1 Corinthians 13 Speaking In Tongues

Speaking in tongue is gibberish, singing and playing instruments: Nike-Laity where the WOMEN sing the VICTORY songs.

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

This is not speaking as in the command to SPEAK one to another to teach and comfort. Sounding brass and tinkling cymbals here are identifying marks of people who have NO LOVE. Even if they COULD speak all of the languages in the world there would be no love. The command is to SPEAK or LOGOS the Word of Christ which is the opposite of rhetoric, singing or playing instruments. Speaking in the tongues of angels was IN FACT making music in tongues.

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] laleōTheoc.20.29; of trees, v.supr.1.2; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echomagadin lalein sound the magadis,  [double flute]
-kat-auleô , A. charm by flute-playing, metaphor I will flute to you on a ghastly flute, E.HF871 (troch.):--Pass., of persons, methuôn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros chelônidos psophon to be played to on the flute with lyre accompaniment,
II. in Pass., [ton monochordon kanona] parechein tais aisthêsesi . . katauloumenon subdued by a flute accompaniment, to be piped down, ridiculed, gelômenoi  
2.  make a place sound with flute-playing, resound with flute-playing, nêsos katêuleito Plu.Ant.56

katapsallô A.play stringed instruments to, [sumposion]katauleinkai k. Plu.2.713e :--usu. in Pass., have music played to one, enjoy music, ib.785e; of places, resound with music, Id.Ant.56. 2. Pass., to be buried to the sound of music3. metaph., katapsalletai . . hodêmiourgos is drummed out

hupauleô
, play on the flute in accompaniment, melo. lusiôidos 1 one who played women's characters in male attire, 

The Mark of the Locusts: Abaddon's Muses (dirty adulteresses) performing as sorcerers.
Tettix  This noise is freq. used as a simile for sweet sounds, Il.3.151, Hes.Op.582, Sc.393, Simon.173, 174, etc.; and Plato calls them hoi Mousōn prophētai, Phdr.262d; but they also became a proverb. for garrulity, “lalein tettixAristopho10.7: “t. polloi ginomenoi nosōdes to etos sēmainous
Mousa ,Muse,
A. Olumpiades M., Dios aigiokhoio thugateresIl.2.491, cf. Hes.Th.25, etc.; nine in number, first in Od.24.60; named in Hes.Th.75 sqq.
II. mousa, as Appellat., music, song, “m. stugeraA.Eu.308 (anap.); “euphamosId.Supp.695 (lyr.); “kanakhan . . theias antiluron mousasS.Tr.643 (lyr.); “Aiakō moisan phereinPi.N.3.28; tis hēde mousa; what strain is this ?
2. hautē Sōkratous m. that was Socrates's way

Prophēt-euō A.  to be a prophētēs or interpreter of the gods, manteueo, Moisa, prophateusō d' egōPi. l.c.; tis prophēteuei theou; who is his interpreter
Mant-euomai  2. generally, presage, forebode, surmise, of presentiment, Opposite. knowledge, Pl.Cra.411b, R.349a,
II. consult an oracle, seek divinations, Pi.O.7.31, Hdt.1.46, 4.172, etc.; “en Delphoisi Id.6.76;   “ho gar theos manteuomenō moukhrēsen en Delphois poteAr.V.159, cf. Av.593

The mark of Apollo, Abaddon, Apollyon and the Muses at Delphi.


khraō (B). A. FORMS: contr. I. in Act. of the gods and their oracles, proclaim, abs., “khreiōn muthēsato Phoibos8.79: “ Puthiē [serpent] hoi khra tadeHdt.1.55, “kh. mantesi [mad] MousaisAr.Av.724
From Charis or Grace: See Charismatic Worship
b. khrēsthai tini (without philō) to be intimate with a man, X.Hier.5.2, Mem.4.8.11
2. esp. of sexual intercourse, “gunaixi ekhratoHdt.2.181, cf. X.Mem.1.2.29, 2.1.30, Is.3.10, D.59.67.

Aristoph. Birds 724
If you recognize us as gods, we shall be your divining Muses, through us you will know the winds and the seasons, summer, [725] winter, and the temperate months. We shall not withdraw ourselves to the highest clouds like Zeus, but shall be among you and shall give to you [730] and to your children and the children of your children, health and wealth, long life, peace, youth, laughter, songs and feasts; in short, you will all be so well off, [735] that you will be weary and cloyed with enjoyment.
If you are a rhetorician, singer or instrument player John in Revelation 18 calls you a sorcerer: if you are a sorcerer or witch:

Revelation 21:8 But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.
Revelation 22:15 For without are dogs, and sorcerers, and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie.
Aggelos ,  of a loquacious person 2.  generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet, Females as stand over preachers.

