Moralia and Musical Worship

Eat Drink and be Merry: Tom Burgess justifies instrumental music as worship from Plutarch's Moralia.
Revised 5.22.07   Some of these links to Perseus need updating.

Plutarch says: Herodotus says they learned the use of boys from the Greeks. King Alexander also was madly devoted to boys.

Tom Burgess says: "Plutarch's use of psallo shows, without a doubt, that he knew nothing of any drastic change in the word which extracted the musical instrument from its definition. See a collecton of this idea of PLEASURING which Paul outlaws for the assembly in Romans 15. This is a collection on the experiences with the female musician in Wen Amun.

Psallo NEVER at any time in recorded history had any "musical" meaning: 

See the two major PSALLO words which are never DEFINED. Instead, I will show how the words are used having several meanings.  If you SMITE or twang a bowstring to send forth a singing arrow into a literal heart then PSALLO would obligate the instrumentalists because there is very little about twanging a HARP string and then the examples are ugly or even forbidden.

Lynn Anderson The Beginning of Musical Idolatry
Danny Corbitt and Matt Dabbs Psallo
A Ralph John Psallo and Psalmos

Plutarch was born AD 46, Chaeronea, Boeotia [Greece] died after 119: As with most for-sale literature it was written in the Attic Greek. Furthermore, when he wrote about Alexander the Great we MUST KNOW that this would be BEFORE the time of Paul.

Furthermore, in ALL of the lusted-after proof texts to justify sowing discord with MUSIC, there is no exception to the rule that he was speaking of INSTRUMENTALISTS and SINGERS in the context of sexual perversion. Instrumentalists were usually prostitutes or the PREFERED Sodomites.

Finally, in NONE of these references do we ever find PSALLO used to mean "singing with instrumental accompaniment." The RULE is that you ALWAYS have (1) singing, (3) plucking and (4) the NAME of the instrument or bow being PLUCKED.

A. Ralph Johnson in Instrumental Music, Sacred or Sinful.

1. Tom Burgess in Documents on Instrumental Music reviewed. Psallo and Instrumental Music: Proofs do not prove anything but the "music-homosexuality" connection.

See more on Strabo's definition of the worship of Apollo or Abaddon or Apollyon: his MUSES are the locusts or musical performers in the book of revelation.

2. Tom Burgess More Review of Plutarch: if Psallo authorizes "church music" it authorizes a homosexual gathering.

3. Tom Burgess on Moralia confirms the "Music-Heresy-Perversion" connection which has no historical exception. 10/20/04

4. Tom Burgess on John Chrysostom: are the anti-instrumentalists ignorant rurals? 10/21/04 What about Paul and Martin Luther and John Calvin and Zwingli and--everyone who believed the Bible as authority.

5. Tom Burgess on Kurfees versus Thayer and Grimm: Quotes from: G. C. Brewer, A Medley on the Music Question, Gospel Advocate, Nashville 1948. Burgess uses the same Krewson arguments. LATEST 11/06/05

Charles Daily Northwest College of the Bible Part One ..... Part One A .....Part Two .... THRESKIA or CHARISMATIC

That is a fact because he use Attic Greek which was the language of the "mincing, lisping" aristocrats long after the more common Koine of the New Testament was used for the common people who would HEAR Jesus gladly. Furthermore, Psallo was NEVER a musical word; it was a warfare word speaking of grinding the enemy into a fine powder (SOP), of shooting arrows into the literal heart, twanging a bowstring WITH THE FINGERS which could leave a mark on your arm or sounding board or of YANKING out the hair of the enemy. BOWSTRINGS and harp strings were often made by yanking the long hair out of the head of women. When you stretch the hair to yank it out it goes "twang."

Plato in Cratylus has Socrates saying as he defines how the ATTIC had changed even in 360 B.C.

Soc. To say that names which we do not understand are of foreign origin; and this is very likely the right answer, and something of this kind may be true of them; but also the original forms of words may have been lost in the lapse of ages;

names have been so twisted in all manner of ways, that I should not be surprised if the old language when compared with that now in use would appear to us to be a barbarous tongue.

