The
Bacchae or Bacchantes By Euripides - Dionysus Wineskin God
The Greek legends connect to the Jews fall into Musical Idolatry at Mount Sinai for which God "turned them over to worship the starry host." Therefore, when modern religionists use the Old Testament as legalistic patternism they are identified by Jude as the "wandering stars" who deliberately mislead using the Lucifer Principle which is based on religious profiteering. Thereforee, this page will be annotated with links to parallel Jewish and pseudo-christian or Gnostic christianism.
To see how this connects to Paul's "pointers" to the LOCKS and the HAIR and voice of angels, search these words.
See Psalm "41" as translated in the Dead Sea Scrolls. This explains why Judas failed to MUSICALLY TRIUMPH OVER JESUS.
See more details of how the Levitical Warrior Musicians momentarily TRIUMPHED over Jesus after dismissing Him as Beel-zebul (Dung God in Hebrew and therefore Lord of the Flies). In the end, God in Christ would make "music" as the fruit of His lips.
When "performers" put on the persona of the Dionysus female ACTORS with any form of "body" performance they are trying to "worship with men's hands" and insult the Incarnate God of the universe Who was never a performer and Who demanded that you can only find Him in quiet places, outside the gates in solitary communion.
Many churches having lost their elasticicity demand a "new wineskin" to allow the wine-like exhilaration of "worship" to move the group into drama in an effort to "move the worshippers into the presence of the gods." This urge for "play" or drama is the evidence of lostness which can be somewhat relieved by pretending a form of worship to replace the never-realized goals of a few minor gods.
When the Wineskins Won't Stretch!
"It is symptomatic of structures that have lost their elasticity, becoming too rigid to accommodate further development, to intensify the semantics of self-reference as a sort of final act of self-reassurance.
The patterns of self-reference by drama to drama as we see them in The Bacchae of Euripides reflect a crisis in the very genre of tragedy, in the context of drastic changes in Athenian society toward the end of the fifth century; the prospect is one of abrupt confrontation and loss." -- Nagy, Pindar's Homer p. 388
This was the
Y-.5K hysteria and the signs was
a hysterical effort to assure themselves when they really had nothing
to say. The pretend people substituted the performance of their own
bodies having lost all of their clothing of righteousness and
justice.
All SPEAKING words EXCLUDE meter or music. ALL music or poetic words EXCLUDE and are the opposite of SPEAK or of the rational mind.
Mania (A), Ion. -iê, hê, ( [mainomai] ) madness, Hdt.6.112, Hp.Aph. 7.5, S.Ant.958 (lyr.), etc.; pollên katagnônai m. tinôn Isoc.4.133 ; mechri manias hê sphodra hêdonê katechousa Pl.Phlb.45e ; maniê nousos Hdt.6.75 : freq. in pl., Lex Solonis ap.D.46.14, Thgn.1231, A.Pr. 879, 1057 (both anap.), etc.
Paul outlawed SELF-pleasure which is hedonistic in order to conduct the church, ekklesia or school of the Bible. Jesus died to put down the burden LADERS and laden burden which is 'creating spiritual anxiety through religious rituals."
II. enthusiasm, inspired frenzy, m. Dionusou para E.Ba.305 ; apo Mousôn katokôchê te kai m. Pl.Phdr. 245a; theia m., opposite anthrôpinê, ib.256b, cf. Prt.323b, X. Mem.1.1.16; tês philosophou m. te kai bakcheias Pl.Smp.218b .
Plato Phaedrus. he who has this madness is made safe for the present and the after time, and for him who is rightly possessed of madness a release from present[245a] ills is found. And a third kind of possession and madness comes from the Muses. This takes hold upon a gentle and pure soul, arouses it and inspires it to songs and other poetry, and thus by adorning countless deeds of the ancients educates later generations. But he who without the divine madness comes to the doors of the Muses, confident that he will be a good poet by art, meets with no success, and the poetry of the sane man vanishes into nothingness before that of the inspired madmen.
