Cane Ridge and Babylonian Parallels

Cane Ridge and Babylonian Parallels? The contrived revival at Cane Ridge has many Babylonian parallels with music and ritual preaching as the powerful change agent which brought on mental and emotional breakdown sold as conversion. While we can understand the urge to bring morals and ethics to the Kentucky Frontier through revivalism, later writers, including Stone, questioned whether it had done more harm than good. The charismatics went into holiness groups and even the Quakers; the more rational went with Campbell-taught churches.

CLICK BELOW FOR: The Pseudo-Revivals out of Salem and Cane Ridge are Identical to Ancient and Modern Devil Worship in Babylon.

Arnobius, Musical Mocking arnobius, instrumental music in worship,

"Mocking the belief that Mellonia introduces herself into the entrails, or Limentinus, and that they set themselves to make known what you seek to learn, Arnobius asks--

May it not happen, may it not come to pass, although you craftily conceal it, that the one should take the other's place, deluding, mocking, deceiving, and presenting the appearance of the deity invoked? If the magi, who are so much akin to soothsayers, relate that, in their incantations,

pretend gods steal in frequently instead of those invoked; that some of these, moreover, are spirits of grosser substance, who pretend that they are gods, and delude the ignorant by their lies and deceit." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 479).

The low level of church attendance before Cane Ridge and after is used to prove its worth. However, it is a fact that my inlaws came in through the Ohio River and my ancestors came in with Daniel Boone selling (and selling and reselling) land in the Lexington area. They were churchmen and church builders in Virginia and Kentucky. 

The low level of morality in the wild frontier clearly explains how people could be momentarily could be spooked into what Scripture and recorded history defines as sorcery or witchcraft.  The direct command is to PREACH the Word by READING the Word for Comfort and Doctrine. Jesus came to seek and save lost spirits. The Gospel is the only POWER to bring salvation and the gospel Jesus and others preached was the Gospel of the Kingsom or Church of Christ.  The Gospel promise if for an ekklesia or synagogue defined as an UMBRELLA to shelter the lost spirits ia made into A holy spirit and translated into a Heavenly Kingdom.  Jesus said that the Kingdom is within and DOES NOT COME with observation: that means RELIGIOUS WORSHIP SERVICES fueled by anything but the spoken WORD.

The so-called Awakenings were CONTRIVED by  what in the Scriptures, secular literature and church history were identified as SORCERY or WITCHCRAFT: which means using any method beyond PREACHING the Word by READING the Word for Comfort and Doctrine.

The answer, of course, was that in addition to performing the sympathetic magic such as music, you also had to feed the god by offering sacrifices--which the priests ate.

Mercury (Logos, word), also, has been named as though he were a kind of go-between; (mediator) and because conversation passes between two speakers, and is exchanged by them, that which is expressed by this name has been produced.

If this, then, is the case, Mercury is not the name of a god,
but of
speech and words exchanged by persons." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 472).

Arnobius, Musical Mocking arnobius, instrumental music in worship,

"Mocking the belief that Mellonia introduces herself into the entrails, or Limentinus, and that they set themselves to make known what you seek to learn, Arnobius asks--

May it not happen, may it not come to pass, although you craftily conceal it, that the one should take the other's place, deluding, mocking, deceiving, and presenting the appearance of the deity invoked? If the magi, who are so much akin to soothsayers, relate that, in their incantations, pretend gods steal in frequently instead of those invoked; that some of these, moreover, are spirits of grosser substance, who pretend that they are gods, and delude the ignorant by their lies and deceit." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 479).

"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit.

He found it significant that, on the whole, only women and effeminate men fell into this folly.

Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did.

"Now, many a man from the false religions, which are not ashamed of criticising what is noble, will ask: how can there be a feast without carousing and overeating, without the pleasant company of hosts and guests, without quantities of unmixed wine, without richly set tables and highly stacked provisions of everything that pertains to a banquet, without pageantry and jokes,

bantering and merry-making to the accompaniment of flutes and citharas, the sound of drums and cymbals and other effeminate and frivolous music of every king,

enkindling unbridled lusts with the help of the sense of hearing. For in and through the same [pleasures] those persons openly seek their joy, for what true joy is their they do not know.


At Mount Sinai after the nation refused to hear the voice of God and demanded a human mediator, they immediately fell into musical idolatry of the Egyptian (etal) trinity.  The Levites volunteered to slaughter 3,000 of the offenders so it is no surprise that the "eagles" use the Levites as their authority for "worship leaders." In fact, they have lost all options.

Luke 16:29 Abraham saith unto him,
        They have Moses and the prophets; let them hear them.
Luke 16:30 And he said, Nay, father Abraham:
        but if one went unto them from the dead, they will repent.
Luke 16:31 And he said unto him, If they hear not Moses and the prophets,
        neither will they be persuaded, though one rose from the dead.