The MUSICAL connection is totally restricted to PULLING with the fingers: the word PSALLO specificially outlaws plucking with a plectrum. People also shot out hymns like arrows in a literal attack upon someone. Because the twang of a bow string always created mental anxiety, and the harp string creates the same alertness or startle reflex (even in adults), external psallo was associated with the ODE

You will remember that Paul said that the external activity was to SPEAK. Both the oding and psallo were to be IN THE HEART. Paul outlawed any form of pleasuring in Romans 15 when he prescribed the way to GLORIFY GOD was to speak with one MIND and one MOUTH "that which is written." This is because singing even without instruments INTENDS to create the mental anxiety Jesus died to remove BECAUSE that is the way to exercise $$$ control over the lambs:

"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 ODE is from the Greek:

Aeidô [compare the morphological problems with aeirô]

I. to sing, Il., etc.:--then of any sound, to twang, of the bowstring, Od.; to whistle, of the wind, Mosch.; to ring, of a stone struck, 2. c. acc. pers. to sing, praise, attic

Aeirô [attic airô] esp. to lift for the purpose of carrying, to bear away, to lift up for oneself, i. e. bear off, to rise up and go to a place, of pride and passion, exalt, grow excited, make away with, destroy, take away, remove, E.IT1201; hence, kill or destroy,

Airô [epic and poet. aeirô q.v.] to raise up, exalt, of passion, to exalt, excite, to raise by words, to extol, exaggerate, to take up for oneself: to carry off, to lift one's voice or begin a battle

These are the people warned about by MARKUS below: when they cease SPEAKING or READING as Paul absolutely demands, he warns of a GENDER problem and ALL of the history proves that theatrical performers as either SPEAKERS, SINGERS or MUSICIANS will always be seen as perverted.

The word HERESY connectes in many places to mean to TAKE OTHERS into your power for your own USES. The method is AEIRO or lifting them up: a word associated with the sacrificial slaughter pens meaning to lift them up to CUT THEIR THROATS. The METHOD of lifting them up is SINGING. Therefore, neither singing in a musical sense or making melody can ever be used in a Christian environment without causing the spiritually alert and sexually mature to flee for their flives. While lying that this is ALL FOR GOD the literature understands clearly that the PERFORMERS are pleasuring themselves as they jack up up into the air under passion or hypnosis:

Haireô or heresy has as its A meaning A take with the hand, grasp, seize, having taken up [the song],
II. take, get into one's power, hupnos passions. As in the ZOE MOVEMENT:

One who refuses to "bow to Baal" as did Jesus when the clergy piped hoping that He and others would sing and dance the perverted Dionysus choral, can NEVER with honesty be called a SECTARIAN except in the sense they have exercised their God- commanded right to flee. A heretic intends to take you under musical, rhetorical or charismatic power to STEAL "the church houses of widows" in the heritage of the Stoneite movement. Heresy means to:

2. catch, take, zôon (Zoe), take in hunting, get into one's power, entrap, In a legal sense: kleptonta

J. W. McGarvey whom Tom Burgess claims would not divide over instrumental music called this the GUILT CLAUSE meaning that "a good offense is the best defense." You shoot me in the heart and call me an ignorant redneck for squirting blood on you.

You do know that Jesus died to eleminate "spiritual anxiety created by religious ritual" and that ANXIETY is AEIRO for the purposes of kleptô as in kleptomaniac by the use of secular HYMNING and ODING and playing the KITHERA which made them PARASITES and CYNICS or DOGS--always.

And the LOCUSTS of Revelation are always right in the middle of it:

Echetês ( [êcheô] ) clear-sounding, musical, shrill, donax achetas of the cicada, chirping, êcheta tettix the chirper, i.e. the male cicada

Tettix cicala, Cicada plebeia or allied species, a winged insect fond of basking on trees, when the male makes a chirping or clicking noise by means of certain drums or 'tymbals' underneath the wings

This noise is freq. used as a simile for sweet sounds, Plato calls them hoi Mousôn prophêtai, but they also became a prov. for garrulity, lalein tettix [speaking in tongues]. Mousôn prophêtai are the musicians who prophesy in the mantic sense Paul warned of.

They are the goddesses of song, music, poetry, dancing, the drama, and all fine arts, Hom.: the names of the nine were Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia or Polyhymnia, Urania, and Calliope, Hes., mousa, as appellat., music, song, also eloquence, arts

Prophêtês one who speaks for a God and interprets his will to man, a prophet; Jove's interpreter, Pind.; and of Apollo

Apollo is the Abaddon or Apollyon of the book of Revelation who unleashes the end time MUSES to PROPHESY in the sense of "lord, lord" saying.

And the LOCUSTS connect back to aeidô and aeirô.

