II.
of persons, unmusical, Id.Sph.253b, al.
Revelation 16 The Mark of the Beast Signs
A Cappella as Revelation.16.The.Mark.of.the.Beast.Signs musical idolatry of the singing and harp playing prostitute Christ defined as lucifer or the worship at Tyre. 2 Peter 2:12 But these, as natural brute beasts, [Zoon, Zao, Zoe căprīlis , e, of or pertaining to the goat: “semen, i. e. capellae,”
A Cappella Singing is an end-time deception: it has become a power merchandising plot and the BEASTS or Goat-Singers are the Scape-Goats. A person or thing so dedicated to adorn the Word of God is declared anathema: he she or it cannot be redeemed and must be burned. The Cappella was the Sistine Chapel where the castrated Opry singers aided or replaced the "falsetto" voices served. The singing style was ORGANUM with no more than two notes sounded on the same syllable.
Nothing will so upset the commercial religions than seeing the musicians as always prophesied to be cast alive into the lake of fire. Without the androgynouse worship style no one would pay to listen to sermons of men who reject the Word they have betrayed.
Rev. 16:1 And I heard a great voice out of the temple saying to the seven angels,
Go your ways, and pour out the vials of the wrath of God upon the earth.
Rev. 16:2 And the first went, and poured out his vial upon the earth;
Revelation.16.The.Mark.of.the.Beast.Signs and there fell a noisome and grievous sore upon the men which had the mark of the beast, and upon them which worshipped his image.
WHAT IS A PLAGUE: PLESSO 3. strike or stamp as one does a coin, Kuprios kharaktēr . .
en gunaikeiois tupois “peplēktai” Strike a string with a key,
4. of musical sounds, houtôsi plêgenta houtôs ephthenxato ta phônêentaPsallo has NO musical content: it means to STRIKE a string or hair with your FINERS and never with a plecktron or key. Psallo excludes wind instruments, percussion instruments or a guitar pick.
EPHTHENXATO--trumpet (thunder), flute, lyre, Phormigx (ABADDON'S instrument), melody in a holy place, CLAPPING HANDS
The SOP Jesus fed Judas to invite the Devil to come into him has the same root meaning as PSALLO.
A.Supp.283 Kharakter includes one's personal nature shared with others of the groupPLAGUE: The Muses or sorcerers (Rev 18:23) were known as dirty adulterers (selling at retail) were the "musical worship team" of Apollo (Abaddon, Apollyon). They were sentenced underground as LOCUSTS and have been UNLEASHED out of their SMOKEY exile for these end times.
Sting of a Skorpion (John's code word for the Muses: Apollyon's musical worship team)
2. to be smitten emotionally, “himerō peplēgmenoi” Struck by bribes, smitten emotionally.
Erotes,
Plat. Sym. 218a Now I have been bitten by a more painful creature, in the most painful way that one can be bitten: in my heart, or my soul, or whatever one is to call it I am stricken and stung by his philosophic discourses, which adhere more fiercely than any adder when once they lay hold of a young and not ungifted soul, and force it to do or say whatever they will
A Lying Wonder: The phrase recals 182 E thaumasta erga...tolmōē poiein:God HIDES from the wise or SOPHISTS: rhetoricians, singers, instrument players or actors.
PLAGUE: b. sting, plêgeisa hupo skorpiou Plato, Euthydemus S. Fr.37, V. an engine of war for discharging arrow
EXAMPLE: Plato, Euthydemus
Rev. 19:20 And the beast was taken,
[289e] For not only do these speech-writers themselves, when I am in their company, impress me as prodigiously clever, Cleinias, but their art itself seems so exalted as to be almost inspired. However, this is not surprising; for it is a part of the sorcerer's art,
and with him the false prophet that wrought miracles before him,
with which he deceived them that had received the mark of the beast,
and them that worshipped his image.
These both were cast alive into a lake of fire burning with brimstone.