Moses promised another "prophet" like him as our last warning:

1Corinthians 10:1 Moreover, brethren,
         I would not that ye should be ignorant,
        how that all our fathers were under the cloud, and all passed through the sea;
1Corinthians 10:2 And were all baptized unto Moses in the cloud and in the sea;
1Corinthians 10:3 And did all eat the same spiritual meat;
1Corinthians 10:4 And did all drink the same spiritual drink:
        for they drank of that spiritual Rock that followed them:
        and that Rock was Christ.
1Corinthians 10:5 But with many of them God was not well pleased:
        for they were overthrown in the wilderness.
1Corinthians 10:6 Now these things were our examples,
        to the intent we should not lust after evil things, as they also lusted.
Epithu_m-ētēs , oi, ho,
A. one who longs for or desires, neōterōn “ergōn” Hdt.7.6; [dogmatōn] And.4.6; “ergōn” Lys.12.90; timēs, sophias, Pl.R.475b, etc.; phusei polemou e. Arist.Pol.1253a6; “kakōn” 1 Ep.Cor.10.6; “allotriōn” BGU531 ii 22 (ii A.D.).
2.  abs., lover, follower, X.Mem.1.2.60.
b.  one who lusts, LXX Nu.11.34.
Dogma , atos, to, (dokeō) A. that which seems to one, opinion or belief, Pl.R.538c; notion, Pl.Tht.158d, al. philosophical doctrines,
1Corinthians 10:20 But I say, that the things which the Gentiles [Gens] [ sacrifice,
         they sacrifice to devils, and not to God:
         and I would not that ye should have fellowship with devils.
Daemŏnĭum  II.  An evil spirit, demon, App. Mag. p. 315, 10; Vulg. Deut. p. 32, 17;
daimonaō ,  A. to be under the power of a daimōn, to suffer by a divine visitation, “daimona domos kakois” A.Ch.566; “daimonōntes en ata” Id.Th. 1008 (lyr.): abs., to be possessed, to be mad, E.Ph.888, X.Mem.1.1.9, Plu.Marc.20, etc.; “daimonas” Men.140.

Greek: Daimonios , II. from Hdt. and Pi. downwds. (Trag. in lyr.), heaven-sent, miraculous, marvellous, “bōlax” Pi.P.4.37; “teras” B.15.35, S.Ant.376
2. of persons, “ d. hōs alēthōs kai thaumastō” Id.Smp.219b; ho peri toiauta sophos d. anēr ib.203a; “daimonios tēn sophian” Luc.Philops.32: Comp. “-ōteros” D.C.53.8.
Sophos , ē, on, mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.),

Sophia A. cleverness or skill in handicraft and art, in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, in divination,
1 Cor. 10:7 Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play.
1 Corinthians 10.7 mēde eidōlolatrai ginesthe, kathōs tines autōn: hōsper gegraptai “Ekathisen ho laos phagein kai pein, kai anestēsan paizein

ONLY THE FEMALES AS HAREM OF THE GODS COULD BE CAUGHT DEAD SINGING, PLAYING AND CLAPPING. God abandoned the Jews to their old Egyptian and Babylon worship because of musical idolatry. Heredotus defines the Egyptian and Jerusalem Temple perfectly.  This is the image of even David when he performed the naked role of women.


Heredotus II defines the same Rising up to PLAY at Mount Sinai: Men and women come sailing all together, vast numbers in each boat, many of the women with castanets, which they strike, while some of the men pipe during the whole time of the voyage; the remainder of the voyagers,

male and female, sing the while, and make a clapping with their hands.

When they arrive opposite any of the towns upon the banks of the stream,
they approach the shore, and, while some of the women continue to
play and sing,

others call aloud to the females of the place and load them with abuse, while a certain number dance, and some standing up uncover themselves. After proceeding in this way all along the river-course, they reach Bubastis, where they celebrate the feast with abundant sacrifices. More grape-wine is consumed at this festival than in all the rest of the year besides.

The number of those who attend, counting only the men and women and omitting the children, amounts, according to the native reports, to seven hundred thousand.

 "Let revelry keep away from our rational entertainments, and foolish vigils, too, that revel in intemperance. For revelry is an inebriating pipe, the chain of an amatory bridge, that is, of sorrow. And let love, and intoxication, and senseless passions, be removed from our choir.

Burlesque singing is the boon companion of drunkeness. A night spent over drink invites drunkeness, rouses lust, and is audacious in deeds of shame.

For if people occupy their time with pipes, and psalteries, and choirs, and dances, and Egyptian clapping of hands, and such disorderly frivolities, they become quite immodest and intractable, beat on cymbals, and drums, and make a noise on instruments of delusion." (Clement, Instructor, Eerdmans, p. 248)

The god Dionysus or Bacchus is best known to us as a personification of the vine and of the exhilaration produced by the juice of the grape. His ecstatic worship, characterised by wild dances, thrilling music, and tipsy excess, appears to have originated among the rude tribes of Thrace, who were notoriously addicted to drunkenness. Its mystic doctrines and extravagant rites were essentially foreign to the clear intelligence and sober temperament of the Greek race.

Yet appealing as it did to that love of mystery and that proneness to revert to savagery which seem to be innate in most men, the religion spread like wildfire through Greece until the god whom Homer hardly deigned to notice had become the most popular figure of the pantheon. The resemblance which his story and his ceremonies present to those of Osiris have led some enquirers both in ancient and modern times to hold that Dionysus was merely a disguised Osiris, imported directly from Egypt into Greece. But the great preponderance of evidence points to his Thracian origin, and the similarity of the two worships is sufficiently explained by the similarity of the ideas and customs on which they were founded.
From: The Golden Bough : A Study Of Magic and Religion

Paizō pais  I. properly, to play like a child, to sport,  alla pepaistai metriōs hēmin, of the chorus, Ar. Th.1227.  4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn”   dance and sing, Pi. O.1.16.

