Add Abaddon, leader of the Muses

HH 41 Muse, tell me the deeds of golden



Of The Golden Calf "From time immorial music had been especially valued in the service of prophecy. Pliny the Elder gives us a report of the cult of Apis:

Exod 32:6 And they rose up early on the morrow,  and offered burnt offerings, and brought peace offerings; 
        and the people sat down to eat and to drink, and rose up to play

"In Egypt an ox is honored in place of the god. He is called Apis and he lives in isolation. If he ever goes among the people he stalks along while the lictors make way for him and throngs of boys accompany him, singing songs in his honor. He appears to understand what is happening and seems to wish to be adored. The throngs [of boys] sudddenly become inspired and prophesy the future. (Pliny, Natural History)

Consequently Apollo (Abaddon, Apollyon) was god of prophets and musicians and Pan was god of medicine, music and divination.

"Here 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)


Ludo  A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing, B. To sport, dally, wantonly Esp., to play on an instrument of music, to make or compose music or song: carmina pastorum,

 -jūcundus (jōcundus ),dv.: jūcundē , agreeably, delight fully: “vivere,Cic. Cael. 6, 13: “cantare et psallere,Suet. Tit. 3: “jucundissimi ludi,
Suet. Tit. 3 very ready in the Latin and Greek tongues, both in verse and prose; and such was the facility he possessed in both, that he would harangue and versify extempore. Nor was he unacquainted with music,
        but could both [1] sing and [2] play upon the [3] harp sweetly [iucunde] and scientifically

You will notice that it ALWAYS takes three words to command singing and playing and what to play or pluck. Psallo means pluck with the fingers and never with a guitar pick. Psallo outlaws guitar picks, flutes, drums or cymbals.

You despise God and Paul when everyone knew that you needed compound words to PLAY an INSTRUMENT: Different compound for every type of instruyment.
-lūdĭus , ĭi, m. ludus. II. A gladiator: “comitata est Hippia ludium ad Pharon,Juv. 6, 82

-lūdo , si, sum A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing: “illa ipsa ludens conjeci in communes locos, Cic. Par. prooem.: Prima Syracosio dignata est ludere versu Nostra ... Thalia,Verg. E. 6, 1.—Esp., to play on an instrument of music, to make or compose music or song:
B. To sport, dally, wanton (cf. "amorous play," Milton, P. L. 9, 1045): “scis solere illam aetatem tali ludo ludere,

Vellem a comedy which wishes (i. e. is meant) to be in demandb. Of the wishes of those that have a right to command, the gods, masters, parents, commanders, etc., I want, wish, will, am resolved, it is my will:

Canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play, Less freq. of instrumental music, and only with abl. of the instrument, in comedy, to sing and play while the actor accompanies the song with gestures or dancing,

Tuba war trumpet, Apart from military purposes, it was used on various occasions, as at religious festivals, games, funerals, a signal for war, exciter, instigator.

Remember that Bacchus or Dionysus was what God abandoned Israel to and common in all paganism.

Origen Book VI,

Chapter XLI.

In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysius, an Egyptian musician,

the latter told him, with respect to magic arts, that it was only over the uneducated and men of corrupt morals that they had any power, while on philosophers they were unable to produce any effect, because they were careful to observe a healthy manner of life."

If, now, it had been our purpose to treat of magic, we could have added a few remarks in addition to what we have already said on this topic; but since it is only the more important matters which we have to notice in answer to Celsus, we shall say of magic, that any one who chooses to inquire whether philosophers were ever led captive by it or not, can read what has been written by Moiragenes regarding the memoirs of the magician and philosopher Apollonius of Tyana, in which this individual,

X.Mem.1.6.13  Xen. Mem. 1.6.13

To this Socrates replied: “Antiphon, it is common opinion among us
        in regard to beauty and wisdom
                that there is an honourable
                and a shameful way of bestowing them.
        For to offer one's beauty for money to all comers is called prostitution;

        But we think it virtuous to become friendly with
              a lover who is known to be a man of honour.


