David Young North Boulevard Church Psalm 33
Instrumental Music
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Jesus died to give US rest and liberty FROM any and
all religious cunning craftsmen or sophists: speakers, singers,
instrument players or actors. All religionism including the
Jewish sacrificial system called them PARASITES. The
Church of Christ is defined as an UMBRELLUM which is a SAFE
HOUSE to get in out of the violent antics of angels of light.
THE MARK OF STRONG DELUSIONS PRODUCING LYING WONDERS
AFTER PEOPLE HAVE TAMPERED WITH THE WORD.
Jingling, banging, and
rattling accompanied heathen cults, and
the frenzying
shawms
of a dozen ecstatic cries intoxicated the masses. Amid
this euphoric
farewell feast of a dying civilization, the voices of
nonconformists were emerging from places of Jewish and
early Christian worship ..." (Encyclopaedia Judaica,
1971 ed., s.v. "Music")
"In this fashion evey
common tribal
interest--the
recurrence
of the seasons, the increase of the food supply,
successful hunting-- was likely
to become embodied in some regularly repeated ceremony, which
usually included group dancing, singing, and feasting. Besides
enabling men to express, and
- thereby to allay, anger
and anxiety,
- such ceremonies
also promoted tribal unity and
- strengthened
the loyalty of the individual to tribal traditions,
for the emotional excitement they aroused had the effect of breaking down the
barriers
between individuals and thus fusing all tribesmen into a collective whole.
- Meanwhile, whole
systems of magical devices were gradually elaborated." (Parkes, Henry
Bamford, Gods and Men The Origins of Western
Culture, p. 26, Knopf), p. 29)
The religion of Babylon
implicates female
musicians
as the second oldest profession. Therefore, rather than
being "contemporary" or culturally-friendly, they are the
oldest "giants" implicated by Jesus as the Jewish temple
people:
"The development both
of religion and of the arts can
be traced back in a continuous line to the hunting
era. The group ritual of the primeval tribesmen were
the origin not only of all religious ceremonial, but
also of the drama and of poetry and music, while magic gave birth to the visual arts."
(Parkes, p. 30).
"Awed by the mysteries
of his
own spirit no less
than by those of nature, primitive man was likely to
attribute to divine influence any abnormal
emotional state, whether above or below the usual
level. Medicine men customarily went into states of trance in which they were believed to be in communication with
the gods, and many tribes supposed lunatics
and sexual deviants to be divinely possessed.
JUST AFTER THE FLOOD
Clement
wrote: "But when all these things were done,
men turned again to impiety;
[There is a similar chapter in Homily IX. 7, but in a
discourse: on the following day.-R.] and
on this account a law was given by God to instruct them in
the manner of living.
But in process of time, the worship of
God and righteousness were corrupted by the unbelieving
and the wicked, as we shall show more fully by and
by.
Moreover, perverse and erratic religions were introduced, to which the
greater part of men gave themselves up, by
occasion of holidays and solemnities, instituting drinkings and banquets, following pipes, and flutes, and harps, and
diverse kinds of musical
instruments, and indulging
themselves in all kinds of drunkenness and luxury.
Hence every kind of error took rise;
hence they invented groves and altars, fillets and victims, and after drunkenness
they were agitated as if with mad emotions.
By this means power was given to the demons to enter into minds of this sort, so that they seemed to lead insane dances and to rave
like Bacchanalians;
hence were invented the gnashing of teeth, and bellowing
from the depth of their bowels; hence a terrible
countenance and a fierce aspect in men, so that he whom
drunkenness had subverted and a demon had instigated,
was believed by the deceived and the erring to be filled
with the Deity.
While the Gentiles (none spiritual Israelites) are TRAMPLING THE
COURTS in their lost faith you should get in out of the storms.
Psalm 32 comes before Psalm 33 and explains why David had
lost his first love,
Psalm 32:2 Blessed is the man unto whom
.........the Lord imputeth
not iniquity,
.........and
in whose spirit there is
no guile.
dŏlus
device, artifice,
fallaciam, machinationem, “per
sycophantiam
atque
per
doctos
dolos
[
the learned: “doctorum
est
ista
consuetudo,”
Cic. Lael. 5, 17
] “voces
Pythagoreorum,”
vox
, vōcis, f. voco, I.a voice, sound,
tone, cry, call. “inclinata
ululantique
voce
canere,”
“theatrum
ita
resonans,
Pythagoreorum
defines the World or Kosmos for which Jesus does not
pray.
Psalm 32:3 When I kept silence, my bones
waxed old
through
my roaring all the day long.
David did not have the ability to KEEP SILENT:
unless he was jumping and shouthing he felt the heave hand
of God on him.
clāmo
, to call, cry out, shout aloud, to
complain with a loud voice, vociferari, Of a vehement
bawling before a tribunam, chirping of a cricket: [the
locust] the roaring of waters,
exercĭto
to vex, agitate, disturb. disquiet
Psalm 76.6 At your rebuke, God of Jacob, Both
chariot and horse are cast into a deep sleep.
Psalm 32:4 For day and night thy hand was heavy
upon me:
my moisture is
turned into the drought of summer. Selah. dĭapsalma
a pause in music: time to MEDITATE on what has been
chanted.
grăvo
weighed down, oppressed, To
burden, oppress, incommode:
IN
PSALM 33 WE SEE THAT "EXULTING" IS WHAT ONE DOES WHEN THEY
HAVE BEEN ABANDONED BY GOD.
David Young God commanded
Instrumental Music:
This is not a set of rituals but Psalm 33 invites us to a rich
EXPERIENCE with God "Praise God
with the harp, shout for joy,
INVITATION to give everything I
have."
Psalm
150
is part of the hymnbook of the church: He concludes that
everything that has BREATH including the musical instruments
First:
Bible Scholars understand that David is using figurative
languages since musical instruments have no breath in
them.
Second: Because David wants to worship God in the
FIRMAMENT we understand that God did not command the
King, kingdom, animal slaughter,
temple and that the Levites were commanded to stand in
ranks and make a noise ready to slaughter any godly
Jew who can near the Babylonish temple and evil
sacrificial system. God turned them
over to worship the starry host BECAUSE of musical
idolatry.
The
Worsip of the Jews was Sabazianism as
the initial bacchus or dionysus
worship in Egypt and as Mount
Sinai.
Iamblichus wrote Of the
Hebrew Kadeshim and the Eleusinian. Thus "Bacchus was directly called upon," he
says. The Sabazian worship was Sabbatic; the names Evius, or Hevius,
and Luaios are identical with Hivite and Levite. The French name Louis is the Hebrew Levi;
Iacchus again is Iao or Jehovah; and Baal or Adon,
like Bacchus, was a phallic god. "Who shall ascend into the hill (the high
place) of the Lord?" asks the holy king David, "who shall
stand in the place of his Kadushu [[Heb char]]"? (Psalms xxiv. 3). Kadesh may
mean in one sense to devote, hallow, sanctify, and even to
initiate or to set apart; but it also means the ministers of lascivious rites (the Venus-worship) and the true
interpretation of the word Kadesh is bluntly rendered in
Deuteronomy xxiii. 17; Hosea iv. 14; and Genesis xxxviii.,
from verses 15 to 22. The "holy" Kadeshuth of the Bible were
identical as to the duties of their office with the
Nautch-girls of the later Hindu pagodas.