Pindar Olympian 9 [1] The resounding strain of Archilochus, the swelling thrice-repeated song of triumph, sufficed to lead Epharmostus to the hill of Cronus, in victory-procession with his dear companions.[5] But now, from the bow of the Muses who, shooting from afar, send a shower of such arrows of song as these on Zeus of the red lightning-bolt and on the sacred height of Elis, which once the Lydian hero Pelops[10] won as the very fine dowry of Hippodameia.[11] And shoot a winged sweet arrow to Pytho; for your words will not fall to the ground, short of the mark, when you trill the lyre in honor of the wrestling of the man from renowned Opus .... and Phoebus pressed him hard, attacking with his silver bow; nor did Hades keep his staff unmoved, with which he leads mortal bodies down to the hollow path[35] of the dead. My mouth, fling this story away from me! Since to speak evil of the gods is a hateful skill, and untimely boasting[39] is in harmony with madnessErôt-ikos A.of or caused by love, orgê
The Muses along with the instrument players and all religious functionaries work for Apollo or Abaddon. In Revelation 17 Paul identifies the ALL-times Mother of Harlot religion where the are called SORCERERS intending to deceive the whole world:
Mousôn katokôchê
Mousa 1 [*maô] I. the Muse, in pl. the Muses, 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.,
II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.:--in pl. arts, accomplishments, Ar., Plat.Melôid-ia , hê, singing, chanting, E.Rh.923, etc.
II. chant, choral song, melôidias poiêtês Pl.Lg.935e , cf. 812d; lullaby, ib.790e: generally, music, Phld.Mus.p.12 K.Katokôchê 1 [attic for katochê] a being possessed, possession (i. e. inspiration), Plat.
OPPOSITE: sôphrosunê anthrôpinê [mankind]
Sôphrôn 1 [sôs, phrên]
I. of sound mind, Lat. sanae mentis:-- hence sensible, discreet, wise, Hom., Hdt., Xen.
2. of things, sôphrona eipein Eur.; allo ti sôphronesteron gignôskein Thuc.:-- sôphron
II. having control over the sensual desires, temperate, self-controlled, moderate, chaste, sober
2. to sôphron sôphrosunê,Sophron (g4988) so'-frone; from the base of 4982 and that of 5424; safe (sound) in mind, i.e. self- controlled (moderate as to opinion or passion): - discreet, sober, temperate.
Anthrôpinos [anthrôpos] mankind defined as the only being capable of controlling their emotions.
Tatian reminds the sophisticated urbans who disparage rural songs and worship that song, instruments, dance and vocal competition (who will get out the biggest crowd), that these are always a reaching back for the "archaic, in Joseph Campbell's mind, when the food supply runs out:
"The wonders of the god Dionysus pull people together to celebrate these wonders by competing with each other in song and dance. The speech of the herdsman says it all: "once upon a time, we humble herdsmen came together in the countryside, drawn by the wonders of the god to sing and dance in competition."
Even in Corinth the unbelievers might have visited the urban church just to see the "huper" or super apostles fling their hands and listen to the women (men don't often do that) sing in the charismatic style of self-invention pretending to be true prophest and speaking for God. However, when "the best show in town" was over and the jubilators returned home, the modern music from voodoo and hillbilly roots makes them hold the "children playing musical games looking like madmen" (mild or extreme) in contempt:
"I have often seen a man (actor)-- and have been amazed to see, and the amazement has ended in contempt, to think how he is one thing internally, but outwardly counterfeits what he is not--
giving himself excessive airs of daintiness and indulging in all sorts of effeminacy;
somethines darting his eyes about;
sometimes throwing his hands hither and thither,and raving with his face smeared with mud (sweat, spit and dust); sometimes personating Aphrodite (female), sometimes Apollo (male); a solitary accuser of all the gods, an epitome of superstition, a vituperator of heroic deeds, an actor of murders, a chronicler of adultery,
a storehouse of madness, a teacher of cynaedi, an instigator of capital sentences;-- and yet such a man is praised by all. But I have rejected all his falsehoods, his impiety, his practices,--in short, the man althogether.
But you are led captive by such men,
while you revile those who do not take a part in your pursuits.
I have no mind to stand agape at a number of singers, nor do I desire to be affected in sympathy with
a man when he is winking and gesticulating in an unnatural manner."...
"Why should I admire the mythic piper... We leave you to these worthless things; and do you believe our doctrines,
or, like us, give up yours." (Tatian to the Greeks, Ante-Nicene, Vol. II, p. 75).
The Biblical text is fairly explicit but men
like Plutarch identified the "god" of the Jews (not true Israelites) as
Dionysus, the new wineskin god. He, with Zeus and others
constituted the Abomination of Desolation in the Temple and they never
cease. That is why Jesus refused to speak to them except in parables.
