (lift up), and I will tear them from your arms, and will let the souls go, even the souls that ye hunt to make them fly. Eze 13:20
Because with lies ye have made the heart of the righteous sad, whom I have not made sad; and strengthened the hands of the wicked, that he should not return from his wicked way, by promising him life: Eze 13:22
Therefore ye shall see no more vanity, nor divine divinations: for I will deliver my people out of your hand: and ye shall know that I am the Lord. Eze 13:23
Keceth (h3704) keh'-seth; from 3680; a cushion or pillow (as covering a seat or bed): - pillow.
Eze.13:18 And say, Thus saith the Lord God; Woe to the women that sew pillows to all armholes, and make kerchiefs upon the head of every stature to hunt souls Will ye hunt the souls of my people, and will ye save the souls alive that come unto you?
Kacah (h3680) kaw-saw'; a prim. root; prop. to plump, i. e. fill up hollows; by impl. to cover (for clothing or secrecy): - clad self, close, clothe, conceal, cover (self), (flee to) hide, overwhelm. Comp. 3780.
"Ezekiel in describing the necromantic ritual of the witches, says they fastened 'magic bands' (kesatot) on their wrists and with them 'trapped souls like birds' (Ezekiel 13:20). This rare word is related to the Sumerian KI-ShU, meaning some kind of magical imprisonment, but we have to look to Greek for its precise significance. In the form kiste, Latin cista, it appears as a container used in certain mystery rituals of the Dionysiac cult, supposedly for the carrying of secret implements. In fact, wherever the cista is graphically represented it is shown as a basket from which a snake is emerging. Thus on sarcophagi inscribed with Bacchic scenes, the cista is shown being kicked open by Pan and the snake raising itself from the half-opened lid. The snake is an important feature of the Dionysiac cult and imagery. The Maenads of Euripides' Bacchae have serpents entwined in their hair and round their limbs, and the snake was the particular emblem of the Phyrigian Sabazios (Sabadius) with whom Dionysos is identified." - John M. Allegro, The Sacred Mushroom and the Cross
"A fourth-century BC hymn in honor of Dionysos 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 Dionysos 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
"Early worshippers of Dionysos reenacted this gruesome scene by whipping themselves into a frenzy and tearing a live bull to pieces with their hands and teeth. These grisly rites, accompanied by loud music and the crashing of cymbals, were intended to propel the revelers into a state of ecstasy, a word literally meaning 'outside the body' to the Greeks. Through this ecstasy, the cultists hoped to transcend their earthly bonds and allow the soul a temporary liberation from the body. Only in this way could the soul achieve a condition of enthousiasmos, meaning 'inside the god,' which the worshipers believed was a taste of what they might one day enjoy in eternity." The Search for the Soul
To the Jewish clergy, Jesus fulfilled the prophecies of Dionysus and therefore they put Him to the test:
They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept. Luke 7:32
This singing is related to the Triumph Over of Jesus when, in the end He would have them in derision:
Thriambeuo (g2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - (cause) to triumph (over).