Deut 23:17 There shall be no whore
of the daughters of Israel, nor a sodomite of the sons of Israel.
Deut 23:18 Thou shalt not bring the
hire of a whore, or the price of a dog, into the house of the Lord thy God for
any vow: for even both these are abomination unto the
Lord thy God.
Hos 4:14 I will not punish your
daughters when they commit whoredom, nor your spouses
when they commit adultery: for themselves are separated
with whores, and they sacrifice with harlots: therefore
the people that doth not understand shall fall.
The Hebrew Kadeshim or galli lived "by the house of the
Lord, where the women wove hangings for the
grove," or bust of Venus-Astarte, says verse the seventh
in the twenty-third chapter of 2 Kings.
The dance performed by David round the ark was the "circle-dance" said to have been prescribed by the
Amazons for the Mysteries. Such was the dance of the daughters of Shiloh (Judges xxi. 21, 23 et
passim), and the leaping of the prophets of Baal (I Kings xviii. 26).
It was simply a characteristic of the Sabean worship, for it denoted the
motion of the planets round the sun.
That the dance was a Bacchic frenzy is apparent. Sistra were used on the occasion,
and the taunt
of Michael
and the king's reply are very expressive. "The king of
Israel uncovered himself before his maid-servants as one
of the vain (or debauched) fellows shamelessly uncovereth
himself." And he retorts: "I will play (act wantonly) before [[Heb char]], and I
will be yet more vile than this, and I will be base in my
own sight."
THE SPIRIT OF CHRIST SPEAKS ONLY THROUGH THE
PROPHETS AND APOSTLES. He Refutes
David Young.
Habakkuk 2:18 What profiteth the graven
image that the maker thereof hath graven it; the molten
image,
and a teacher of lies, that the maker of
his work trusteth therein, to make dumb
idols?
Habakkuk 2:19 Woe unto him that
saith to the wood, Awake; to the dumb stone,
Arise, it shall teach!
Behold, it is laid over with gold and silver,
and there is no breath at all in the midst of it.
Dawn was the "mother" of Lucifer or Venus:
Lucifer is Abaddon or Apollyon figure.
Psalms 57:8 Awake up,
my glory; awake, psaltery and harp: I myself will
awake early.
Psalms 108:2 Awake, psaltery
and harp: I myself will awake early.
We even have a mention at
a later date of a similar custom in connection with
the cult in Jerusalem, where certain Levites,
called me'oreim, 'arousers," sang every
morning this verse from Ps 44: 'Awake, Lord, awake!
Do not abandon us for ever." The Talmud tells us
that Johy Hyrcanus suppressed the practice because
it recalled too readily a pagan custom.
Psalms 44:23 Awake, why
sleepest thou, O Lord? arise, cast us not off
for ever.
Psalms 44:24 Wherefore hidest
thou thy face, and forgettest our affliction and our
oppression?
A
similar practice is attested in connection with the cult
of Herakles-Melkart. According to Menander, as he is quoted
by Josephus, the king Hiram, who was a
contemporary of Solomon, rebuilt the temples of Tyre
and, 'he was the first to celebrate the awakening of
Heracles in the month of Peritius." (de Vaux, p.
247)
This
was the personification of Lucifer whom Christ called the
"singing and harp-playing harlot" in the gardenof Eden
In
an
inscription from Cyprus, in one from Rhodes and in
several from around the district of Carthage,
there are references to important personages who bear
the title Mqm"lm which we can
translate as 'arouser of the god."
(de Vaux, p. 247).
BUT,
refuting David Young and all of the Musical Idolaters
Christ says;
Habakkuk 2:20 BUT the LORD is in his
holy temple:
let all the earth keep silence before him
Paul wants the men
to lift holy palms (to the Word) to prevent an
outbreak of wrath or and ORGY defined by singing,
clapping, playing.
Paul wants the women to be silent
because "there is one Mediator between man and God,
the MAN Jesus Christ."
Both men and women are to KEEP
SILENCE so that the command from the wilderness
onward could be obeyed: to PREACH the Word (only)
by READING the Word (only).
Paul says that
if men and women sit down and shut up then "we
can all be saved or safe and COME TO A
KNOWLEDGE OF THE TRUTH."
David Young compares eveyone else as worshiping
like PAINTING BY NUMBERS. He assumes or presumes
as personally heard that "no one can understand the Scriptures." He
meant that HE could understand the Word and teach
if FOR A PRICE.
David
Young makes a common perhaps demeaning mistake by the analogy
(forbidden by the LOGOS word) as a Paint By
Numbers as opposed to a Masterpiece. The Artists is
compared to worship as the Masterful EXPERIENCE of a powerful God.
I think David means singing, playing instruments,
shouting, hugging and kissing: this human EXPERIENCE
is somehow to replace the WORD
which is to be PREACHED by being READ so that no
body language or personal charisma can MASK the simple Word of Christ in
the commanded Prophets and Apostles.
The ONLY worship concept for the Spiritual
people beginning in the church and the
wilderness, practiced and commanded by Jesus,
commanded and practiced by the Apostles
and the historic
church before SOWERS OF DISCORD added
Singing as an ACT of liturgy in the
year 373. Worship is IN THE
SPIRIT as a place as opposed to houses
build by human hands or the WORKS of human hands.
The Biblical Definition of ekklesia-synagogue
Episun-agō a^,
A. collect and bring
to a place,
Plb.1.75.2 (Pass.),
5.97.3, Wilcken
Chr.11A5
(ii B.C.) ;
gather together, LXX Ge.6.16, al.,
Ev.Matt.23.37,
etc.:—Pass.,
OGI90.23 (Rosetta,
ii B. C.),
Placit. 3.4.1,
Ph.1.338
; “
hoi -sunēgmenoi en Xoei Boiōtoi”
Supp.Epigr.2.871
(Egypt, ii B. C.) ;
to be combined, “
ta ek tōn plēthuntikōn eis ta henika -omena”
Longin.24.1
;
episunakhthentes tokoi accumulated
interest,
PGrenf.2.72.8
(iii/iv A. D.), cf.
PFlor.1.46.14
(ii A. D.) ; “
episunagomenos arithmos”
counted up,
Ptol.Tetr.43.
Click on “sullogizomenoi
PETER DEFINED THE MARKS OF ANY PERFORMANCE: SPEAKING,
SINGING, PLAYING INSTRUMENTS.
David Young God commanded
Instrumental Music: This is not
a set of rituals but Psalm 33
invites us to a rich EXPERIENCE with God "Praise
God with the harp, shout for joy,
INVITATION to give everything I have."
Psalm
150
is part of the hymnbook of the church: He concludes that
everything that has BREATH including the musical instruments
Revelation
5 depicts the end of time.
worship God, heaven,
Use musical instruments
back to god.
