[1] In
which of the local glories of the past, divinely
blessed Thebe, did you most delight your spirit?
Was it when you raised to eminence the one seated beside Demeter of the
clashing bronze cymbals, flowing-haired [5] Dionysus?
Or when you received, as a snow-shower of gold in the middle of the
night, the greatest of the gods, [6] when
he stood in the doorway of Amphitryon, and then went in to the wife to
beget Heracles? Or did you delight most in the
shrewd counsels of Teiresias?
They claimed to God that they were "prophesiers" with
great powers but God didn't not know their name.
Prophêtês [prophêmi] I. one who speaks for
a God and interprets
his will to man, a prophet; so Teiresias is pr.
Dios, Jove's interpreter
[Diotrephes Loved of Jove] , and of Apollo, Dios
prophêtês esti
Loxias patros Aesch.; while the Pythia, in turn,
became the prophêtis of Apollo,
Hdt.; so Poets are called hoi tôn Mousôn
prophêtai interpreters of the Muses, Plat.
When Miriam and the
Levite (old Dionysus
musicians) prophesied the word means SORCERY as does the speakers,
singers and instrument players as "lusted after fruits" under the
Babylon mother of harlots. Apollo is the "father of the twanging bow to
send forth a singing arrow, of homosexual love, of musical harmony, of
thieves and liars. He has unleashed the LOCUSTS or Muses in
the
words of Joh.
Prophêtis
1 [fem. of prophêtês] of
the Pythia,
And this is why they were called a crooked race (skolion singers) or a
race of VIPERS who would be baptized with WIND and FIRE. This
is
why they are so anxious to USE women in preside over roles.
(Puthia).
The priestess
of Apollo at Delphi who pronounced the oracles.
See Delphi;
Oraculum.
Puthios
[u_; i_ metri gr. in h.Ap.373],
a, on, ( [Pu_thô] ) Pythian,
i.e. Delphian, epith. of Apollo, l.c., Pi.O.14.11,
etc. (P. alone is f.l. in E.
Ion 285); en Puthiou in
See the Naga Serpent Musicians
The International
Standard
Bible Encyclopedia Serpent Worship. "Traces of this
superstition are thought by certain
critics to be discoverable in the religion of Israel. Stade mentions that W.
R. Smith supposed the serpent to be the totem
of the house of David (Geschichte, I, 465).
H. P. Smith says:
"We know of a Serpent's
Stone near Jerusalem,
which was the site of a sanctuary (1 Kings 1:9), and this sanctuary
was dedicated to Yahweh" (Hist of Old Testament, 239, 240). Special
reliance is placed on the narrative of the brazen
serpent, which Hezekiah is recorded to have
destroyed as leading to
idolatry, (2 Kings
18:4). "In that case," says H. P. Smith, "we must treat the Nehushtan
as a veritable idol of
the house of Israel,
which had been worshipped in the temple from the time of its
erection. Serpent worship is so widespread that we
should be
surprised not to find traces of it in Israel" (ut supra). In the same
line, see G. B. Gray, Nu, 275-76. The fancifulness of these
deductions is obvious. See NEHUSHTAN. James
Orr
The Serpent in the garden of Eden was a
"musical enchanter(ess).
The-a_ma , Ion.
theêma , atos, to, ( [theaomai] )
A. sight, spectacle,
OPPOSITE to mathêma or learning:
of a sight which gives pleasure, theamata kai
akroamata hêdista orchêseis
kai theamata. the seven wonders of the world,
Church, ekklesia or synagogue is defined for LEARNING ONLY: even the
Lord's Supper they want to put off to once a quarter or once a year is
defined as EVANGELISM: The death of Christ is MUCH more important than
a doctor of the law taking away the key to knowledge as Jesus warned.
Alan
Morrrison notes:
R.P.
Martin says in his
interesting book on worship in the early church that the reading and exposition
of the Scriptures is "an
inheritance we
have received, through the early church, from the worship of Judaism,
and which makes the model Christian service a Word-of-God
service".
From
the outset, church worship
was a "Word-of-God
service". The truths
of
the Bible were at the heart of worship. And this
was also true
insofar as the singing of songs was concerned.
It
was the synagogues that
remained after
AD.70, NOT the Temple! The
original purpose of the synagogue was primarily for Scripture-reading and exposition
of the passages read
(Lk.4:16-22; Mt.13:54; Mk.1:21-22; Jn.6:59).
There
was also prayer (Mt.6:5)
and, although there is no specific mention in the literature of singing in the
synagogue, it is
considered most
likely "that
those parts of the Liturgy
which
were connected with Temple worship, like the recitation of
psalms...were sung" So
long as one's
idea of worship is rooted in the Temple concept, one
will crave
"celebrations" and
big displays. The charismatic
style of worship
naturally arises out of
this false
concept of the O.T. Temple.
However,
the chief element in
synagogue worship -- its central factor -- was not
ceremonial or display
but something which was of
vital importance to the shaping of the subsequent life of the local
churches upon which the synagogue was so influential.
That
element was
the reading
and exposition of Scripture. Worship
in the Early
Church involved
"Word-of-God"
services. Ralph Martin
very appropriately called
the reading and exposition of Scripture "the
centre of gravity of the synagogue's service,
with the blessings and prayers gathered around it"
1
Chr 25:1 David, together with the commanders
of the army, set apart
some of the sons of Asaph, Heman and Jeduthun for the ministry of
prophesying, accompanied by harps, lyres and cymbals. Here is the list
of the men who performed this service:
Payne
insists that the Hebrew of 1 Chronicles 25:1 unambiguously identifies
these leaders as military commanders,
an interpretation
favoured by several Bible translations. (Payne, p 423-4; NASB, NIV,
NKJV, NRSV, Jerusalem Bible) If military commanders
had
a particular interest in the appointment of musicians, it suggests a
strong link between music and warfare
"The
Hithpa'el of nb', in the ancient texts,
refers to ecstasy and delirium
rather than to the emission
of a 'prophecy'." (de
Vaux, Roland, The Bible and the Ancient Near
East, p. 243 Doubleday
"Maniac
inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming
lip and streaming hair and glazed
or glaring eyes-- have no
place in the self-controlling dignity
of Christian inspiration. Even Jewish prophets, in the paroxysm of
emotion, might lie naked on the ground and rave (1 Sam. xix. 24); but
the genuine inspiration in Christian ages never obliterates the
self-consciousness or overpowers the reason. It abhors the hysteria and stimulation
and frenzy
which have sometimes disgraced
revivalism and filled lunatic asylums." (Pulpit Commentary, 1
Cor., p. 460).
"Many
of the Psalms are expressive of the parade
dance, or dance procession, in a way which show it
to have been the
characteristic form of the festival (Psalms 30:12, 87:7,
149:3, 150:4; Is. 30:29) and
that this was where many
of the Psalms were used." ( W. O. E. Osterley,
The Sacred Dance (Cambridge:
N. P., 1923), p. 94)