As you read the play you will understand why the jubilating Jews who had adopted Dionysus forms of worship tested Jesus, discovered that He was not a Dancing God and therefore had Him destroyed. Jesus, however, refused to sing, dance, get in the effeminate dance and identify Himself as -- like they hoped John would be -- a "man" Who wore soft clothing. When He refused they literally tried to tear Him limb from limb as His "bones were out of joint." He is still mocked by boy-girls trying to force you into the dance---
Dionysus
Cadmus
Pentheus
Agave
Teiresias
First Messenger
Second Messenger
Servant
Scene
Before the Palace of Pentheus at Thebes. Enter DIONYSUS.
[1] Lo! I am come to this land of Thebes, Dionysus' the son of Zeus,
of whom on a day Semele, the daughter of Cadmus, was delivered by a flash of lightning.
I have put off the god and taken human shape, and so present myself at Dirce's springs and the waters of Ismenus.
Yonder I see my mother's monument where the bolt slew her nigh her house, and there are the ruins of her home smouldering with the heavenly flame that blazeth still-Hera's deathless outrage on my mother. To Cadmus all praise I offer, because he keeps this spot hallowed, his daughter's precinct, which my own hands have shaded round about with the vine's clustering foliage.
Lydia's glebes, where gold abounds, and Phrygia have I left behind; o'er Persia's sun-baked plains, by Bactria's walled towns and Media's wintry clime
<have I advanced through Arabia, land of promise; and Asia's length and breadth, outstretched along the brackish sea, with many a fair walled town, peopled with mingled race of Hellenes and barbarians; andThere too have I ordained dances and established my rites, that I might manifest my godhead to men; but Thebes is the first city in the land of Hellas that I have made ring with shouts of joy, girt in a fawn-skin, with a thyrsus, my ivy-bound spear, in my hand;
this is the first city in Hellas I have reached.
Paizô ,( [pais] ):--prop., play like a child, sport, têi de th' hama Numphai. 4. play on a musical instrument, h.Ap.206: c. acc., Pan ho kalamophthonga paizôn Ar.Ra.230 ; dance and sing, Pi. O.1.16.
- Choreia 1 [choreuô] I. a dance, esp. the choral or round dance with its music, Eur., Ar. II. a dance tune, Ar
Homer, Pythian Apollo 3. O Lord, Lycia is yours and lovely Maeonia [180] and Miletus, charming city by the sea, but over wave-girt Delos you greatly reign your own self. Leto's all-glorious son goes to rocky Pytho, playing upon his hollow lyre, clad in divine, perfumed garments; and his lyre, [185] at the touch of the golden key, sings sweet.Thence, swift as thought, he speeds from earth to Olympus, to the house of Zeus, to join the gathering of the other gods: then straightway the undying gods think only of the lyre and song,and all the Muses together, voice sweetly answering voice,
[190] hymn the unending gifts the gods enjoy and the sufferings of men, all that they endure at the hands of the deathless gods, and how they live witless and helpless and cannot find healing for death or defence against old age.
See Strabo 10.3.7
- Meanwhile the rich-tressed Graces and cheerful Seasons dance with [195] Harmonia and Hebe and Aphrodite, daughter of Zeus, holding each other by the wrist. And among them sings one, not mean nor puny, but tall to look upon and enviable in mien,
- Artemis who delights in arrows, sister of Apollo. [200] Among them sport Ares and the keen-eyed Slayer of Argus,while Apollo plays his lyre stepping high and featly and a radiance shines around him, the gleaming of his feet and close-woven vest. And they, [205] even gold-tressed Leto and wise Zeus, rejoice in their great hearts as they watch their dear son playing among the undying gods
"The 'sounding gong and tinkling cymbal' used in such worship are mentioned in a derogatory sense in 1 Corinthians 13:1; but the religious outcry itself is dealt with more directly. It is essential that we understand that much of the shouting involved in the rite was the specific function of women. Euripides describes the advent of Dionysiac religion to Thebes thus: 'This city, first in Hellas, now shrills and echoes to my women's cries, their ecstasy of joy'
since my mother's sisters, who least of all should have done it,
denied that Dionysus was the son of Zeus,
saying that Semele, when she became a mother by some mortal lover,
tried to foist her sin on Zeus-a clever ruse of Cadmus, which, they boldly asserted,
caused Zeus to slay her for the falsehood about the marriage.
Wherefore these are they whom I have driven frenzied from their homes,
and they are dwelling on the hills with mind distraught; and I have forced them to assume the dress worn in my orgies, and all the women-folk of Cadmus' stock have I driven raving from their homes, one and all alike; and there they sit upon the roofless rocks beneath the green pine-trees, mingling amongst the sons of Thebes.