It appears that it is not possible to
be a Doctor of the Law and not fall
under the ban of Jesus Who said that they take away the key
to knowledge. Music
derived from mystery means "to
make the lambs dumb before the
slaughter." That was
prophesied of Messiah 41 and
fulfilled as the Jews
MUSICALLY MOCKED Jesus up to the
food of the Old Rugged Cross.
David
was a KING and the
Levite Prophesiers are
called
soothsayer-sorcerers
always involved with
sacrificing other
people's lambs and are
called PARASITES.
David wrote warrior
music intending as in
the halal (Lucifer word)
intending to threaten
them with the usual
ALPHA MALE intimidation.
God had turned the Jews
over to worship the
Starry host (missed Acts
and Amos?) and that was
the same
Abadddon-Apollyon figure
which they worshipped.
That happened as a sin
beyond redemption at
Mount Sinai when the
golden calf
represented the
always-pagan trinity
of father, mother
(spirit) and little
bad son,
Horus. When
preachers usurp the
male leadership the
PATTERN is also
defined in Revelation
17 when the
end-time Babylon
Mother of harlots
uses "lusted after
fruits" (same as
in Amos 8) as
speakers, singers,
instrument players
and craftsmen:
these are the
ministry
team called
PARASITES in all
religious
institutions
antithetical to
the School of
Christ.
Horus was
the posthumous son and heir of the god Osiris,
the primordial king and giver of life. He was invited by
his uncle, Seth, to spend a day. Seth’s real motive was
not to show him hospitality but to disqualify him
from inheriting his father’s royal power. To this
end, while Horus slept Seth committed an act of sodomy
upon him. Since sodomy was inflicted as a punishment
on a defeated enemy and was a symbol of
domination, Seth could then claim that he had conquered
Horus and demand the kingship in his place.
Historically,
the rape of males was more widely recognized in ancient
times. Several of the legends in Greek mythology
involved abductions and sexual assaults
of males by other males or gods. The rape of
a defeated male enemy was considered the special
right of the victorious soldier in some
societies and was a signal of the totality of the
defeat. There was a widespread belief that a male
who was sexually penetrated, even if it was by forced
sexual assault, thus "lost his manhood," and could no
longer be a warrior or ruler. Gang rape of a male was
considered an ultimate form of punishment and, as such,
was known to the Romans as punishment for adultery and
the Persians and Iranians as punishment for violation of
the sanctity of the harem (Donaldson, 1990). Donaldson, Donald. (1990).
"Rape of Males," in Dynes, Wayne, ed. Encyclopedia of
Homosexuality. New York: Garland Publications.
What is
called Psalm 150 as part of the
hymnbook of the church is not a psalm:
it is a HALAL. David wants to
HALAL his god in
the FIRMAMENT: that is because the
kings had been abandoned to worship
the starry host because of
instrumental idolatry of the trinity
at Mount Sinai. This was a sin
beyond redemption. Halal is
the root meaning of Lucifer: The
Spirit OF Christ identified
the king-queen of Tyre with "Lucifer the
singing and harp-playing
prostitute in the garden of
Eden."
It was
because of instrumental idolatry that
God gave Israel The Book of the Law and
turned them over to
worship the Starry
host. We wonder how
one could read Acts 7
and NOT know that all
of the history of the
Monarchy defines the
not-commanded rituals
of an abandoned
people.
"The triumphal hymn of Moses had unquestionably a religious
character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which
attended the erection of the golden calf." (Smith's Bible
Dictionary, Music, p. 589).
Acts 7:41 And they made a calf in those days,
and
offered sacrifice unto the idol,
and
rejoiced in the works of
their own hands.
lūdo
, si, sum 84: “in
numerum,”
dance, Verg. E. 6, 28:
“hic
juvenum
series
teneris
immixta
puellis
ludit,”
—Esp., 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:
“coloni
Versibus
incomptis
ludunt,”
Verg. G. 2, 386:
“carmina
pastorum,”
id. ib. 4, 565; Suet. Ner. 3:
“si
quid
vacui
sub
umbra
Lusimus
tecum,”
Hor. C. 1, 22, 2.—
“ludere
opus,”
to imitate work, make believe work,
Lucifer the singing
and harp-playing prostitute was cast as profane
(chalal) into the garden of Eden with wind string
and percussion instruments.
The golden calf
was worshipped with wind string and percussion
instruments.
Christ in Isaiah 30
says that the SOUNDS of God driving His enemies into HELL will
be wind, string and percussion
instruments.
Voice of
harpers, musicians, pipers and
trumpeters in Revelation 18 will
signal Jesus removing the LAMPS (seven
spirits of knowledge) from a
pseudo-church in preparation for CASTING THEM
ALIVE INTO THE LAKE OF FIRE.
Euphrainō , Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3
Pind.
I. 6 Just as we mix
the second bowl of wine when the men's symposium
[crooked race] is flourishing, here is the second
song of the Muses for Lampon's children and
their athletic victories: first in Nemea, Zeus,
in your honor they received the choicest of
garlands,
This is the Crooked Race we are warned to
save ourselves FROM.
Pind.
I. 7 In which of the local glories
of the past, divinely blessed Thebe, did you most delight
your spirit? Was it when you raised to eminence the one
seated beside Demeter of the clashing bronze cymbals,
flowing-haired
[5] Dionysus? Or when you received, as a snow-shower of gold
in the middle of the night, the greatest of the gods, when
he stood in the doorway of Amphitryon, and then went in to
the wife to beget Heracles? But since
ancient grace sleeps, and mortals are forgetful of
whatever does not reach the highest bloom of skillful
song, joined to glorious streams of words, [20]
then begin the victory procession with a sweet-singing
hymn for Strepsiades;
Bishop
Hislop
Nimrod was
known as the god of the Chaldean Mysteries.
That name, as we have seen, was Saturn. Saturn and Mystery are both Chaldean words, and they are correlative
terms. As Mystery signifies the Hidden system, so
Saturn signifies the Hidden
god. *
* In the Litany of the Mass, the worshippers are taught thus to
pray: "God Hidden, and my Saviour, have mercy upon
us." (M'GAVIN'S Protestant) Whence can this invocation of the
"God Hidden" have come, but from the ancient worship of Saturn, the "Hidden God"? As the Papacy has
canonised the Babylonian god by the name of St. Dionysius, and St. Bacchus, the "martyr," so by this very name
of "Satur" is he also enrolled in the
calendar; for March 29th is the festival of "St. Satur," the martyr. (CHAMBER'S Book of Days)
Adonis, Attis, Osiris and
Dionysus are the same.
To those who were initiated
the god was revealed; to all else he was hidden.
Now, the name Saturn in Chaldee is pronounced Satur; but, as every Chaldee scholar
knows, consists only of four letters, thus--Stur.
This name contains exactly the Apocalyptic number
666:--
Aristoph. Ach. 5 I was in ecstasy
and I love the Knights for this deed; ‘it is an honour to Greece.’ But the day when I
was impatiently awaiting a piece by Aeschylus, what tragic
despair it caused me when the herald called, “Theognis, introduce
your Chorus!” Just imagine how this blow struck
straight at my heart!