BEAST: Thērion ,
to (in form Dim. of thēr), A. wild animal, esp. of such as are hunted, mala gar mega thērion ēen, of a stag, Od.10.171, 180 (never in Il.); in Trag. only in Satyric drama
Sikinnis
sikinn-i^s si^, or siki_nis (E.Cyc.37), idos,
A. “Sikinnin” D.H.7.72:—Sicinnis, a dance of Satyrs used in the Satyric drama, S.Fr.772, E. l.c., D.H. l.c., Luc.Salt.22: named from its inventor Sicinnus, Ath.1.20e, cf. Scamon 1; or from Sicinnis, a nymph of Cybele, although originally danced in honour of Sabazios, Arr.Fr.106J.— Also written Sikinnon , to/, Suid.; Sikinna ,
Sa^bazios , ho, (Sabos) a Phrygian deity, whose mysteries resembled the teletai of Dionysus, Thphr.Char.27.8 (but Sabadion [acc.] ib.16.4, cf. Dessau Inscr.Lat.Sel.2189), Nymphis 11; hence afterwards taken as a name of Dionysus himself, Ar.V.9, Av.875, Lys.388; A.“theō Sabaziō pagkoiranō” CIG3791 (Bithynia), cf. IG12(5).27 (Sicinus); “Di Sabaziō”Cybele or Kubebes:CII. Kubêbês. The ‘Great Mother’ goddess of the Phrygians worshipped at Pessinus, the mêtêr Dindumênê of i. 80. 1. For the Anatolian ‘Great Mother’ cf. App. I. 2, Frazer, G. B. iv, Bk. II, Attis, &c.; Ramsay, in Hastings' Bible Dictionary, extra vol., p. 120 f. The Atys myth which involved her cult is connected with Sardis by H.'s story of the son of Croesus (i. 34. 2 n.). The Great Mother was worshipped at Athens in the days of Sophocles (Phil. 391), and identified by the Greeks with Rhea, mother of the gods (cf. iv. 76; Strabo 469), with Aphrodite, with Demeter, and with Artemis as the lady of the wild woods. But here she is regarded as a foreign goddess.She is the facilitator or organon a musical instrument of Rhea (Eve, Zoe)“anthrōpos pantōn th. theeidestaton”
pas , A.= patēr pasa, pan, Aeol. pais , ;pasa alētheiē all the truth, pan kratos the whole power, sovereign power,
2. panta gignomenos becoming all things, i. e. assuming every shape, Od.4.417. 3. panta einai tini to be everything to one, “ēn hoi . . ta panta hē Kunō” Hdt.1.122;
ku^n-ō , ous, hē, A.bitch: hence, = anaidestatē, Hdt. 1.110; title of Hecate,III. as a term of reproach, beast, creature, , cf. Eq.273; “kolaki, deinō thēriō” Pl.Phdr.240b;
Deilos cowardly, vile, worthless, lowborn, mean
Plat. Phaedrus 240b has mingled with most of them some temporary pleasure; so, for instance, a flatterer is a horrid creature and does great harm, yet Nature has combined with him a kind of pleasure that is not without charm, and one might find fault with a courtesan as an injurious thing, and there are many other such creatures and practices which are yet for the time being very pleasant; but a lover is not only harmful to his beloved.
hēdonē , Dor. hadona to speak so as to please another, “dēmēgorein” D.4.38; “ou pros hē. hoi ēn ta aggellomena” Hdt.3.126; 3. Pl., desires after pleasure, pleasant lusts, X.Mem.1.2.23, Ep.Tit.3.3, al.
Kolax , [Philippians 3 Dogs or Catamites] A. flatterer, fawner, Ar.Pax756, Lys.28.4, Pl.Phdr. 240b, etc.; “tukhēs kolakes” ; parasite, D.L.6.4.2. Att. goēs, Moer. p.113 P.II. lisping pronunciation of korax, Ar.V.45.
NEVERamous-os , on, A. without song, of fishes, Emp. 74; but usu. without the Muses, i.e. without taste or refinement, rude, E.Ion526, Ar.V.1074; “a. kai aphilosophos” Pl.Sph.259e; a. hēdonē, hamartēmata, gross pleasure, faults, Pl.Phdr.240b, Lg.863c; a. esti, c. inf., it is incongruous, Ar.Th.159; tōn Leibēthriōn amousoteros, PROVERB. for lowest degree of mental cultivation, Zen.1.79: Sup., “glōtta -otatē” Agath.2.28. Adv. “-ōs” Pl.Hp.Ma.292c.Goēs , ētos, ho, A. sorcerer, wizard epōdos Ludias apo khthonos” E.Ba.234“hē mousikē aei ti kainon thērion tiktei”
2. juggler, cheat, “deinos g. kai pharmakeus kai sophistēs” Pl.Smp.203d; “deinon kai g. kai sophistēn . . onomazōn” D.18.276; “apistos g. ponēros” Id.19.109; “magos kai g
Sophis-tēs , ou, ho, A. master of one's craft, adept, expert, of diviners, with modal words added, “hoi s. tōn hierōnmelōn ” [MELODY IN THE HOLY PLACE]
3. later of the rhētores, Professors of Rhetoric, and prose writers of the Empire, such as Philostratus and Libanius, Suid.; “Apollōnidē sophistē” [Abaddon, Apollyon]
PHARMAKIA identifies the speakers, singers and instrument players in Revelation 18: John called them sorcerers and says they will be (are) cast alive into the lake of fire.