By forcing PSALLO to be a MUSICAL word when the "mystery" meaning is MAKING WAR in the polemic sense, Tom Burgess has directly connected his theology and preached practices to the universally perverted activities of pagan religionists who used the WORSHIP word to prove that the sexual feelings-- always induced by music which manipulates ALL of the pleasure centers-- was the "holy spirit person" coming to the person in a SEXUAL CLIMAX as readily confessed by the Wimber- Vineyard movement.

Further review of Tom Burgess Documents on Instrumental Music:

We do not extend our comments beyond reviewing Tom's book because it is seen as AUTHORITY by those who have not been able to find anything but condemnation of external rituals which detract from the "school of the Bible" which Jesus died to found to give us REST from the "spiritual anxiety created by religious rituals." Nothing good done by anyone can alter the nature of TRUTH of Scripture.


Tom Burgess: Examples 60 and 61 have been obtained from the writings of Plutarch. Plutarch's use of the word psallo is of great value and worth because he lived and wrote during the same period as did the Apostles (46-120A. D. ). His books, Parallel Lives of Illustrious Greeks and Romans and Moralia, are a great credit to Greek literature. Plutarch's use of psallo shows, without a doubt, that he knew nothing of any drastic change in the word which extracted the musical instrument from it s definition.

Three times in example 60 he uses a form of psallo. These have been translated: "plucked the strings, " "to pluck the strings, " and" pluck the strings," In example 61another form is translated "harpplayer, "

Example 61 is from page 100. This passage reads from Plutarch On the Fortune of Alexander -- Second Oration Tom Burgess quotes the red portion but we continue to quote from the context. In Deipnosophistai 3 which we have now linked and posted.  This is out of order but I want to post this to show that the Agora or Marketplace was where Jesus assigned that generation who were like children piping trying to get others to lament and dance the Dionysus choral.

The word PSALLO in fact defines the red pained rope which MARKED those reluctant to leave the marketplace and move to the EKKLESIA (church) which was for instruction only:

Luke 7:31 And the Lord said, Whereunto then shall I liken the men of this generation? and to what are they like?
Luke 7:32 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.

Jesus cast out the musical minstrels LIKE DUNG.  He consigned the pipers, singers and dancers to the Agora or Marketplace.  The second major meaning of PSALLO identifies the stretched papyrus cord made of the same material Jesus used to CAST OUT the money changers from the temple court which was polluted with blood, red paint and other stuff.  They DROVE the loiters OUT of the marketplace where the flute girls, pagan temples, prostitutes and the young chorus leaders were sold along with radishes.  The EKKLESIA was for instruction only and those so MARKED with the PSALLO rope would be unclean until they went to the ekklesia.  Click for more.
To the flute-girl Bromias, daughter of Deiniades, Phayllus gave a silver karchesion, a votive offering of the Phocaeans, and an ivy wreath of gold, the offering of the Peparethians. "This girl," Theopompus says, "would even have played the flute- accompaniment to the Pythian Games had she not been prevented from doing so by the populace. And (he adds) to Physcidas, the son of Lycolas of Trichoneium, a beautiful boy, Onomarchus gave a laurel wreath of gold, votive offering of the Ephesians. This boy was taken to Philip by his father and was there prostituted, and afterwards dismissed without reward. To Damippus, the son of Epilycus of Amphipolis, a beautiful boy, Onomarchus gave. . . [gap], a votive offering of Pleisthenes. To Pharsalia, the Thessalian dancing-girl, Philomelus gave a laurel crown of gold, a votive offering of the Lampsacenes.

This Pharsalia lost her life in Metapontium at the hands of the soothsayers in the market-place; for a voice had issued from the bronze bay-tree which the Metapontines had set up when Aristeas of Proconesus visited them and declared that he had come from the land of the Hyperboreans; and no sooner was she spied setting foot in the market-place than the soothsayers became furious, and she was pulled to pieces by them. And when people later came to look into the cause it was found that she had been killed because of the wreath which belonged to the god."

So beware, you philosophers who indulge in passion contrary to nature, who sin against the goddess of love, -- beware lest you also are destroyed in the same manner. For even boys are handsome, as the courtesan Glycera,

It is a fact that John defined the MOTHER OF HARLOTS (a prostitute in the marketplaces where temples were located) in Revelation 17 and the singers, musicians and other religious craftsmen as SORCERERS in Revelation 18.