Xen. Sym. 7.5
However, these questions also fail to promote the same
object that wine does; but if the young people were to have
a flute accompaniment and dance figures depicting the Graces,
the Horae, and the Nymphs, I believe that
they would be far less wearied themselves and that the charms
of the banquet would be greatly enhanced.”
“Upon my word, Socrates,” replied the
Syracusan, “you are quite right; and I will bring in a
spectacle that will delight you.”
Acts 7:42
Then God turned,
and gave them up to
worship the host of
heaven;
as
it is written in the
book of the prophets,
O
ye house of
Israel, have ye
offered to me slain
beasts and sacrifices
by
the space of forty
years in the
wilderness?
Acts 7:43 Yea, ye took
up the tabernacle
of Moloch,
and
the star of your god
Remphan,
figures which ye made
to worship them:
and
I
will
carry you away
beyond Babylon.
David
Young's trying to induce the same
fall from grace quotes:
Psalms 33:1 Rejoice in the LORD, O ye
righteous: for praise is comely for the upright.
h8416. thillah, teh-hil-law´; from 1984; laudation;
specifically (concretely) a hymn:—praise.
exsulto
(exult
B. In partic., to exult, rejoice
exceedingly; to run riot, to revel; to vaunt, boast:
1. Boastful, vain-glorious: “turbati
aut
exsultantis
animi
motus,”
2. Of an orator or an oration, diffuse, prolix:
riot, gambol,
exsultātĭo
(
exult-
), ōnis, f. id.,
I.a springing up,
leaping, frisking (post-Aug.).
II. Trop.,
excessive rejoicing,
exultation: gaudium
enim exsultatio, exsultationem tumor et nimia aestimatio
sui sequitur, Sen. de Ira, 2, 21; cf.: “
laetitia
dicitur
exsultatio
quaedam
animi
gaudio
efferventior,”
Gell. 2, 27, 31;
Sen. Tranq. 15 fin.;
Tac. H. 1, 72 al.
Exsŭlāris
(
exul-
), e, adj. exsul,
I.of or
belonging
to exile or
to exiles (late Lat.): “
poena,”
Amm. 15, 3: “
maeror,
maeror (moer-I.a
mourning, sadness, grief, sorrow, lamentation,
whether secret or open
exsŭlātor
(
exul-
), ōris, m. id.,
I.a banisher,
expeller:
“
primi
hominis,
pŭĕrīlis
, e, adj. puer. I Lit., boyish,
childish, youthful
boyish, childish, puerile, trivial,
silly
Childishly, foolishly, sillily:
“stultus,”
Not used by the Text
Laudatio
“laudationes
modulatae,”
[of singing, speaking, dancing, melodiously: modulate
canentes tibiae, *] songs of praise, Suet. Ner. 20.—
Applied to Nero: again playing the harp in many examples is a
prelude to BURNING the faithful.
H7442 rânan raw-nan' A primitive root; properly to
creak (or emit a stridulous sound), that is, to shout (usually
for joy):—aloud for joy, cry out, be joyful, (greatly, make
to) rejoice, (cause to) shout (for joy), (cause to) sing
(aloud, for joy, out), triumph.
Catullus Carmine 63
"Haste you together, she-priests, to
Cybele's dense woods, together haste, you vagrant
herd of the dame Dindymene, you who inclining towards
strange places as exiles, following in my footsteps, led
by me, comrades, you who have faced the ravening sea and
truculent main, and have castrated your bodies in your
utmost hate of Venus, make glad our mistress speedily with
your minds' mad wanderings.
Let dull
delay depart from your thoughts, together haste you,
follow to the Phrygian home of Cybele, to the
Phrygian woods of the Goddess, where sounds the cymbal's
voice, where the tambour resounds, where
the Phrygian flutist pipes deep notes on
the curved reed, where the ivy-clad Maenades furiously
toss their heads, where they enact their sacred orgies with shrill-sounding ululations
[Halal praise word],
where that wandering band of the Goddess flits about:
there it is meet to hasten with hurried mystic
dance."
When Attis, spurious
woman, had thus chanted to her comity, the chorus
straightway shrills with trembling tongues, the light tambour
booms, the concave cymbals clang, and the troop swiftly hastes with rapid
feet to verdurous Ida.
Then raging wildly,
breathless, wandering, with brain distraught, hurries Attis with her tambour, their
leader through dense woods, like an untamed heifer
shunning the burden of the yoke: and the swift Gallae press
behind their speedy-footed leader. So when the home of
Cybele they reach, wearied out with excess of toil and
lack of food they fall in slumber. Sluggish sleep shrouds
their eyes drooping with faintness, and raging fury [Wrath warned Paul] leaves
their minds to quiet ease.
See Paul in Galatians
5 music and witchcraft of the effeminate
Galatians 5:12 I
would they were even cut off which trouble you.
A. Based
on the words Paul uses pointed to the emasculated
priests of the mother goddess, Paul intends to CUT OFF
the musical performers in the same way the priests were
made eunuchs:
First:
Apo-koptō , a.ta gennētika, of eunuchs,
Ph.1.89: abs., “apokekommenos” eunuch,
LXXDe.23.1,
cf.Luc.Eun.8:—Med.,
make oneself a eunuch, Ep.Gal.5.12, cf. Arr.Epict.2.20.19.
This would apply to the musical fall from grace at Mount
Sinai: the worship of the Mother Goddess allowed males
to "perform the role of women." David's stola was worn by the
office of prostitute and the Ephod was a phallic symbol which
David cast off and went naked.
Second:
3. esp.
of voice or breath, cut short, “ton tou pneumatos tonon” D.H.Comp.14, cf. 22:—Pass., “apokekoptai tini hē phōnē” Plu.Dem.25,
cf. Dsc.Eup.1.85.
Ton-os , o(, (teinō) 2. of
sounds, raising of the voice,
Aeschin.3.209,210, D.18.280,
Phld.Lib.p.19
O., etc.: hence, a. pitch of the
voice, Pl.R. 617b,
Arist.Phgn.807a17,
etc.; including volume, “tonoi phōnēs: oxu, baru, mikron, mega” X.Cyn.6.20;
of a musical instrument, Plu.2.827b, etc.;
diatonic scale,
3. esp.
of voice or breath, cut short,
“ton tou pneumatos tonon” D.H.Comp.14, cf. 22:—Pass., “apokekoptai tini hē phōnē” Plu.Dem.25,
cf. Dsc.Eup.1.85.
phōn-ē , 4.
of sounds made by inanimate objects,
mostly Poet., “kerkidos ph.” S.Fr.595;
“suriggōn” (pipe)
E.Tr.127
(lyr.); “aulōn”(flute)
Mnesim.4.56 (anap.);
rare in early Prose, “organōn phōnai” Pl.R.397a;
freq. in LXX, “hē ph. tēs salpiggos” (harp)
LXX Ex.20.18;
ph. brontēs ib. Ps.103(104).7;
“hē ph. autou hōs ph. hudatōn pollōn” Apoc.1.15.
John
Chrysostom understood Paul's message.