sunestiōmenon, of womanmousikê aei ti kainon thêrion tiktei
A. Mousikos, musical, agônes m. kai gumnikoi choroi te kai agônes ta mousika music,II. of persons, skilled in music, kuknos [minstrel] kai alla zôia; peri aulous - professional musicians, mousikos kai melôn poêtês, use with singing, skilled in speaking before a mob. Melody,
B. aei always
C. kainos , esp. of new dramas, the representation of the new tragedies, (Aphrodisias dedicated to Aphrodite (ZOE); comedy, sexual love, pleasure, a woman's form of oath, Aster or Venus or ZOE Lucifer
D. Therion
E. Tikto mostly of the mother of Rhea one of the zoogonic or vivific principles
Sunesti^-aō , A. help to entertain, AP4.3.24 (Agath.):—Pass., live or feast along with or together, Lys.Fr.53.2, Is.3.70, D.19.190, etc.; [theois] Plu.2.121f; “meta tinōn” IG22.122 Peter 2:12 But these, as natural brute beasts, [Zoon, Zao, Zoe căprīlis , e, of or pertaining to the goat: “semen, i. e. capellae,”
made to be taken and destroyed,
speak evil of the things that they understand not;
and shall utterly perish in their own corruption;
THE IMAGE is "turning the Word of God into a song[
Imāgo , ĭnis, f. cf. imitor, I.an imitation, copy of a thing, Juv. 7, 29: “hoc tibi sub nostra breve carmen imagine vivat,” “epistula atque imago me certum fecit,” i. e. the image on the seal, the signet,The command is to SPEAK that which is written for our learning
I. Transf., a reverberation of sound, an echo (mostly poet.): “(mellaria facere oportet) potissimum ubi non resonent imagines, 2. With the idea predominating of mere imitation, in OPPOSITION to what is original or real, a mere form, image, semblance, appearance, shadow:
Logos or Lexis is OPPOSITE to an ODE and ODE is the opposite of LEXUS.
If they do not SPEAK that which is Written THERE IS NO LIGHT IN THEM. Isaiah 8
Both ODE and PSALLO is IN (Eis) the HEART which means keep both SILENT.
1Corinthians 14:28 But if there be no interpreter, let him keep silence in the church;
and let him speak to himself, and to God.
Again, speaking in tongues is GIBBERISH or playing an instrument: you cannot INTERPRET either.
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]
MARK:kharag-ma kha^, atos, to, (kharassō) A.any mark engraved, imprinted, or branded, kh. ekhidnēs the serpent's mark, i. e. its bite, sting, ekhein to kh. tou thēriou” Apoc.16.2, cf. 13.16; to kh. tou thēriou the mark of the beast,3. metaph., mark, stamp, character, “to tēs monados sēmantikon kh.”
sēman-tikos , ē, on, ; “rhēma . . phōnē sunthetē s. meta khronou” Id.Po.1457a14Revelation 12:12 Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! for the devil is come down unto you, having great wrath,
phōn-ē , hē, A.sound, tone, prop., the sound of the voice, whether of men or animals with lungs and throat battle-cry, 15.686; of the battle-cry of an army,
4. of sounds made by inanimate objects, mostly Poet., “kerkidos ph.” S.Fr.595; “suriggōn” E.Tr.127 (lyr.); “aulōn” Mnesim.4.56 (anap.); rare in early Prose, “organōn phōnai” BOASTING
khronos , ho, 3. in Rhythmic and Music, time, “diaireitai ho kh. hupo tōn rhuthmizomenōn”
Khronos is TIME and the grandfather of KAIROS of the Church Planting Plot
because he knoweth that he hath but a short time. kairo
com-mŏvĕo (conm- ), A. To remove from a place, to carry away, displace, to start, set in motion, move: if I put my instruments (artifices, tricks, etc.) in motion.
frantic, crazed, Ludo .Especially, to play on an instrument of music, to make or compose music or song: “ludere quae vellem calamo permisit agresti,” Verg. E. 1, 10: “talia fumosi luduntur mense Decembri,” Ov. Tr. 2, 491: “quod tenerae cantent, lusit tua musa, puellae,” id. Am. 3, 1, 27: amorous play
G. To delude, deceive: “auditis, an me ludit amabilis Insania?”
THEY MUSICALLY MOCKED JESUS AND BEAT HIM WITH A FLUTE!
Gallus , i, m., = Gallos Strab., A. Galli , ōrum, m., the priests of Cybele, so called because of their raving, “resupinati cessantia tympana Galli,” Juv. 8, 176.—And satirically (on account of their emasculated condition)
AT MOUNT SINAI: Of or belonging to the priests of Isis, Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18.
The DOGS or CONCISION were emasculated priests of the Mother Goddess..
Revelation 12:14 And to the woman were given two wings of a great eagle,
that she might fly into the wilderness, into her place,
where she is nourished for a time, and times, and half a time,
from the face of the serpent.
Revelation 14:15 And another angel came out of the temple,
crying with a loud voice to him that sat on the cloud,
Thrust in thy sickle, and reap: for the time is come for thee to reap;
for the harvest of the earth is ripe.
Pruning Hook
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