Paul will define a prophet as Teaching the Word of God with Speaking: Logos or opposite poetry or music. These are the Locusts or music Apollo unleashed and John calls Sorcerers in Revelation 18 working for the Babylon Mother of Harlots.

1Corinthians 14:8 For if the trumpet give an uncertain sound, who shall prepare himself to the battle?

Salp-igx , iggos, , A. war-trumpet hupai salpiggos by sound of trumpet, S.El.711, cf. Ar.Ach.1001; also apo s. X.Eq.Mag.3.12, Plb.4.13.1.

The trumpet was for sending signals: if someone makes music it might getyou killed:

Xen. Cav. 3.11 In the sham fight when the regiments pursue and fly from one another at the gallop in two squadrons of five regiments, each side led by its commander, the regiments should ride through one another. How formidable they will look when they charge front to front; how imposing when, after sweeping across the Hippodrome, they stand facing one another again; how splendid, when the trumpet sounds and they charge once more at a quicker pace!

[12] After the halt, the trumpet should sound once more, and they should charge yet a third time at top speed; and when they have crossed, they should all range themselves in battle line preparatory to being dismissed, and ride up to the Council, just as you are accustomed to do.

Paul spoke LOGOS in clear conversational style because the purpose was to TEACH the Word of Christ.
1Corinthians 13:1 Though I speak with the tongues of men and of angels,
        and have not charity, I am become as sounding brass, or a tinkling cymbal.

khalkos II. in Poets freq. for anything made of metal, esp. of arms (hence Pi. calls it polios, the proper epith. of iron, P.3.48); of offensive arms, oxei khalkō, nēlei kh., of a spear, a sword, Il.4.540, 3.292, al.; of a knife, 1.236, al.; of an axe, 13.180, Od.5.244, al.; of a fish-hook, Il.16.408;
sidēros de kai kh. polemōn organa

Polemon warfare II. personified, War, Battle,Alala Polemou thugater2. metaph. of womankind, “polutelēs p.

Organon , to, (ergon, erdōA. instrument, implement, tool, for making or doing a thing,
3. musical instrument,Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhordaId.R.399c, al.; “met' ōdēs kai tinōn organōnPhld.Mus.p.98K.; of the pipe

kumba^lon , to, (kumbos) cymbal
1 Samuel 18.6 It happened as they came, when David returned from the slaughter of the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet king Saul, with tambourines, with joy, and with instruments of music.

ala^l-azō , formed from the cry alalai): —raise the war-cry, Enualiō ēlalaxan (as v.l. for ēlelixan) X.An.5.2.14, cf.6.5.27; Med., Arr.l.c.: c.acc. cogn., nikēn alalazeinshout the shout of victory, S.Ant.133.
2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; “ōloluxan hai gunaikes, ēlalaxan de hoi andres
*II. [select] rarely also of other sounds than the voice,sound loudly, “psalmos d' alalazeiA.Fr.57; “kumbalon alalazon1 Ep.Cor.13.1
Paul is warning about pagan rituals which involved the actual buring of bodies including the Jews in Jerusalem. Therefore, paul repudiates both Judaism and paganism where loud music helped drown out the screams so the priests could hear the voice of Molech etal.


Plato in Cratylus mystically connects her name (Rhea) with the idea of 'flowing' (from the Greek reo--'to flow') [Rheology, for example, is the science of fluid flow.], meaning thereby simply 'that fontal power by which she contains in transcendent union the divisible rivers of life'. Rhea, is, therefore, the 'mother of lives,' the mystical Eve [Zoe], the 'mother of all living.'

Proclus (Theol. Plat. Taylor's ed., i.267) says that according to Orpheus, 'This Goddess, when considered as united to Saturn by the most exalted part of her essence, is called Rhea; but considered as producing Jupiter, and together with Jupiter unfolding the total and partial orders of the Gods [i.e., the powers of the Sensible World], she is called Ceres.' This is a very important distinction to bear in mind.

Now Rhea, as Ceres, in Hymn XIV, is called 'brass-sounding' and 'drum-beating'. This has reference to the mystical results of certain sounds and rhythm, part and parcel of what the Hindus call Mantravidyâ. I remember reading a curious old French book in the Bibliothèque de la Ville of Clermont-Ferrand, one of the books confiscated from the Minime Monastery of the same town, at the time of the Revolution.