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, --

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:

Tom Burgess quotes the part in red: 1. Philip also was in these matters somewhat more petty and childish than became him, since he had acquired his knowledge late in life.

Thus they tell the tale that Philip once argued with a certain harp-player about the technique of his instrument, and even thought he was confuting the man; but the harp-player smiled gently and said,

"God forbid, your Majesty, that you should ever fall so low as to know more of these matters than I."

2. But Alexander, knowing well in what matters he should be merely a spectator and listener, and in what he should play the chief rôle, trained himself..... [My extended quotes] Thus they tell the tale that Philip once argued with a certain harp-player about the technique of his instrument, and even thought he was confuting the man; [Traditional subsection D] but the harp-player smiled gently and said, "God forbid, your Majesty, that you should ever fall so low as to know more of these matters than I."

This art he inherited from his ancestors, the Aeacidae, and from Heracles; but upon the other arts he freely bestowed honour without jealousy according to their worth and artistic excellence; but he was not so easily carried away by the pleasure they gave him as to try to imitate them.

When Antiochus Epiphanes arose to the throne, Onias III, as high priest, was the leader of the old orthodox party in Judea; the head of the Hellenists was his own brother Jesus, or, as he preferred to designate himself, Jason, this being the Greek form of his name and indicating the trend of his mind. Jason promised the king large sums of money for the transfer of the office of high priest from his brother to himself and the privilege of erecting a gymnasium and a temple to Phallus, and for the granting of the privilege "to enroll the inhabitants of Jerusalem as citizens of Antioch." Antiochus gladly agreed to everything. Onias was removed, Jason became high priest, and henceforth the process of Hellenizing Judea was pushed energetically. The Jewish cult was not attacked, but the "legal institutions were set aside, and illegal practices were introduced" (2 Macc 4:11) A gymnasium was erected outside the castle; the youth of Jerusalem exercised themselves in the gymnastic art of the Greeks, and even priests left their services at the altar to take part in the contest of the palaestra. The disregard of Jewish custom went so far that many artificially removed the traces of circumcision from their bodies, and with characteristic liberality, Jason even sent a contribution to the sacrifices in honor of Heracles on the occasion of the quadrennial festivities in Tyre.

This evidently was the "abomination of desolation." The sacrifice, according to 2 Macc was brought to the Olympian Zeus, to whom the temple of Jerusalem had been dedicated.

At the feast of Dionysus, the Jews were obliged to march in the Bacchanalian procession, crowned with laurel leaves.

The tensions which led to the Jewish revolt were exacerbated when the Jewish high priest, a Hellenist himself, offered a sacrifice to Heracles (Hercules) who was a Greek symbol of homosexuality. Riley adds,'The Jewish temple itself became the scene of pagan sacrificial meals and sexual orgies [including homosexuality].' The final insult (for which Antiochus is identified in the Bible as the archtype of the antichrist)'was the installation in the temple of a pagan symbol, possibly a representation of Zeus [Baal], called by a sardonic pun 'the abomination of desolation'' (ibid.:16).

Frank E. Hirsch

See Second Maccabees to see how Heracles fit into the Abomination of Desolation in the Jerusalem Temple.  This was a devotion to music and homosexuality which drove most of the true Israelites out of the country.

The tragic actors of his time were the group that centred about Thettalus and Athenodorus. [Traditional subsection E] At the contest of these two, the kings of Cyprus defrayed the expenses of the performance and Alexander's most celebrated generals served as judges.

When Athenodorus won, "I would rather," said Alexander, "have lost half my kingdom than see Thettalus defeated." However, he did not intercede with the judges nor find fault with the judgement, since he felt that, while he must be superior to all men, yet he must submit to Justice.

The comic actors of his time were the group that centred about Lycon of Scarpheia. When Lycon inserted in one of his comedies a begging verse, Alexander laughed and gave him ten talents.

Various harp-players also were his friends, among them Aristonicus, who came to Alexander's aid in a certain battle, and was slain, fighting gloriously. Therefore Alexander ordered to be made and set up at Delphi a bronze statue of him, with lyre in hand and spear advanced; thereby he not only honoured this particular man,

but also paid tribute to Music herself, in the belief that she is a creator of true men and,
in particular, that
she fills with inspiration and impetuousness those who are truly her foster-children. [Traditional section number 335]

For once upon a time, when Antigenides was playing on his flute the Chariot Song,
Alexander became so
transported, and his spirit so inflamed by the strains,
that he
leapt up and laid hands upon the weapons that lay near, and thus confirmed the testimony of the Spartans who used to sing,
..........The noble playing of the lyre is meet to match the sword.