Chrysostom's Commentary on Galatians:
Galatians
5:1.-"With freedom did Christ set us free; stand fast
therefore.115 ."
Ver.
12.
"I would that they which unsettle you
would even cut themselves off." And he says
well "that unsettle you."
"A
man that is heretical after the first and second
admonition refuse." (Tit. iii: 10) If they will,
let them not only be circumcised, but
mutilated.
Where then
are those who dare to mutilate themselves;
seeing that they draw down the Apostolic
curse, and accuse the workmanship of God, and
take part with the Manichees? ... But if
you will not allow this,
why do you not mutilate
the tongue for blasphemy, the hands
for rapine, the feet for their evil courses, in short,
the whole body?
For the ear enchanted
by the sound of a flute hath
often enervated the soul;
and the perception of a sweet perfume by the
nostrils hath bewitched the mind, and made it frantic
for pleasure .
The
HALAL mark
In
David Young's early sermons
he wanted to REPRODUCE the Cane Ridge Revival
which alert people defined as witchcraft of silly
preachers and black singers helping to drive the
people into a Voodoois charismac breakdown. He
still wants a REVIVAL wheree he imagines tha the Holy
Spirit (whose name is Jesus Christ the Righteous) can
produce the same outrages at North Boulevard Church of Christ. He wants everyone to
sing, shout, dance, hug and kiss.
1Chr. 15:19 So the singers,
Heman, Asaph, and Ethan, were appointed to sound
with cymbals of brass;
SOUND: 8085. shama,
shaw-mah´; a primitive root; to hear intelligently
(often with implication of attention, obedience,
etc.; causatively, to tell, etc.):—x attentively, call
(gather) together CYMBALS: 6750. = tsalal,
tsaw-lal´; a primitive root (identical 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.
6767. tslatsal, tsel-aw-tsal´;
from 6750 reduplicated; a clatter, i.e. (abstractly)
whirring (of wings); (concretely) a cricket;
also a harpoon (as rattling), a cymbal (as
clanging):--cymbal, locust,
shadowing, spear.
tympănŏtrĭba
, ae, m., =
tumpanotribēs,
I.a taborer,
a timbrel-player, a term of reproach for a
soft,
effeminate person (alluding to the priests of
Cybele),
Plaut. Truc. 2, 7, 49;
cf. tympanum.
tumpa^no-tribēs
i^,
ou,
ho,
A. drummer, esp. used of the Galli
in the worship of Cybele, in Lat. form
tympanotriba,
Plaut.Truc.611
T. Maccius Plautus, Truculentus,
or The Churl
He looks at me as he groans. He
heaved a sigh from the very bottom of his breast. Observe
that now; he gnashes his teeth; he strikes his thigh.
Prithee, is he deranged6, that he's beating his
own self?
STRATOPHANES to PHRONESIUM.
What say you? Why have you dared to say that you love
another man?
PHRONESIUM I chose to.
STRATOPHANES Say you so,
indeed? I'll first make trial of that. Do you, for the
sake of such a shabby present, vegetables, and
comestibles, and vinegar-water, bestow your love upon an
effeminate, frizzle-pated, dark-haunt frequenting,
drum-drubbing debauchee7,
a fellow not worth a nutshell?
6 Is he
deranged: "Hariolus." Literally, "a
soothsayer," or "diviner." In their prophetic frenzy,
these persons often had the appearance of being mad,
and were so considered.
7 Drum-drubbing
debauchee: "Typanotriba." Literally, "drum,"
or "tambourine beater." He alludes to the eunuch-priests
of Cybele, who used to beat tambourines in her
procession-probably in allusion to debauchees, emasculated
by riot and dissipation.
The first
Assault against people who would not BEGIN to do what
they refused to do by direct command of Christ the Rock
and the very masculine nature of a godly leadership.
Stark:
Who put the twelfth commandment into God's
law, saying, "Thou shalt not have an instrument of music
in the congregation of the saints?" David
[Lipscomb], the destructive critic, when, like
the "man of sin," he sits in the temple of God,
says: "Thou shalt not." That is the corner
stone of his departure--the foundation of his
schism. Their church is built upon it, and
a few old fogies have made it a test of
fellowship. God will shake their thunder
out of them and put some lightning into them one of
these days. [p.28]
Jameson Fawcett Brown notes: Vulgate translates, "They turn thy words into a song of their mouths."
heart goeth after
covetousness--the
grand rival to the love of God; therefore called "idolatry," and therefore associated with impure carnal love, as both alike transfer the heart's affection from the Creator to the creature
Clement of Alexander: "After
having paid reverence to the discourse about God, they leave within [at church] what they have heard.
And outside they foolishly amuse themselves with
impious playing, and amatory quavering (feminine vibrato), occupied with flute-playing, and dancing, and intoxication, and all kinds of
trash.
But
now to pass from this to the shameless corruption of
the stage. I am ashamed to tell what things
are said; I am even ashamed to denounce the things
that are done-the tricks of arguments, the cheatings
of adulterers,
the immodesties of
women, the
scurrile jokes, the
sordid parasites,
David Young and the North Boulevard
Church of Christ Elders:
Psalms 33:2 Praise the LORD with harp:
sing unto him with the psaltery and an instrument
of ten strings.
This is David's song and not a command for
worship even in the synagogue to which the godly Jews
went as A School of the Word as God
quarantined them from the worship of the starry host
(Abaddon, Apollyon etc) at the Temple which God DID
NOT COMMAND
H3034 yâdâh yaw-daw' A primitive root; used only as
denominative from H3027 ; literally to use (that is,
hold out) the hand; physically to throw (a stone, an
arrow) at or away; especially to revere or
worship (with extended hands); intensively to bemoan (by
wringing the hands):—cast (out), (make) confess
(-ion), praise, shoot, (give) thank (-ful, -s,
-sgiving).
H3027 yâd yawd A
primitive word; a hand (the open one
(indicating power, means, direction, etc.), in
distinction from H3709 , the closed one);
The Greek
Halal quoted above means to Make Self
Vile: this is not the worship of a saved believer but of
a warrior. If anything, the Psalmist CONFESSSES his
VILENESS by playing on the Psaltery which was always
attached to a women prostitute. This is because
the kings had been turned over to worship the starry
host BECAUSE of instrumental idolatry at Mount Sinai.
Furthermore, David was a king and the Jacob-cursed and
God-abandoned Levites were under the King and Commanders
of the army. When they sang TAUGHT
songs and made themelves vile the
message was to spook the enemy by
Boasting that our god (the astrial
deities) can destroy your gods.
If you don't turn coward
and run (the instrumental
invasion)
We will ROB you
We will rape or
sodomize you
Then we
will rapture your head off.
By CONFESSING His vileness
with the instrument of the female prostitute, David
confesses his Pre-destined
role of carrying out the captivity and death sentence imposed
because of musical idolatry. David was not a
worship leader and he did NOT write Worship Music for
a Church of Christ using the instruments of the
vile prostitute.