For this city must learn, however loth, seeing that it is not initiated in my Bacchic rites,
and I must take up my mother's defence,
by showing to mortals that the child she bore to Zeus is a deity.
[43] Now Cadmus gave his sceptre and its privileges to Pentheus, his daughter's child, (the mortal brother)
who wages war 'gainst my divinity, thrusting me away from his drink-offerings, and making no mention of me in his prayers.
Therefore will I prove to him and all the race of Cadmus that I am a god. And when I have set all in order here, I will pass hence to a fresh country, manifesting myself; but if the city of Thebes in fury takes up arms and seeks to drive my votaries from the mountain, I will meet them at the head of my frantic rout.
This is why I have assumed a mortal form, and put off my godhead to take man's nature.
O ye who left Tmolus, the bulwark of Lydia, ye women, my revel rout! whom I brought
from your foreign homes to be ever by my side and bear me company, uplift the cymbals native to your Phrygian home, that were by me and the great mother Rhea first devised, and march around the royal halls of Pentheus smiting them, that the city of Cadmus may see you;
while I will seek Cithaeron's glens, there with my Bacchanals to join the dance.
Tumpanon A. kettledrum, such as was used esp. in the worship of the Mother Goddess and Dionysus, n Corybantic rites, 2. metaph., tumpanon phusan, of inflated eloquence,
Heredotus, 4.76 hidden there, Anacharsis celebrated the goddess' ritual with exactness, carrying a small drum and hanging images about himself. [5] Then some Scythian saw him doing this and told the king, Saulius; who, coming to the place himself and seeing Anacharsis performing these rites, shot an arrow at him and killed him.
Exit DIONYSUS.
Enter CHORUS.
CHORUS
Dionysus or Bacchus was the NEW WINESKIN god. The Jews hoped that Jesus was that god. The test for both John the Baptist and Jesus was that they hoped that John wore soft clothing of the catamite of male prostitute which plagued the Jewish and all priesthoods. They "piped" as Jesus accused them of thinking that He would join the feminine of effeminate singing and dancing.
[64] From Asia o'er the holy ridge of Tmolus hasten to a pleasant task, a toil that brings no weariness, for Bromius' (son of Egyptus, husband of Erato:) sake, in honour of the Bacchic god. Who loiters in the road? who lingers 'neath the roof? Avaunt!
I say, and let every lip be hushed in solemn silence;[73] O happy he! who to his joy is initiated in heavenly mysteries and leads a holy life, joining heart and soul in Bacchic revelry upon the hills,
for I will raise a hymn to Dionysus, as custom aye ordains.
purified from every sin; observing the rites of Cybele, the mighty mother, and brandishing the thyrsus, with ivy-wreathed head, he worships Dionysus.
Go forth, go forth, ye Bacchanals, bring home the Bromian god Dionysus, child of a god, from the mountains of Phrygia to the spacious streets of Hellas, bring home the Bromian god!
[88] whom on a day his mother in her sore travail brought forth untimely, yielding up her life beneath the lightning stroke of Zeus' winged bolt; but forthwith Zeus, the son of Cronos, found for him another womb wherein to rest, for he hid him in his thigh and fastened it with golden pins to conceal him from Hera. And when the[105] O Thebes, nurse of Semele! crown thyself with ivy;
Fates had fully formed the horned god, he brought him forth and crowned him with a coronal of snakes, whence it is the thyrsus-bearing Maenads hunt the snake to twine about their hair.
burst forth, burst forth with blossoms fair of green convolvulus, and with the boughs of oak and pine join in the Bacchic revelry; don thy coat of dappled fawn-skin, decking it with tufts of silvered hair; with reverent hand the sportive wand now wield.Rhea was a name for EVE. In the Greek version, Eve is named ZOE or the MOTHER GODDESS. Long before the time of Paul most people worshiped the MOTHER OF THE GODS. The dove resting on the goddess whose DAUGHTER was the "female teaching principle" identified this goddess under various names. When the dove rested on the head of Jesus it was the FATHER speaking and identifying Jesus as the SON who spoke His words exactly as He heard them.
Inanna or Ishtar worshiped by the men in Jerusalem as the women lamented with instruments in the temple for Tammuz (Bacchus, Saturn or Satan whose number is 666) became EVE in the Classical period and ZOE in the early post-Christian period. In Babylonia, Inanna got father or grandfather drunk and stole the MES of the trees. Ea was the patron god of music and Inanna had the magical power of MUSICAL INSTRUMENTS.