Aristoph. Frogs 225
Rightly so, you busybody.
the Muses of the fine lyre love us
And so does horn-crested Pan, playing his reed pipe.
And the harpist Apollo delights in us as well,
On account of the reed, which as a bridge for his lyre

, ho, Apollo: Abaddon, Apollyon The name of a NUMBER
phorm-iktēs , ou, Dor. phorm-miktas , ho, A. lyre-player, of Orpheus, Pi.P.4.176
phorm-iktos , ē, on, A. sung TO the phormigx, kai peza kai ph. (sc. melē) S.Fr.16.

, eos, to, 2. music to which a song is set, tune, Arist.Po.1450a14;
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” ; “aulōn pamphōnon m.” Pi.P.12.19;
5.  play amorously, “pros allēlous” X.Smp.9.2; “
II. est, sport, Hdt.2.28, 5.4, 9.11; make fun with a person,
Empaizō , fut. To be deluded  2. euphem. in mal. part., LXXJd. 19.25.
II. sport in or on, hτs nebros chloerais e. leimakos hκdonais E.Ba. 866 (lyr.); tois choroisin e. to sport in the dance, Ar.Th.975; tτi  Luc.Lex.5

Paig-ma , atos, to, A. play, sport, lōtos hotan . . paigmata bremē whene'er the pipe sounds its sportive strains, E.Ba.161(lyr.); “Ludia p. luras” Lyr.Alex.Adesp.37.15.II. 'child's play', to toiouto p. tōn logōn

"In the New Testament there is nowhere any emphasis laid on the musical form of the hymns; and in particular none on instrumental accompaniment whereas this is significantly paganism." (Delling, Gerhard, Worship in the New Testament, trans. Percy Scott Phil. Westminster press, 1962, p. 86).

4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16.
5. play amorously, “pros allēlous”
"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).

Long after Cane Ridge, Barton W. Stone and his followers followed little of what the Restoration Movement under Campbell later became. Therefore, Cane Ridge was never the mainstream of the restoration movement. It was made up of dejected Calvinists trying to find a way to extend salvation to more than the predestinated. While older, Stone's movement is considered a tributary to the stream of Campbell.

Throughout history, beginning in Babylon, what happened at Cane Ridge was more closely identified with witchcraft or possession by Satan than with pure Christianity. This article looks at comments of the traveller and Historian, Layard, to see some parallels.

The "exercises" did not start at Cane Ridge and were not started by Barton W. Stone. Building on the revivalistic work of James McGready, Richard McNemar states that the spread of the revival began in Christian and Logan Co., Kentucky and in the Spring of 1801, had reached Mason Co., Kentucky. Beginning at Flemingsburgh in April, moving to Cabin Creek, where a camp meeting was held, then Concord, in Bourbon County, by the last of May and Eagle Creek in Adams Co., Ohio in the beginning of June. There were meetings in quick succession at Pleasant Point, Kentucky; Indian Creek, in Harrison county (July); Cane Ridge, near Paris, Bourbon county (August).

The so called religious revival at Cane Ridge involved loud vocal hymns and the effects were quite identical to Devil worship described by Layard. The Barton W. Stone movement (largely enveloped by the Campbell movement) led to instrumental music in many churches and to charismatic exercises in others. Churches of Christ were affected by but never a part of the Stone movement. For instance, many "Disciples" later moved into Weslyan churches such as the Pilgrim Holiness Church.

Charity makes us look for the good which came out of Cane Ridge and similar charismatic outbreaks and there was probably much. However, not all observers were from sympathetic writers and honesty makes us look for danger signs perhaps just over the hills. The bad seems to be honored and is increasingly thrust upon churches not in the "buying" mood under the false banner that Barton W. Stone was the true father of the Restoration Movement and he, so they say, was into the "Holy Spirit" and "exercises" and his wing of the restoration movement added instrumental music and choirs.

Of course, observers noted that Barton Stone never got into the exercises but had to, initially, defend them because he had traveled to find the secret and had turned it loose in the spooky woods of Cane Ridge. And, of course, Barton Stone, like many other Restoration leaders thought of the Holy Spirit as the Mind of God and not a "little person (God) in the big person (me). Click Here fore the details

After the fires burned themselves out most Biblically trained churches moved away from the "exercises" and some attributed them to Satan or to evil spirits.

Luke 4:29 And rose up, and thrust him out of the city,
        and led him unto the brow of the hill whereon their city was built,
        that they might cast him down headlong.  As Azazel the Scape-Goat

in Revelation 18 the speakers, singers and instrument players were called SORCERERS using the same term as the original Babylon mother of harlots.  The religious "staff" are identified as SCAPE GOATS and like the ANATHEMA word they will be cast alive into the Lake of fire.

Luke 4:30 But he passing through the midst of them went his way,
Luke 4:31 And came down to Capernaum, a city of Galilee,
        and taught [
didaskōn] them on the sabbath days.  [This is the ONE PIECE PATTERN for Ekklesia or Synagogue]
Luke 4:32 And they were astonished at his doctrine: for his WORD was with power.

The Word or Logos is called the Regulative Principle by the Greeks: it is opposite of self speak (outlawed in Isaiah 58 and Paul in Romans 15).  Logos is the Opposite of rhetoric, singing, playing instruments or telling self-referenced stories.  Jesus called these hypocritic by quoting Ezekiel 33 where the Spirit OF (a preposition) Christ named preachers, singers and instrument players: these were marks of telling God they had no intention of listing to Christ's free water of the Word.