This is not the Shock and Awe of charismatic "worship"
claiming the power to lead people into the presence of God: a
job Jesus died to get. However, the AWE is the utter
terror while claiming to speak for the One God Almighty Who
spoke only through the Spirit OF Christ to the Apostles and
through Jesus of Nazareth to the Apostles. There is room
for reverence and godly fear because the Word of God cannot be
private interpreted or further exounded. That iswhy the
command from the wilderness onward was to PREACH the
Word by READING the Word for Comfort and Doctrine.
Confĭtĕor , fessus,
2 (arch.
I.inf.
confiterier, Plaut. Cist. 1, 3,
22), v. dep. fateor, to
acknowledge, confess, own, avow (an
error, mistake, or a fact previously
denied or doubted, etc., implying a sacrifice
of will or a change of conviction; while fate
or expresses a simple acknowledgment, and profiteor a
voluntary avowal), to concede, allow, grant
Cat. 86, 2:
se, to make one's self known (sc.
Jovem), Ov. M. 3, 2;
(d). With de:
“de
maleficio,”
Cic. Rosc. Am. 41,
119; so id.
ib. 42, 123; Tac. A. 14, 59;
cf. supra, a fin.—
confessedly, beyond
doubt, Quint. 3, 5, 3;
Sen. Ep. 76, 12:
“in
confesso
esse,”
to be notorious, everywhere known,
id. Ben. 3, 11, 2;
id. Brev. Vit. 2, 3;
Catul.
1
To thee (Cornelius!); for
wast ever fain
To deem my trifles somewhat boon contain;
E'en when thou single 'mongst Italians found
Daredst all periods in three Scripts expound
Learned (by Jupiter!)
elaborately.
Then take thee whatso in this booklet be,
Such as it is, whereto O Patron Maid
To live down Ages lend thou lasting aid!
Lĭbellus
, 7. A libel, lampoon, pasquinade (post-Aug.):
“libellos
aut
carmina
ad
infamiam
cujuspiam
edere,”
Suet. Aug. 55;
id. Caes. 80;
id. Vit. 14:
“sparsos
de
se
in
Curia
famosos
libellos,”
id. Aug. 55:
“sive
quis
ad
infamiam
alicujus
libellum
aut
carmen
scripseri
Iuppiter
(Iūpi-)
Iovis, m
DIV-,
Jupiter, Jove, son of Saturn,
brother and husband of Juno, chief of the gods, god
of the sky, Cs.,
C.,
L.,
H.,
V.,
O.:
Iovis
stella,
the planet Jupiter.—Heaven, sky, air:
sub
Iove
frigido,
H.:
metuendus
(i. e. pluvius),
V.:
sub
Iove,
in the open air,
O.:
loci,
temperature,
O.:
Iuppiter
Stygius,
i. e.
Pluto,
V.:
Iovis
auribus
ista
Servas,
i. e.
of Augustus,
H.
mălĕfĭcĭum
, ĭi, n. maleficus, I.an evil deed, misdeed,
wickedness, offence, crime.
A. In gen. (class.): “ne
conscii
sint
ipsi
malefici
suis,”
Plaut. Rud. 4, 7, 21:
“conscientia
maleficiorum,”
Cic. Phil. 5, 6, 15:
“committere,
admittere,”
to commit, id. Rosc. Am. 22, 62:
1. Fraud, deception, adulteration: “me
maleficio
vinceres?
2. Enchantment, sorcery, Tac. A. 2, 69
măgĭcē
vinco
, I.to conquer, overcome, get the
better of, defeat, subdue,
vanquish, be victorious, etc. (syn.: supero,
debello). i subitam et fortuitam orationem commentatio et
cogitatio facile vincit
2. To prove triumphantly,
show or demonstrate conclusively. constrained,
compelled
Tac.
Ann. 2.69 Then he left for Seleucia
and awaited the result of the illness which had again
attacked Germanicus. The terrible intensity of the malady
was increased by the belief that he had been poisoned by
Piso. And certainly there were found hidden in the floor and
in the walls disinterred remains of human bodies, incantations
and spells, and the name of Germanicus inscribed on
leaden tablets, half-burnt cinders smeared with blood,
and other horrors by which in popular belief souls are
devoted so the infernal deities. Piso too was accused of
sending emissaries to note curiously every unfavourable
symptom of the illness.
Carmen
I.a tune, song; poem, verse; an
oracular response, a prophecy; a form of
incantation (cf.: cano, cantus, and canto)
I. In gen., a tune, song, air,
lay, strain, note, sound,
both vocal and instrumental (mostly poet.; in prose,
instead of it, cantus; cf. “also
versus,
numeri,
modi):
carmen
tuba
ista
peregit
( = sonus),
“carmine
vocali
clarus
citharāque
Philammon,”
Ov. M. 11, 317;
cf. “vocum,”
id. ib. 12, 157:
“per
me
(sc.
Apollinem)
concordant
carmina
nervis,”
id. ib. 1, 518;
4. A response
of an oracle,
a prophecy,
prediction:
“
ultima
Cumaei
venit
jam
carminis
aetas,”
Verg. E. 4, 4;
so
Ov. M. 6, 582;
Liv. 1, 45, 5;
23, 11, 4;
25, 12, 4;
29, 10, 6; 38, 45, 3;
Tac. A. 3, 63;
4, 43;
6,
12 al.—
5. A magic formula,
an incantation: MALVM, Fragm. XII. Tab. ap. Plin. 28, 2, 4, § 17;
cf. “Fragm.
XII.
Tab.
8, 1, a.
ap.
Wordsw.
Fragm.
and
Spec.
p.
260: polleantne
aliquid
verba
et
incantamenta
carminum,”
Plin. 28, 2, 3, § 10:
carmina vel caelo possunt deducere lunam; “Carminibus
Circe
socios
mutavit
Ulixi,
7. Moral sentences composed in verses:
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.
factĭo , ōnis, f.
id..Anything you make with your hands or compose
A company of persons associated or acting
together, a class, order, sect,
faction, party (syn.: pars, partes,
causa, rebellio, perduellio, seditio).
“lascivientium,”
Vulg. Amos, 6, 7.—
Amos 6:5 That chant to the sound of the viol,
and invent to themselves instruments of
musick, like David;
Amos 6:6 That drink wine in bowls, and anoint
themselves with the chief ointments: but they are not
grieved for the affliction of Joseph.
Amos 6:7 Therefore now shall they go captive with
the first that go captive,
and the
banquet of them that stretched themselves shall be
removed.
Amos 6:8 The Lord GOD hath sworn by himself, saith the
LORD the God of hosts, I abhor the excellency of
Jacob, and hate his palaces: therefore will I deliver
up the city with all that is therein.
Amos 6:9 And it shall come to pass, if there remain
ten men in one house, that they shall die.
măgĭcus
, a, um, adj., = magikos,
I.of or belonging to magic, magic, magical
(poet. and in post-Aug. prose): “artes,”
“superstitiones,”
Tac. A. 12, 59:
“vanitates,”
di magici, that were invoked by incantations
(as Pluto, Hecate, Proserpine), Tib. 1,
2, 62; Luc. 6, 577:
“linguae,”
i. e. hieroglyphics, id. 3, 222;
“but
lingua,”
skilled in incantations, Ov. M. 7, 330;
Luc. 3, 224:
“cantus,”
Juv. 6, 610:
“magicae
resonant
ubi
Memnone
chordae,”
mysterious, id. 15, 5.
psaltērĭum
, ĭi, n., = psaltērion
(e scanned short, Ven. Fort. 2, 19, 43).