1 : marked by force and violence of movement or action : FURIOUS <an impetuous wind> <with impetuous speed> <match his more impetuous neighbors working furiously at their hobbies -- G.B.Shaw>

2 : impulsively vehement in feeling <of a very warm and impetuous nature, responded to their affection with quite a tropical ardor -- W.M.Thackeray> : hastily or rashly energetic or passionate <impetuous in his habits ... lost his temper and punched another officer in the nose -- J.G.Cozzens> <restless, energetic, impetuous, temperamental, and at times a little irascible -- A.W.Long> Furious

When people heard musical sounds they could be driven out of their mind. That is why we use bagpipes to drive warriors into a battle where one soldier can kill five enemies even though they know that they will die. Music was also used on the returning warriors: they honored their favorites and MUSICALLY MOCKED those they wanted to put down.

And it came to pass as they came, when David was returned from the slaughter of the Philistine, t
..........hat the women came out of all cities of Israel, singing and dancing, meet king Saul, with tabrets, with joy, and with instruments of musick. 1 Sam 18:6

And the women answered one another as they played, and said,
..........Saul hath slain his thousands, and David his ten thousands. 1 Sam 18:7

And Saul was very wroth, and the saying displeased him; and he said,
..........They have ascribed unto David ten thousands, and to me they have ascribed but thousands:
..........and what can he have more but the kingdom? 1 Sam 18:8
..........And Saul eyed [was jealousy] David from that day and forward. 1 Sam 18:9

And it came to pass on the morrow, that the evil spirit from God came upon Saul, and he prophesied in the midst of the house: and David played with his hand, as at other times: and there was a javelin in Sauls hand. 1 Sam 18:10
And Saul cast the javelin; for he said, I will smite David even to the wall with it. And David avoided out of his presence twice. 1 Sam 18:11
..........And Saul was afraid of David, because the Lord was with him, and was departed from Saul. 1 Sam 18:12

"Prophesied" in this sense is the result of going out of one's wits where music is one of the most powerful "instruments" or weapons. This is why Jesus does not even know the names of those who prophesy in the musical "lord, lord" sense because it is always phoney.

More from Second Oration: "And yet why should anyone mention these men who might have some legitimate ground for pride because of Alexander, when even Clearchus, after he became despot of Heracleia, used to carry a thunderbolt, and named one of his sons Thunderer?
..........And Dionysius the younger styled himself the son of Apollo in the inscription:
........ Sprung from a Dorian mother by union with Phoebus Apollo. [Abaddon, Apollyon]

And Dionysius's father killed ten thousand or more citizens, and, led on by envy, betrayed his brother to the enemy, [Traditional subsection C]

nor could he wait for his already aged mother to die a few days later, but strangled her;
........ yet in one of his tragedies he wrote these words:
........ The mother of foul wrong is tyranny!

Notwithstanding, of his daughters he named one Virtue, another Temperance, a third Justice. And yet other persons publicly styled themselves Benefactors, Conquerors, Saviours, or The Great; but no one would be able to tell the tale of their marriages one after another,

like the matings of horses, as they spent their days with no restraint amid herds of women, their corruption of boys, their beating of drums in the company of emasculated men, their daily dicing, their flute-playing in the public theatres, the night that was too short for them at their dinners, and the day at their breakfasts.

DONKA D. MARKUS in Performing the Book observes

"Nevertheless, I think that I need to be more explicit in stating that the music which I prescribe is not the modern music which has been emasculated by the lascivious melodies of the effeminate stage and has to no small extent destroyed the amount of manly vigor that we still possessed.

"I refer rather to the music of old with which people used to
sing the praises of brave men and which the brave themselves used to sing.
"indeed, they consider a
speech a form of composition that ought not to be corrected. I would willingly ask them why they allow (if indeed they do allow) that history may be recited,
..........since it is written in the interests of truth and honesty, not for display?
..........Or why tragedy, when it requires a stage and actors, not an audience-hall?
..........Or lyric poetry, which requires not a reader, but a chorus and a harp-accompaniment?

They will respond that in these instances recitation has been established by
In fact, behind the criticisms of the epic recital often lie issues about the
performance of gender and social status.

In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting. There is a persistent association between theatrics, bad rhetoric and effeminacy.