Notice that because  SPIRIT means wind, breath or a person's Mental Disposition, the word OF is almost always used to prevent disciples from thinking of the Spirit OF Christ as another people: John identifies that as the mark of ANTI-Christ'

Luke 4:33 And in the synagogue there was a man,

        which had a spirit OF an unclean devil, and cried out with a loud voice,

daimonion , to,
A.divine Power, Divinity, Hdt.5.87, E.Ba.894 (lyr.), Isoc.1.13, Pl.R.382e, etc.; “to daimonion ar' ē theos ē theou ergon” Arist. Rh.1398a15, cf. 1419a9; “hoi theoi eisontai kai to d.” D.19.239; phobeisthai ti d. pragmat' elaunē some fatality, Id.9.54; ta tou d. the favours of forlune, Pl.Epin.992d.
II. inferior divine being, “metaxu theou te kai thnētou” Id.Smp.202e; “kaina d. eispherein” X.Mem.1.1.2, Pl. Ap.24c, cf. Vett. Val.67.5, etc.; applied to the 'genius' of Socrates, X.Mem.1.1.2, Pl.Ap.40a, Tht.151a, Euthphr.3b.
2. evil spirit, “d. phaula” Chrysipp.Stoic.2.338, cf. LXXDe.32.17, To.3.8, Ev.Matt.7.22, al., PMag.Lond.1.46.120 (iv A. D.).


Anakrazō , cry out, lift up the voice, shout, I raised my voice too high, of a dying man,
Megas 3. of sounds, great, loud, alalētos, iakhē, patagos, orumagdos, Il.12.138, 15.384, 21.9, 256; thoruboi, kōkutos, S.Aj.142 (anap.), E.Med.1176; “ouk esti hokōs ti neikos estai ē mega ē smikron” Hdt.3.62; “ phōnei mega” S.Ph.574.
5. with a bad sense, over-great, mega eipein to speak big, and so provoke divine wrath,

Phōn-ē , , A.sound, tone, prop., the sound of the voice, whether of men or animals with lungs and throat
4. of sounds made by inanimate objects, mostly Poet., “kerkidos ph.” S.Fr.595; “suriggōn” E.Tr.127 (lyr.); “aulōn” Mnesim.4.56 (anap.); rare in early Prose, “organōn phōnai” Pl.R.397a; freq. in LXX, “ ph. tēs salpiggos” LXX Ex.20.18; ph. brontēs ib. Ps.103(104).7; “ ph. autou hōs ph. hudatōn pollōn” Apoc.1.15.
organon , to, (ergon, erdō) Ergon: MACHINES for doing HARD WORK: SHOCK AND AWE
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. polukhorda” Id.R.399c, al.; “met' ōdēs kai tinōn organōn” Phld.Mus.p.98K.; of the pipe,

JUBAL HANDLED Musical instruments both without authority and in a sexual sense.

For those without an UNCLEAN spirit and the Mark (music) of the Beast (A new style of music or drama)

organ of sense or apprehension, “ta peri tas aisthēseis o.” Pl.R.508b
The men HAVING harps from God means that they had the instrument of DISCERNING or APPREHENDING the Word of God: the Beasts and Elders repented.

Luke 4:34 Saying, Let us alone; what have we to do with thee, thou Jesus of Nazareth?
        art thou come to destroy us? I know thee who thou art; the Holy One of God.
Luke 4:35 And Jesus rebuked him, saying, Hold thy peace, and come out of him.
        And when the devil had thrown him in the midst, he came out of him, and hurt him not.
Luke 4:36 And they were all amazed, and spake among themselves, saying,
        What a WORD is this! for with authority and power he commandeth the unclean spirits, and they come out.
Luke 4:37 And the fame of him went out into every place of the country round about.


Acts 16:16 And it came to pass, as we went to prayer,
a certain damsel possessed with a spirit of divination met us,
which brought her masters much gain by soothsaying:

G4436 Puthōn poo'-thone From Puthō (the name of the region where Delphi, the seat of the famous oracle, was located); a Python, that is, (by analogy with the supposed diviner there) inspiration (soothsaying): divination.

-puthiazτ , to be inspired by Apollo, prophesy, St.Byz. s.v. Puthτ.

-Puthτ Pytho, older name of that part of Phocis at the foot of Parnassus, in which lay the city of Delphi, Hom., etc. of Delphi itself, Pi.P.4.66, 10.4, Hdt.1.54, etc. (Acc. to the legend, derived from the rotting of the serpent, h.Ap.372.)
punthanomai , Od.2.315, etc.; poet. also peuthomai (q.v.): Ep. impf.

-Pind. P. 4 Today you must stand beside a beloved man, Muse, the king of Cyrene with its fine horses, so that while Arcesilas celebrates his triumph you may swell the fair wind of song that is due to the children of Leto and to Pytho, where once the priestess seated beside the golden eagles of Zeus, [5] on a day when Apollo happened to be present,

Used With:

(THIA A) translate

A to be inspired, frenzied, oposoi this theiasantes epilpisan as many as made ​​them hope by divinations, Th.8.1; i And godbearer is divinely inspired, Ph.1.479; oposoi teletais etheiazon obtained inspiration through ritual, Philostr. Her. 5.3. 2 prophesy, that stratopedefsoito DC Fr. 57.48:-Pass., [reason] on tῇ teleftῇ Alexander etheiasthi Arr. An . 7.18.6? scholar under the Group theiasthen DC62.18. II worship as divine, Id.59.27; Pythagoras and Plato Dam. Isid. 36:-Pass., Max.Tyr.8.9.