II. Transf.,
a song sung to the psaltery.
A. A satire,
Varr. ap. Non. 101, 3;
Paul. Sent. 5, 4, 16.—
B. The songs of David, the Psalms, Hier. Ep. 53, 8; 125, 11 et saep.
Cic. Har. Resp. 21, 44
All these men had a reason,—not an adequate one, indeed,
(for no one can have an adequate reason for proving a bad
citizen to the republic,) but still they had a serious
reason, and one connected with some indignation of mind not
unbecoming to a man.
Publius Clodius came
out as a popular character from saffron gowns and
turbans,
and woman's
slippers, and purple bands, and stomachers,
and singing,
and iniquity, and adultery.
If the women had not caught him in this dress, if he had
not been allowed to escape by the indulgence of
the maid servants, from a place which it was impious for
him to enter, the Roman people would have lost their
devoted friend, the republic would have been
deprived of so energetic a citizen. It is in consequence
of this insane conduct, amid our dissensions, for
which we are by these recent prodigies admonished by the
immortal gods, that one of the patricians has been taken
from their number to be made a tribune of the people, in
direct violation of the laws.
David sang, danced and played
instruments with the camp-following servants and godly
Michal said that HE WENT NAKE: he was wearing the garments
of a female used in the abandonement to the sacrificial
system:
Worship
Androgyny the Pagan Sexual Ideal
Mystical Eroticism Pg 59.The worship of Aphrodite
in Greece and Astartis (Ishtar) in Mesopotamia involved ritual
prostitution. Under Canaanite influence, this same
abominable practice was introduced into Israel.. 1 Kings 15:12;
1 Kings 22:47; 2 Kings 23:7
Wikipedia
verifies that The dress of
the whore of Babylon is similar to the Jerusalem High Priest
(Exodus 28:6).
Several Old Testament prophets referred to Jerusalem as
being a spiritual harlot and a mother of such harlotry
(Isaiah 1:21; Jeremiah 2:20; Jeremiah 3:1–11; Ezekiel
16:1–43; Ezekiel 23, Galatians 4:25). Some of the these Old
Testament prophecies as well as the warnings in the New
Testament concerning Jerusalem are in fact very close to the
text concerning Babylon in Revelation, suggesting that John
may well have actually been citing those prophecies in his
description of Babylon.
For example, in Matthew 23:34–37 and Luke
11:47–51, Jesus himself assigned all of the bloodguilt
for the killing of the prophets and of the saints (of
all time) to the Pharisees of Jerusalem, and, in Revelation
17:6 and 18:20,24, almost identical phrasing is used in
charging that very same bloodguilt to Babylon. This is
also bolstered by Jesus' statement that "it's not possible for
a prophet to be killed outside of Jerusalem." (Luke 13:33).[50]
THE UNIVERSAL DESPISING OF RELIGIOUS
MUSICIANS ALWAYS GENDER BENT.
D.
L. 6.2 [65]
Seeing a young man behaving effeminately,
"Are you not ashamed," he said, "that your own intention
about yourself should be worse than nature's :
for nature made you a man, but you are forcing
yourself to play the woman."
Observing
a fool tuning a psaltery, "Are you not ashamed," said
he,
"to give this wood concordant sounds, while you
fail to harmonize your soul with life ?"
To one who protested that he was ill
adapted for the study of philosophy, he said, "Why
then do you live, if you do not care to live well ?" To one
who despised his father, "Are you not ashamed," he
said, "to despise him to whom you owe it that you can so
pride yourself ?"
Noticing a handsome youth chattering in unseemly fashion,
"Are you not ashamed," he said, "to draw a dagger of lead
from an ivory scabbard ?"
Ath. 4.81 [3.] And
while we were now all amusing ourselves with
agreeable trifling, some flute-playing women and
musicians, and some Rhodian players on the sambuca
came in, naked as I fancied, but some said that they
had tunics on. And they having played a prelude,
departed; and others came in in succession, each of them
bearing two bottles of perfume, bound with a golden
thong
aphrōn
, on,
gen. onos,
(phrēn)
A.senseless, of statues, X. Mem.1.4.4:—
and so, crazed, frantic, “aphrona
kourēn”
Il.5.875,
cf. 761, A.Eu.377
(lyr.); silly, foolish,
WHAT THE MINIMALIST BIBLE STUDENT UNDERSTANDS UNLESS
DETRACTED BY EFFEMINATE WORSHIP SERVICES.
"Women and girls
from the different ranks of society were proud to enter the service of
the gods as singers and musicians. The understanding of
this service was universal: these singers
constituted the 'harem of the gods'." (Quasten)
"The
name of psaltery
entered Christian literature in the 3rd century
B.C. translation of the Old Testament called the
Septuagint
where, in the Psalms, nebel was
translated psalterion.
Thus, Nebuchadnezzar's
idolatrous ensemble
included the Aramic psantria.
Notice, also, that the book of Psalms has also
become known as the Psalter (or psalterium), from the
hymns sung with this harp. Source
http://www.s-hamilton.k12.ia.us/antiqua/psaltery.htm
NEBUCHADNEZZAR the
king made an image of gold,
whose height was threescore cubits (60), and
the breadth thereof six (6)
cubits: he set it up in the
plain of Dura (circle), in
the province of Babylon. Dan 3:1
That
at what time ye hear the sound of the (1) cornet,
(2) flute, (3) harp, (4) sackbut, (5) psaltery,
(6) dulcimer, and all kinds of musick, ye fall
down and worship the golden image that
Nebuchadnezzar the king hath set up: Dan 3:5
"Its (pipe = to love
passionately) was apparently a secular instrument
and is never
listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, as we see from
Genesis
Rabbah 50:
'The angels
said to Lot: 'There are players of the pipe (organ) in the
country, hence it ought to be destroyed'." Its rabbinical
identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the
erotic element which already the Hebrew name
suggests." (Interpreter's Dictionary of the Bible,
p. 460, Abingdon).
H5036 nâbâl naw-bawl' From H5034 ; stupid;
wicked (especially impious):—fool (-ish, -ish man,
-ish woman), vile person.
H5035 nebel nêbel neh'-bel, nay'-bel From
H5034 ; 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
WHAT STUDENTS OF THE ANCIENT NEAR EAST UNDERSTANDS
"The development both
of religion and of the arts can
be traced back in a continuous line to the hunting
era. The group ritual of the primeval tribesmen were the origin not only of all
religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts."
"Awed by the mysteries
of his
own spirit no less
than by those of nature, primitive man was likely to
attribute to divine
influence
any abnormal emotional
state, whether above
or below the usual level. Medicine men customarily
went into states of
trance in which they
were believed to be in
communication with the gods, and many tribes supposed lunatics
and sexual deviants to be divinely possessed. (Parkes,
Henry Bamford, On Gods and Men, p. 30).