His testimony is important as it formulates general expectations about epic performance while at the same time shows that epic can always slide into an effeminate mode of presentation.

Epic's social image as a genre that glorifies male heroism has to be consistent with its mode of performance.

For Dionysius Thrax, the voice pitched to perform elegy or lyric is inappropriate because of the incongruity it creates between the epic content and its performance.

"We shut ourselves up and write something grand--sometimes in verse, sometimes in prose--something that will take a vast amount of breath to pant out. This stuff you will some day read aloud to the public, combed, with a new toga, all in white, even with a birthday sardonyx gem on your finger; you shall read from a high chair having first lubricated your throat with a delicate wash, with an effeminate leer in your eye.

[It is said that "musical worship ministers" often have a makeup guy or gal]

48 For the purposes of this discussion, I will only elaborate on the features that link Persius' epic recital

to other genres of public performance: the theatrical performance and declamation.
recitatio in this passage is clearly a public event, bordering on prostitution.
high chair [bema or pulpit a "high place"] evokes associations with Juvenal's Satire 3.135,
where a
prostitute displays her goods in public.

49 The audience does not consist of the select few, but of the common public (populo). The voice betrays features of effeminacy similar to those of actors, who were also often represented as effeminate.

50 Signs of effeminacy appear in the preliminary vocal modulation of the recitator (liquido cum plasmate guttur mobile conlueris) and in his entire comportment and body language (patranti fractus ocello).

Persius continues with the audience and the emasculating effect of the public performance
on those who passively submit to the allurements of the recitator's virtuoso voice.
..........The sweet voice is an agent of titillation, arousing the audience, evoking images of sexual gratification:

51 Indeed, this entire section of Persius' satire represents the recital as partaking in the infamous association of performance and effeminacy.

It partakes in the deconstruction of traditionally held values of male excellence. Persius manipulates terms used also in Seneca the Elder's moralizing discourse in regard to the decline and emasculation of declamation as practiced in the rhetorical schools.

This is why Paul DOES NOT AUTHORIZE such performances and ABSOLUTELY prohibites females from these non-sedentary, performance roles. Church "leaders" speak of USING females and they are using them for the same pagan purposes: to enrich themselves.

More from Second Oration: "For our perceptive faculties seem to respond to their own special stimuli; but the fact that it is mind which aids us and mind which emblazons our deeds, and it is mind that conquers and overpowers and plays the monarch, and that

"all things else," since they are "blind and deaf" and soulless, mislead and burden and disgrace their possessors, if Virtue be not present, is a truth which may be gleaned from history.

If even lifeless instruments, such as the flute or the harp, do not give distinct notes, how will any one know what is played? 1 Cor 14:7RSV

Apsuchos (g895) ap'-soo-khos; from 1 (as a neg. particle) and 5590; lifeless, i.e. inanimate (mechanical): - without life.

More from Second Oration: [Traditional subsection C] Now of the two monarchs Semiramis and Sardanapalus, in whose hands were placed the same power and dominion, Semiramis, though a woman, equipped great expeditions, armed her ranks, established the Babylonian Empire, and sailed about the Persian Gulf subduing the Ethiopians and Arabs.

But Sardanapalus, though born a man, spent his days at home carding purple wool, sitting with his knees drawn up in front of him among his concubines; and when he died, they made a stone statue of him dancing in a barbaric fashion and apparently snapping his fingers above its head. They engraved upon it:

"Eat, drink, and sport with love; all else is naught."

And I'll say to myself, "You have plenty of good things laid up for many years. Take life easy; eat, drink and be merry." ' Luke 12:19
"If I fought wild beasts in Ephesus for merely human reasons, what have I gained? If the dead are not raised,
"Let us eat and drink, for tomorrow we die." 1 Cor 15:32

"We know something of the Egyptian music through Pfeiffer who says that: "The harp was the favorite instrument of the Egyptians. In the temple of Hatshepsut at Karnak there is a relief of a blind harper." During the Twelfth Dynasty society existed much as it did in Israel when Amos warned the people about their false worship and disregard for the social ill.

For instance, in Egypt The Song of the Harper says--

"Increase still more the good things which you possess, and stop worrying. Do what you feel inclined to do and will give you pleasure. Enjoy yourself while you are here, and don't worry until the end comes. Enjoy each day to the fullest. For be sure no one can take what he possesses with him, and no one who has passed can return." (Fairservis, p. 118).

from: The Egyptian Way of Death, Mummies and the Cult of the Immortal, Ànge-Pierre Leca, Translated by Louise Asmal, Doubleday, 1981 (1979) (1976 French).