--theiazτ be inspired, frenzied, hoposoi autous theiasantes epēlpisan as many as made them hope by divinations, Th.8.1; th. kai theophoreitai is divinely inspired

aoidos , ho, (aeidō)

A.singer, minstrel, bard, Il.24.720, Od.3.270, al., Hes.Th.95, Op.26, Sapph.92, [Lesbian] etc.; “a. anēr” Od.3.267; “theios a.” 4.17, 8.87, al.; “tou aristou anthrōpōn a.” Hdt.1.24; “polla pseudontai a.” Arist.Metaph.983a4: c.gen., goōn, khrēsmōn aoidos, E.HF110, Heracl. 403; pratos a., of the cock, Theoc.18.56.
2. fem., songstress, “poluidris a.” Id.15.97; of the nightingale, Hes.Op.208; of the Sphinx, S.OT36, E.Ph.1507 (lyr.); “aoidos Mousa” Id.Rh.386 (lyr.).
3. enchanter, S.Tr.1000.
II. as Adj., tuneful, musical, “aoidotatan ornitha” E.Hel.1109 (lyr.), cf. Theoc.12.7
2. Pass., = aoidimos, famous, “pollon aoidoterē” Arcesil. ap. D.L.4.30.
III. = eunoukhos, Hsch.; cf. doidos. The song of the eunuch or or the EMASCULATED in Paul's warning
theios   1. of or from the gods, divine, “genos” Il.6.180; “omphē” 2.41; Oneiros ib.22; “epipnoiais”
of heralds and bards, Il.4.192, Od.4.17, al.; so perh., of kings, ib. 691.
b. matters of religion, errei ta th. religion is no more, S.OT910 (lyr.), cf. OC1537, X.Cyr.8.8.2, etc.


"The prophets of God were not like the raving Pythoness of heathen temples, nor are the saints of God converted into whirling dervishes by an influence which is the author. There can be little doubt that Paul would have severely reprobated such scenes as frequently occurred during the revival of which we are speaking.

"He would have said to the people substantially what he said to the Corinthians. If any unbeliever or ignorant man come to your assemblies and hears one shouting in ecstasy, and another howling in anguish; if he sees some falling, some jumping, some lying in convulsions, others in trances, will he not say ye are mad?" (Hodge, History Presbyterian Church quoted in Barton W. Stones' Biography, p. 368, 369)

There were Cane Ridge and Babylonian Parallels in that both were contrived efforts by the "authorities" to try to make up for the imagined lack of God and His Word:

At Cane Ridge: "To some extent they were contrived, both by those who exhorted and by those who listened and responded.

Certain techniques, which ministers conscientiously learned, helped push audiences toward an ecstatic frenzy.

Certain hymns, certain tunes worked better than others.

Certain repeated and familiar verbal images, those with great resonance for an audience, worked better than others. In many of the greatest revivals

the spark was a type of confession--the telling of what had happened to oneself there or at an earlier revival.

Some ministers learned the most evocative ways of telling their stories. Several sermonic devices -- timing, phrasing, pauses, and above all the display of intense feeling--worked." (Conkin, Paul, Cane Ridge America's Pentecost, p. 106, U ofWis.)

In all ancient tradition, Satan, Lucifer or whatever you call him gave man musical instruments to worship him so that people forget God and his Word.

Of the Transmission of the Art of Playing the Harp, that is to say of Music and Singing and Dancing. For more of the Babylonian origins of music Click Here.

Some of the following might describe the degenerated state of the huge revivals which followed Cane Ridge. In fact, they had to be abandoned because they encoraged more evil than good as roudy, blaspheming youth, prostitutes and liquor salesmen took control. As always, the effect whether from sexual fertility rituals, wine, music or preacher-induced enthusiasm, was believed to be the effect of the "gods." The ancients knew that the god was Satan and his agents while modern revivalists pretend that the Lord Jesus Christ is in these dances of death:

"Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.

"Yobal made reed instruments, and harps, and flutes, and whistles, and the devils went and dwelt inside them. When men blew into the pipes, the devils sang inside them, and sent out sounds from inside them.

"Tobalkin made cymbals, and sistra, and tambourines (or drums). And lasciviousness and fornication increased among the children of Cain, and they had nothing to occupy them except fornication--now they had no obligation [to pay] tribute, and they had neither prince nor governor--and eating, and drinking, and lasciviousness, and drunkenness, and dancing and singing to instruments of music, and the wanton sportings of the devils, and the laughter which affordeth pleasure to the devils, and the sounds of the furious lust of men neighing after women. And Satan, finding [his] opportunity in this work of error, rejoiced greatly, because thereby he could compel the sons of Seth to come down from that holy mountain. There they had been made to occupy the place of that army [of angels] that fell [with Satan], there they were beloved by God, there they were held in honour by the angels, and were called "sons of God," even as the blessed David saith in the psalm, "I have said , Ye are gods, and all of you sons of the Most High." Ps. 82:6 (In Rev 18 the craftsmen and musicians will go with Babylon).

Satan came into the musical instruments as well as the people so that the musical instruments were often the idol itself:

And when he played on them, Satan came into them, so that from among them were heard beautiful and sweet sounds, that ravished (raped or enchanted) the heart. -- Second Adam and Eve 20:3 Click for more.