This work dealt with the magical properties of music, and described for what especial purposes the various instruments of music were used in the Temple-service of the Jews.

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.

The Ghebers of Hebron 2 Hoaea, xii. 4 derives the name Inracl from Sarah to contend, to fight, and El = God of Fire. — Gen. xxxii. '28. Asarians, Asriel, Israel, a name of the War god {Exodus, xiii. 21, 22, xiv. 25), Saturn and the Sun. The Fire-god Azar was the God of war, and M'irs was the Sun. — Macrob. I. xvii. OS

But these fire-worshippers carried with them the arks of Moloch and Khiun (Life-god), their Adon, and they had, like the other peoples of the Delta, their Mysteries, which the priests instituted. They took with them from Phoenicia, probably, a certain knowledge of fixed vocal signs; and it would not be safe to deny to Syria the possession of some sort of (Syrian) hieroglyphs

Remphan, (hrem-fan') is the King James Version of the Bible's rendering of the Greek word variously appearing in Acts 7 verse 43 as Ρομφα, Ρεμφάν, Ρεμφαμ, Ραιφαν, and Ρεφαν. It is part of a quotation from Amos 5 verse 26 where the Septuagint's reading raiphan or rephan stands the Hebrew Chiun or Kewan. The Greek forms are probably simple mistakes for the Hebrew, k (qoppa) having been replaced by r (resh) and ph substituted for v (yod). Kewan is probably the Old Babylonian Kayawanu, the planet Saturn, another (the Akkadian) name for which is Sakkut, which appears as Siccuth in the earlier part of the verse.

THE MUSIC AT THE ARCANE RITES. Iamblichus III

In addition to these things you remark as follows: "So also certain others of these ecstatics become entheast or inspired when they hear cymbals, drums, or some choral chant, 21 as, for example, those who are engaged in the Korybantic Rites, those who are possessed at the Sabazian festival and those who are celebrating the Rites of the Divine Mother."

21. Some exhibition of this kind is described by the Apostle Paul in the first Epistle to the Corinthians. "If," says he, "the whole assembly come together to the same place and all prattle in tongues, and common men should come in, or unbelievers, will they not say that you are raving?"

Hence he counsels that only two or three should speak in turn, and one interpret; but if nobody present is capable of this, they should keep silence, and speak only to themselves and to God:

       "for not of tumult is he a god, but of tranquillity." (Ovid; Fasti IV,
       "The attendants beat the brass, and the hoarse-sounding hides. Cymbals
        they strike in place of helmets, tambourines for the shields; the pipe yielded its Phrygian notes.")

22. The Korybantes are variously described. Their cult was identified or closely allied to that of the Kabeirian divinities, and that of the Great Mother. It was celebrated in the islands of the Aegean Sea and in Phygia. Music, dancing, processions, and ecstatic frenzy were characteristics. [The Fruits in Amos and Revelation 18]

Amos 8:1 Thus hath the Lord GOD shewed unto me: and behold a basket of summer fruit.
Amos 8:2 And he said, Amos, what seest thou? And I said, A basket of summer fruit. Then said the LORD unto me, The end is come upon my people of Israel; I will not again pass by them any more.

23. Sabazios, Sabaoth, or Sabbat, the god of the Planet Saturn, was better known as Bacchus or Dionysos, and was also styled in Semitic countries, Iao or Yava. His worship was more or less associated and identified with that of the Great Mother, under various designations, and it was characterized by phallephoric [carrying the penis] processions, dances, mourning for the slain divinity, and the Watch Night. It came from Assyria as its peculiar symbols, the ivy or kissos, the spotted robe or Nimr, and the Thyrso, indicate.

The name Zagreus the Kissos and nimr remind us of Kissaia or Asiatic Ethiopia, and the Zagros mountains occupied by the Nimr. Assyria was called "the land of Nimrod." -Amos VIII.

Because God turned Israel over to worship the starry host whatever they called their god in the Monarchy he/they was not the God of Abraham.  Christ came to PUT DOWN that evil system and not replace it with another worship patternism.
 
Paul in reinforcing what he and other Jews had practiced from the wilderness onward by attending the synagogue which quarantined the godly people from the Civil-Military-Clergy system turned over to worship the starry host.  Both the laded burden and the REST Jesus gave us stops all of the rhetoric, singing or playing instruments.


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