Fool also called JESTER, a comic entertainer whose madness or imbecility, real or pretended, made
him a source of amusement and gave him license to abuse and
poke fun at even the most exalted
of his patrons. Professional
fools flourished from
the days of the Egyptian pharaohs until well into the
18th century, finding a place in societies as diverse
as that of the Aztecs of Mexico and the courts of
medieval Europe.
Often deformed, dwarfed, or crippled, fools may have been kept for luck as well as for amusement, in the belief that deformity can
avert the evil eye and that abusive
raillery can transfer ill luck from the abused
to the abuser. Fool
figures played a part in the religious rituals of
India and pre-Christian Europe, and, in some
societies, such as that of Ireland in the 7th
century BC, they were regarded as being inspired
with poetic and prophetic powers.
The raillery of the
fool and his frequent ritual
association with a
mock king suggest
that he may have originated as a sacrificial scapegoat substituted for a royal victim.
A resemblance between
the sacrificial
garments of ancient
ritual and the costume of a household jester in the Middle Ages--coxcomb, eared hood,
bells, and bauble, with a motley coat--has been noted.
In most early
societies, moreover, men evolved techniques for deliberaly inducing the abnormal forms of consciousness in which they supposed themselves to achieve union with divine power, sometimes by the use of drugs and
other physiological stimuli, sometimes by hypnotic dances and music. The wild utterances to which they
gave vent on such occasions were regarded as the
words of a god and were interpreted as divine
commands or predictions of future events." (Parkes,
p. 32-33).
"Many peoples
attributed any violent or unusual emotion to one of
the gods as a matter
of course; the individual was then no longer held
responsiblie for his actions, though the gods were
sometimes mischievous or even malevolent and the
result might be catastrophic." (Parkes, p. 33).
"The flash of insight
that enabled an individual to achieve an original act of
creation, whether in art or in
technology, was always mysterious, and for early
mankind it could be due only to the intervention of a
god. Long after the advent of civilization, in fact, poets continued to believe that they
wrote from divine dictation; inventors attributed their discoveries
to divine aid." (Parkes, p. 34).
"in Primitave religion
any violent or abnormal emotional state was attributed to the
gods and regarded as mystical. Both in the Bible and in Homer there
are examples of misleading and catastrophic
inspiritation. When Jehovah wished King Ahab to be
killed in battle, he put a 'lying spirit'
in the mouths of his prophets in order that they might
encourage the king to go to war (I Kings, xxii, 22)."
(Parkes, p. 33)
"What primative men...
wanted from the gods was health and strength, riches and
long life, and they hoped to attain these things chiefly
by ritual
and sacrifice rather
than by good conduct. The methods of early religion
always remained largely magical, and its motivations
thoroughly materialistic." (Parkes, p. 36).
"Agriculture may at
first have been a feminine occupation. It is a plausible
theory that the women of a tribe first realized that
seeds thrown away near their encampment were producing
sprouts and deduced the possiblity of deliberately
planting them. Early agriculture was associated
everywhere with an emphasis on the femine principle in
nature and among the gods on the analogy between human
sexuality and the fertility of the earth." (Parkes, p.
40-41)
The almost supernatural lust to impose Musical "machines for
doing hard work mostly making war" and always defining
sorcery, is based on the word PSALLO. While Psallo
included smiting a string with the FINGERS but never with the
PLECTRUM and is wholly derived from shooting real arrows or
Abaddon-Apollyon shoothing LOVE ARROWS by the power of his
lyre.
H5034 nâbêl naw-bale' A primitive root; to wilt;
generally to fall away, fail, faint; figuratively to be
foolish or (morally) wicked; causatively to despise,
disgrace:—disgrace, dishonour, lightly esteem, fade (away,
-ing), fall (down, -ling, off), do foolishly, come to nought,
X surely, make vile, wither.
H5036 nâbâl naw-bawl' From H5034 ; stupid; wicked (especially
impious):—
fool (-ish, -ish man, -ish woman), vile person.
David Young says this is a command to
us
Psalms 33:3 Sing unto him a new song; play
skilfully with a loud noise.
H8643 terû‛âh
ter-oo-aw' From H7321 ; clamor,
that is, acclamation of joy or a battle cry; especially
clangor of trumpets, as an alarum:—alarm, blow
(-ing) (of, the) (trumpets), joy, jubile, loud noise,
rejoicing, shout (-ing), (high, joyful) sound (-ing).
H7321 rûa‛ roo-ah' A primitive root; to mar
(especially by breaking); figuratively to split the
ears (with sound), that is, 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.
Christ the Rock
outlawes this "vocal or instrumental rejoicing" when
the assembly was called for REST, READING AND REHEARSING THE WORD.
David Young and
the Elders:
Psalms 33:4 For the word of the LORD is right; and
all his works are done in truth.
21For our heartH3820
shall rejoiceH8055 in him, becauseH3588 we have
trustedH982 in his holyH6944 nameH8034.
Psalm
32.21 quia in eo laetabitur cor nostrum et in nomine sancto eius speravimus
laetor
rejoice, feel joy, be joyful or
glad at any
thing (syn. gaudeo
delightful, cheerful, agreeable
H8055 saw-makh' A primitive root; probably to brighten
up, that is, (figuratively) be (causatively make) blithe or
gleesome:—cheer up, be (make) glad, (have make) joy (-ful), be
(make) merry, (cause to, make to) rejoice, X very.
John
Calvin: There is a distinction, however, to be
observed here, that we may not indiscriminately consider
as applicable to ourselves, every thing which was formerly
enjoined upon the Jews. I have no doubt that playing upon
cymbals, touching the harp and the viol, and all that kind
of music, which is so frequently mentioned in the Psalms,
was a part
of the education; that
is to say, the puerile
instruction of the law: I
speak of the stated service of the temple.
[The SERVICE of the clergy musicians is called HARD BONDAGE. That is because they had been turned
over to worship LIKE THE NATIONS and all animal
sacrifices were a form of legalistic appeasement and
exorcism.
The "people's"
congregation were quarantined from the temple when the
trumpets signaled the beginning of sacrifice. Only the
civil-temple state sacrificed tens of thousands of
innocent animals as their TYPE of the future sacrifice
of Jesus Christ with the mocking music of the warrior
Levites whose service was "hard bondage."]
For even now, if believers choose to
cheer themselves with musical instruments, they should, I think, make it their
object not to dissever their cheerfulness from the
praises of God.
But when they
frequent their sacred assemblies, musical instruments in celebrating the
praises of God would be no more suitable than the
burning of incense, the lighting up of lamps, and the
restoration of the other shadows of the law.
The Papists, therefore,
have
foolishly borrowed this,
as well as many other things, from the Jews. Men who are
fond of outward pomp may delight in that noise; but the
simplicity which God recommends to us by the apostle is
far more pleasing to him. Paul allows us to bless God in
the public assembly of the saints only in a known tongue, (1
Corinthians 14:16.)
See David Young
Instrumental Music in Revelation 5
Revelation 5
depicts the end of time.
worship God, heaven,
Use musical
instruments back to god.
9.17.23
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