There were Cane Ridge and Babylonian Parallels in the darkness, the flickering lamps and campfires, the terror of the enemy perhaps lurking not far away, not yet subdued like the animals of Nimrod fame. The feeling of personal helplessness and women forced into insecurity permitted by "church" with little Biblical foundation made the hair stand up on the back of the neck when the hymns floated in and out of the shadows where God and the dead were supposed to be close. However sincere the promoters, this was not the restoration movement to restore New Testament Christianity.

Perhaps, the only pure gnostics still practicing their religion live in Iraq where Babylonian religion began, right off the Ark. They are Mandaeans who tell the story of God breathing a soul into Adam, a less-than-human being who couldn't find a wife among the animals. The soul picked to indwell Adam was Hiwel Ziwa and she was disgusted with him and demanded terms. She, like the women in Amos, wanted conditions to be like that of heaven:

"Hiwel Ziwa returned and told them (the House of Life) and brought back a letter . It would not open, but spoke, and promised that the House of Life would give all that the Soul had asked. So the Soul (Nishimta) entered the body of Adam and he stood erect and talked, and Hiwel Ziwa taught him reading and writing, how to marry, how to bury the dead, how to slaughter a sheep, and all knowledge. Ruha saw this, and she wished that she might have her race, her people, and her portion. She came to Adam son of Adam, and killed a sheep, and took its skin and made a drum, and of its bones she made a flute, and she and her children the Seven (planets) played and sang and danced. Ruha went to Adam son of Adam and said to him, 'Come, amuse yourself with us!' and he went. Liwet (Venus) made herself like a beautiful woman, and Adam son of Adam took her and became the father of children. Ruha, too, disguised herself as Hawa, and went to Adam, and Adam went into the water with her (i.e. performed purifications after cohabitation). When they reproached him afterwards, saying, 'Did you not see how big she was in the water?', he replied that he had known nothing, for she employed sorcery.

Note: My dog has been playing with an old deer bone for about four years. I kept looking at it and desided that it would make a good flute. I cleaned it out, ground a mouth hole, drilled some holes and, yes it works. Such a bone is "pierced" and probably "died of itself" and was, therefore, polluted or pierced gave rise to the word for flute, flute player, pollute or prostitute.

Identical Devil Worshiping "Christians" Layard picks up where ancient stories end and brings us up to the date of 1854 where he saw these same Chaldean people worshiping musically

Discoveries At Nineveh Devil Worship
Austen Henry Layard, Esq., D.C.L.
In chapter 8 Layard described the Yezidis and their musical worship in about 1854. His description has many of the earmarks of the Cane Ridge exercises which are defended because of their "speedy" change of frontier morals. However, many of these changes were based on fear and observers note that in many respects the disrespect among the youth engendered by the outrages of their elders did more harm than good.

Layard begins:

"As the twilight faded, the fakirs, or lower order of priests, dressed in brown garments of coarse cloth, closely fitting to their bodies, and wearing black turbans on their heads, issued from the tomb, each bearing a light in one hand, and a pot of oil, with a bundle of cotton wicks, in the other. They filled and trimmed lamps placed in niches in the walls of the courtyard, and scattered over the buildings on the sides of the valley, and even on isolated rocks and in the hollow trunks of trees. Innumerable stars appeared to glitter on the black sides of the mountain, and in the dark recesses of the fores

"As the priests made their way through the crowd, to perform their task, men and women passed their right hands through the flame, and then devoutly carried them to their lips, after rubbing the right eyebrow with the part which had been purified by the sacred element. Some, who bore children in their arms, anointed them in like manner, while others held out their hands to be touched by those who, less fortunate than themselves, could not reach the flame.

"The lamps are votive offerings from pilgrims, or from those who have appealed to Sheikh Adi in times of danger or disease, and a yearly sum is given to the guardians of the tomb for oil, and for the support of the priests. They are lighted every evening as long as the supplies last. In the daytime the smoked walls mark where they are placed; and I have observed the Yezidis devoutly kissing the blackened stones.

"About an hour after sunset the fakirs, who are the servants of the tomb, appeared with platters of boiled rice, roast meat, and fruit. They had been sent to me from the kitchen of the (Page 185) holy edifice. The wife of Sheikh Nasr also contributed some dishes toward the repast.

"As night advanced, those who had assembled - they must now have amounted to nearly five thousand person - lighted torches, which they carried with them as they wandered through the forest. The effect was magical; the varied groups could be faintly distinguished through the darkness; men hurrying to and fro; women, with their children, seated on the house-tops; and crowds gathering round the peddlers who exposed their wares for sale in the court-yard.

"Thousands of lights were reflected in the fountains and streams, glimmered among the foliage of the trees, and danced in the distance. As I was gazing on this extraordinary scene, the hum of human voices was suddenly hushed, and a strain, solemn and melancholy, arose from the valley. It resembled some majestic chant which years before I had listened to in the cathedral of a distant land. Music so pathetic and so sweet I had never before heard in the East. The voices of men and women were blended in harmony with the soft notes of many flutes. At measured intervals the song was broken by the loud clash of cymbals and tamborines; and those who were without the precincts of the tomb then joined in the melody.

"I hastened to the sanctuary, and found Sheikh Nasr, surrounded by the priests, seated in the inner court. The place was illuminated by torches and lamps, which threw a soft light over the white-walls of the tomb and green foliage of the arbor. The sheikhs, in their white turbans and robes, all venerable men with long gray beards, were ranged on one side; on the opposite, seated on the stones, were about thirty cawals (Preacher-Musicians) in their motley dresses of black and white - each performing on a tambourine or a flute. Around stood the fakirs in their dark garments, and the women of the orders of the priesthood arrayed in pure white. No others were admitted within the walls of the court.