Sophia (wisdom) was identified as the SERPENT and her daughter ZOE was identified as the BEAST. She was identified as the FEMALE INSTRUCTING PRINCIPLE.
People worshiped EVE because she had SUPERIOR KNOWLEDGE because Satan (Saturn 666) taught her both good and evil.
Paul being educated in Greek literature understood that Christianity had to be different for two reasons:1. It was a fact that EVE was wholly seduced by Lucifer. She is called the harp playing prostitute as king/queen of Tyre.
Lucifer was in the garden and used music as the pleasure of the angelic host to seduce the worship from God. He is credited with introducing string instruments, wind instruments and percussions.
The prophecy that Lucifer as the end time Babylon Harlot "mother" of all RELIGIONS would again go back into hell with her musicians and musical instruments.
2. In the world view at that time, Sophia-Zoe had forced the "minor jehovahs" into forming MUSICAL WORSHIP TEAMS in order to worship the FEMININE Goddesses.
3. God had declared for a PATRIARCHIAL "school of the Bible" as opposed to a pagan worship center with music by identifying Himself as the FATHER.
4. Women and effeminate men always formed RELIGIONS but Christianity continued the synagogue. This was not a worship center but a school of the Bible.
5. Women and strange males were always identified as the singers and musicians in all pagan religions usually practiced at festivals.
6. The "authority" Paul outlawed was the Greek authentia. This was known to be exercised by women as both EROTIC and MURDEROUS. Musicologists identify today's praise songs as EROTIC.
Anon shall the whole land be
dancing,
when Bromius leads his revellers to the hills, to the hills
away! where wait him groups of maidens from loom and
shuttle roused in frantic haste by Dionysus.
O hidden cave of the Curetes!
[120] O hallowed haunts in Crete, that saw Zeus born, where Corybantes with crested helms devised for me in their grotto the rounded timbrel of ox-hide (lifeless instrument), mingling Bacchic minstrelsy with the shrill sweet accents of the Phrygian flute, a gift bestowed by them on mother Rhea, to add its crash of music to the Bacchantes' shouts of joy;
Auleô, of tunes, to be played on the flute, ho Bakcheios rhuthmos êuleito X. Smp.9.3 KERAS Horn, bow, musical instrument, horn for blowing.
but frantic satyrs (homosexual priests) won it from the mother-goddess for their own, and added it to their dances in festivals, which gladden the heart of Dionysus, each third recurrent year.Rev 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.
kat-auleô
A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tina Alciphr.2.1: metaph., se . . -êsô phobôi 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, Posidon.10 J., cf. Call.Fr.10.3 P., Phld.Mus.p.49 K.
mainas , ados, hê, ( [mainomai] )
A.raving, frantic, lussa v. l. in S.Fr.941.4; bakchê E.Ba.915 .
luss-a, Att. lutta, hê,
A. rage, fury, in Hom. always of martial rage, kraterê de he [A spirit OF madness.]
2. after Hom., raging madness, frenzy, such as was CAUSED BY the gods, as that of 10, lussês pneumati margôi A.Pr.883 (anap.); of Orestes, Id.Ch.287, E.Or.254, etc.; of the Proetides, B.10.102; of Bacchic (Dionysus, wineskin) frenzy, elaphra l. E. Ba.851 ; thoai Lussas kunes, of the Furies, ib.977 (lyr.); lussêi parakopos Ar.Th.680 : strengthd., l. manias S.Fr.941.4 ; lutta EROTIKE 3. personified, Lussa the goddess of madness, E.HF823.
Pneuma I. a blowing, pneumata anemôn Hdt., Aesch.: alone, a wind, blast, Methieme letting loose. 2. metaph., thalerôterôi pn. with more genial breeze or influence, Aesch.; lussês pn. margôi
Margos: raging mad, A.mad, margemadman, of the Furies,
See 852 below
Bakchê , hê,
A.Bacchante,A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, Bakchê Haidou frantic handmaid of Hades, E.Hec.1077; b. nekuônId.Ph.1489 (lyr.).
2. as Subst., mad woman, esp. Bacchante,
3. = pornê, Poll.7.203 cod. A, Hdn.Epim.83.
porn-ê , hê,A.harlot, prostitute, Archil.142, Ar.Ach.527, etc. (Prob.from pernêmi,
because Greek prostitutes were commonly bought slaves.)
Haidês I.Hades or Pluto (cf. Ploutôn), the god of the nether world,