'But although death was very important to the Egyptians, life was considered to be more desirable. One sage of the period advised: "Enjoy your days. Delight your nose with balm and sweet perfume, offer lotus garlands to your wife to adorn her arms and neck. Let her whom you cherish be seated at your side, and let singing and music delight your ears. Cast care from you; think only of your pleasure until the day comes to enter into a world where silence reigns....For you must understand that no-one can take his worldly goods with him, and no-one has ever returned after his departure." The worst fear though was that the corpse might be destroyed, which would also destroy its chance of eternal life. "Die not a second time" was written hopefully at the bottom of some coffins.' [xvii].

Clement Out of Church:

"After having paid reverence to the discourse about God, they leave within [the church] what they have heard. And outside they foolishly amuse themselves with impious playing, and amatory quavering, occupied with flute-playing, and dancing, and intoxication, and all kinds of trash.

"They who sing thus, and sing in response, are those who before hymned immortality,-found at last wicked and wickedly singing this most pernicious palinode (ode to retract their church song),

"Let us eat and drink, for to-morrow we die."

"But not to-morrow in truth, but already, are these dead to God; burying their dead, that is, sinking themselves down to death. The apostle very firmly assails them. "Be not deceived; neither adulterers, nor effeminate, nor abusers of themselves with mankind, nor thieves, nor covetous, nor drunkards, nor railers," and whatever else he adds to these, "shall inherit the kingdom of God."

That is exactly why they APPEAL to the book of Revelation for PROOF. These are dead virgins but the angel to the LIVING is to preach the gospel.

Johannes Qasten, Music & Worship in Pagan & Christian Antiqity: Thus is it at a funeral meal when the gravestone of one recently deceased is anointed and crowned, while the funeral guests keep the wine and meal for themselves.

It was the same with regard to music at the meal of the dead. When at the end of the meal the funeral guests would resort to their own pleasures, to playing and dancing, it was because music was originally supposed to have offered comfort to the dead. The Egyptians believed this, as we see, for example, in the paintings of Neferhotep's grave at Thebes, where the relatives and friends of the dead man are sitting in festal clothing and adorned with flowers. They are eating and drinking, watching the dancers and listening to the song of the harpist, who addresses the dead man himself:

Celebrate the beautiful day! Set forth ointments and fine oil for your nostrils and wreaths and lotus blossoms for the body of your dear sister, who is seated at your side. Let there be singing and music before you; | cast everything sad behind you and think only of joy.

More from Second Oration: "Thus the despot Dionysius, as the story goes, while listening to a celebrated harper, engaged to give him a talent. Next day, when the man asked for the fulfilment of the promise, Dionysius said,

"Yesterday I was delighted with your performance, [Traditional section number 334]
.........and during the time that you were singing I also delighted you with hopes!

The result is that at that very time you were receiving full pay
.........for the pleasure you gave by having your pleasure too!"

God might say: in music you HAVE your reward.

Ateas, the Scythian king, took the flute-player Ismenias captive, and ordered him to play at a banquet. The rest were delighted, and applauded, but Ateas swore his horse's neighing was sweeter to his ear.

So far from the Muses' habitation did he allow his ears to dwell, and his soul he kept in the mangers, better attuned to hear, not horses' neigh, but asses' bray!
..........At the court of monarchs such as these
what advancement or esteem could there be for Art, or for Poetry and Music of excellence?

..........Nor, again, could artistic endeavour flourish at the court of those who wish to be rival performers in these arts,
..........and thus through malice and ill-will suppress the true artists.

Such a prince was Dionysius (to use him again as an example), who threw the poet Philoxenus into the stone-quarries; for when Dionysius ordered him to correct a tragedy of his, Philoxenus cancelled the whole piece from the very beginning to the final flourish.

Reviewed by Kenneth Sublett

Click for more on Serpent or Devil Worship.

See our summary of music as madness

See that scholars reject this meaning of psallo

Furthermore, the VENUE was not in church but in pagan assemblies where they believed that music and homosexuality "bound flesh and spirit together."

This was the 100% environment of the WORLDLY SOUP. Therefore, as the Bible always does it will POINT to these carnal concepts and show that Christianity is COUNTER CULTURAL or it cannot be Christian.

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