(Note: the restricted communion by the Presbyterian priests dispensing their little metal tokens is believed to have motivated many new arrivals to get the sign so they might be accepted for communion even though they were already accepted by God. It is tough to be an outsider!)

Note: these people sang to Jesus but they were really worshiping the Devil. A lot of both was probably taking place at Cane Ridge because many were spectators with nothing better to do. Only 800 to a thousand were considered church members. (Preacher-count went higher).

"The same slow and solemn strain, occasionally varied in the melody, lasted for nearly an hour; a part of it was called (Page 186) "Makam Azerat Esau," or the song of the Lord Jesus. It was sung by the sheikhs, the cawals, and the women; and occasionally by those without. I could not catch the words; nor could I prevail upon any of those present to repeat them to me. They were in Arabic (Note: similar to the unknown tongues of Isa 28 and 1Cor 14) ; and as few of the Yezidis can speak or pronounce that language, they were not intelligible, even to the experienced ear of Hodja Toma, who accompanied me: The tamborines only interrupted at intervals the song of the priests.

Note: I have tried desperately hard to think about Jesus when the musical worship team is "speaking in tongues" with hands flailing and words hidden in harmony. It cannot be done.

"As the time quickened they broke in more frequently. The chant gradually gave way to a lively melody, which, increasing in measure, was finally lost in a confusion of sounds. The tamborines were beaten with extraordinary energy; the flutes poured forth a rapid flood of notes; the voices were raised to their highest pitch; the men outside joined in the cry; while the women made the rocks resound with the shrill tahlehl.

"The musicians, giving way to the excitement, threw their instruments into the air, and strained their limbs into every contortion, until they fell exhausted to the ground. I never heard a more frightful yell than that which rose in the valley. It was midnight. The time and place were well suited to the occasion; and I gazed with wonder upon the extraordinary scene around me.

Note: history shows that these charismatic rituals were intended to or accidentally drove the "worshipers" into musical ecstasy which gives rise (through endorphins) to fight, flight or sex. This was not present in the actual ceremony.

"I did not marvel that such wild ceremonies had given rise to those stories of unhallowed rites, and obscene mysteries, which have rendered the name of Yezidi an abomination in the East. Notwithstanding the uncontrollable excitement which appeared to prevail among all present, there were no indecent gestures nor unseemly ceremonies. When the musicians and singers were exhausted, the noise suddenly died away; the various groups resumed their previous cheerfulness, and again wandered through the valley, or seated themselves under the trees.

Note: like their ancient ancestors, the charismatic "exercises" produced by music was their way of making sure that Satan was honored because Christ did not finish his work on earth.

"They believe Satan to be the chief of the Angelic host, now suffering punishment for his rebellion against the divine will; but still all-powerful, and to be restored hereafter to his high estate in the celestial hierarchy. He must be conciliated and reverenced, they say; for as he now has the means of doing evil to mankind, so will he hereafter have the power of rewarding them. Next to Satan, but inferior to him in might and wisdom, are seven archangels who exercise a great influence over the world; - they are Gabrail, Michail, Raphail, Azrail, Dedrail, Azrapheel, and Shemkeel. Christ, according to them, was also a great angel, who had taken the form of man. He did not die on the cross, but ascended to heaven.

As a result of the Nadab-Abihu "fire" worship they stumbled before an incense altar (not commanded chronologically) and fire broke out.  The Azazel or Scape Goat (Capella) was an offering to the Devil and later became the sacrifice of Goats to the sounds of instruments commanded by DAVID: Christ said that God had commanded nothing of the God-abandoned Civil-Military-Clergy complex He called robbers and parasites in the prophets.  In addition an ATONEMENT sacrifice was added because the God-Abandoned Israelites (Acts 7)

"They hold the Old Testament in great reverence, and believe in the cosmogony of Genesis, the Deluge, and other events recorded in the Bible. They do not reject the New Testament, nor the Koran; but consider them less entitled to their veneration. Still they always select passages from the latter for their tombs, and holy places. Mohammed they look upon as a prophet; as they do Abraham, and the patriarchs.

"They expect the second coming of Christ, as well as the (Page 190) reappearance of Imaum Mehdi, giving credence to the Mussulman fables relating to him.

Note: Like the Babylonian religious team of priests, musicians, soothsayers and even prostitutes, the Yezidis have:

"The Pirs, or saints, are most reverenced after the great sheikh, or religious head of the sect. They are believed to have the power, not only of interceding for the people, but of curing disease and insanity. They are expected to lead a life of great sanctity and honesty; and are looked up to with great reverence. They are not confined, I believe, to any particular fashion of dress. The only pir I knew was one Sino, who was recognized as the deputy of Sheikh Nasr, and had suffered imprisonment in his stead.

Note: the musical instruments are magical devices and the hymns are like speaking in tongues. That is, they are written in an "unknown tongue" and have to be memorized by the singers. The "audience" need not know the true meaning.

"(Page 193) The Sheikhs are next in rank. They are acquainted with the hymns, and

are expected to know something of Arabic, the language in which the hymns are written. Their dress should be entirely white, except the skull-cap beneath the turban, which is black.

As servants of Sheikh Adi, they are the guardians of his tomb, keep up the holy fires, and bring provisions and fuel to those who dwell within its precincts, and to pilgrims of distinction. They always wear round their bodies a band of red and black, or red and orange plaid, as the mark of their office; with it they bind together the wood, and other supplies which they bring to the sacred edifice.

The women carry the same badge, and are employed in the same services. There are always several sheikhs residing in the valley of Sheikh Adi.

They watch over the tomb, and receive pilgrims; taking charge in rotation of the offerings that may be brought, or selling the clay balls and other relics.

Note: the preachers are more musical performers than teachers. They have trouble getting their work done without magical instruments and chants or hymns. However, this is all just "speaking in tongues."

"The Cawals, or preachers, appear to be the most active members of the priesthood. They are sent by Hussein Bey and Sheikh Nasr on missions, going from village to village with the symbol of the bird as teachers of the doctrines of the sect.

They alone are the performers on the flute and tambourine; both instruments being looked upon, to a certain extent, as sacred.

I observed that before, and after, using the tambourine they frequently kissed it, and then held it to those near them, to be similarly saluted.

They are taught singing at a very early age, are skillful musicians, and dance occasionally at festivals.

They usually know a little Arabic, but barely more than necessary to get through their chants and hymns.

"The Fakirs are the lowest in the priesthood. They wear coarse dresses of black, or dark brown cloth, or canvas, descending to the knee and fitting tightly to the person; and a black turban, across which is generally tied a red kerchief. (Page 194) They perform all menial offices connected with the tomb, trim and light the votive lamps, and keep clean the sacred buildings.

Note: In the book Second Adam and Eve Genun is a composite of Jubal, Jabal, Tubal-Cain and Naamah. Satan picked out Genun because of his youth and taught him wine making, songs, instruments and choirs to seduce the holy Sethites:

And when he played on them, Satan came into them, so that from among them were heard beautiful and sweet sounds, that ravished (raped or enchanted) the heart. -- Second Adam and Eve 20:3

Then he gathered companies upon companies to play on them; and when they played, it pleased well the children of Cain, who inflamed themselves with sin among themselves, and burnt as with fire; while Satan inflamed their hearts, one with another, and increased lust among them. -- Second Adam and Eve 20:4

Satan also taught Genun to bring strong drink out of corn; and this Genun used to bring together companies upon companies in drink-houses; and brought into their hands all manner of fruits and flowers; and they drank together Second Adam and Eve 20:5

Layard then continues his trip and enters some of the Yezidis villages and found that they were the pillaged and pillagers. Always with musical instrument and weapons in hand they were ready to murder any "invaders." This, too, fits the tale of Jubal and his Babylonian counterparts.

This is not unlike the history of most religious revivalism

Thus did Genun multiply sin exceedingly; he also acted with pride and taught the children of Cain to commit all manner of the grossest wickedness, which they knew not; and put them up to manifold doings which they knew not before. Second Adam and Eve 20:6

Then Satan, when he saw that they yielded to Genun and hearkened to him in every thing he told them, rejoiced greatly, increased Genun's understanding, until he took iron and with it made weapons of war. Second Adam and Eve 20:7

Then when they were drunk, hatred and murder increased among them; one man used violence against another to teach him evil, taking his children and defiling them before him. Second Adam and Eve 20:8

"We have seen that enthusiasm and fanaticism, in their wildest shapes, have attended them--that jealousy, envy, hatred, evil surmisings, bitter revilings, heart-burnings, unholy schism and strifes, have followed close in their train--that spiritual pride, censoriousness, a Pharisaic disposition, and a spirit that trusts too much in suggestions, impulses, and consequently, that underrates the word of God, is always associated with them." (Stone Biography, p. 384)

Just like the First Great Awakening

"Divisions in the churches accompanied and followed the Great Awakening. The more ardent preachers of the revival had sharp words for those ministers whom they deemed unconverted. Whitefield occasionally spoke caustically of those who did not follow him. Others were even more vehement. On the other side were many, both clergy and laity, who were alienated by the emotional excesses, were angered by the denunciations of the more ardent itinerant preachers... 'New lights' 'Old lights' in Presbyterian and Congregational churches often separated into distinct units." (Latourette, p. 960).

"While there were examples of church groups which increased in numbers and strength as a result of the appearance of glossolalia, more usually friction and divisive factions developed. In extreme examples, up to one-third of the congregation stopped going to church and/or dropped their formal membership." (John P. Kildahl , p. 66 The Psychology of Speaking in Tongues, Harper and Row).

"When God had withdrawn, as abruptly as he had come,

his place was-again, quite literally-taken by Satan.
Exaltation was succeeded by
suicidal despair...

There were no more conversions, but the people who survived the experience were calmer and more joyful than they had been before the Awakening,

or so Edwards would have us believe." (Armstrong, Karen, A History of God, p. 324).

Cane Ridge is frequently lusted after by those who would like the "kingdom to come with exhilaration" as if empowered by wine from a new wineskin. We are told that a lot of this happened at Cane Ridge and many converts lost their religion when they couldn't get past the "watering holes" always on the outskirts of many revivals or on the way home.

Cane Ridge and Babylonian Parallels do not mean that Cane Ridge served no useful purpose for some. However, it is as lost to the modern world as the towers of Babel. We should not concern ourselves with artificial ways of trying to "bring the worshipers into the presence of God."

Or goal should always be to go beyond the restoration movement "fathers" and back to Jerusalem and Christ. Don't overshoot and land in downtown Babylon.

Cane Ridge #1

Cane Ridge #2

Cane Ridge #3 You are Here

Kenneth Sublett

The Awakenings

Colonial Literature

Musical Worship Index

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