        So is it with wisdom. Those who offer it to all comers for money
               are known as sophists, prostitutors of wisdom,

Pornos , ho, A.catamite, Ar.Pl.155, X.Mem.1.6.13, D.22.73
2. sodomite, D.Ep.4.11, Phalar.Ep.4.
3. in LXX and NT, fornicator, LXXSi.23.16, 1 Ep.Cor.5.9, al.
II. idolater,

1Cor. 5:11 But now I have written unto you not to keep company, if any man that is called a brother be a fornicator, or covetous, or an idolater, or a railer, or a drunkard, or an extortioner; with such an one no not to eat.

-Aristoph. Pl. 107
Aye, by heaven! To Cario [130] For instance, what is the basis of the power that Zeus wields over the other gods?

Cario Money; he has so much of it.

Karikos, Hdt.8.135; esp. as epith. of Zeus, his demon spirit son is KAIROS
Chremylus [155] You speak of male whores; yet some of them are honest, and it's not money they ask of their patrons. [they get benefits instead of money to keep from being shameful]

-Dem. L. 4.11 He is an enemy to his own parents but a friend to Pausanias the whoremonger, and though he swaggers like a man he allows himself to be used like a woman. He lords it over his own father but submits to degenerates. He regales his fancy with things by which all are disgusted, with foul language and with stories by which his hearers are pained; yet he never ceases to talk, as if he were a simple fellow and the soul of frankness

-Hdt. 8.135 A man Mys of Europus came in his wanderings among the places of divination to the precinct of Ptoan Apollo. This temple is called Ptoum and belongs to the Thebans. It lies by a hill, above lake Copais, very near to the town Acraephia [2] When the man called Mys entered into this temple together with three men of the town who were chosen on the state's behalf to write down the oracles that should be given, straightway the diviner prophesied in a foreign tongue. [3] The Thebans who followed him were astonished to hear a strange language instead of Greek and knew not what this present matter might be. Mys of Europus, however, snatched from them the tablet which they carried and wrote on it that which was spoken by the prophet, saying that the words of the oracle were Carian. After writing everything down, he went back to Thessaly.

Miriam and the Levite musicians claimed supernatural power: prophesying with instruments.

-prophēt-ēs interpreter, expounder of the will of Zeus.  [Dionusou p., of the Bacchae, esp. of the Delphic Apollo, “Dios p. esti Loxias patrosA.Eu.19; of the minister and interpreter at Delphi, b. in Egyptian temples, member of the highest order of the clergy, priest, “p. theōn Euergetōn
        [Kings benefactor ho pantos kosmou sōtēr kai eu,
3. interpreter, expounder of the utterances of the mantis  “Mousan p.B.8.3, cf. Pl.Phdr.262d. b. metaph., proclaimer, harbinger, inspired teacher, expounding, foreteller
Plat. Phaedrus 262d the two discourses contain an example of the way in which one who knows the truth may lead his hearers on with sportive words; and I, Phaedrus, think the divinities of the place are the cause thereof; and perhaps too, the prophets of the Muses, who are singing above our heads, may have granted this boon to us by inspiration; at any rate, I possess no art of speaking.

prospaizō , II. c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c. 2. banter, “tous rhētoras

Sophistas: see on i.1.11. In setting a price on their wisdom, they dishonored it, as did pornoi beauty.

Sophis-tēs , ou, o(, A. master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, “meletan sophistais prosbalonPi.I.5(4).28, cf. Cratin.2; of musicians, “sophistēs . . parapaiōn khelunA.Fr.314, cf. Eup.447, Pl.Com. 140; sophistē Thrēki (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with modal words added, “hoi s. tōn hierōn melōn[melody in the holy place--a death sentence for any Levite]

  But we think that he who makes a friend of one whom he knows to be gifted
               by nature, and teaches [didaskōn] him all the good he can,
               fulfils the duty of a citizen and a gentleman.

Xen. Mem.1.6.14
And I teach them all the good I can, and recommend them to others from whom I think they will get some moral benefit. And the treasures that the wise men of old have left us in their writings I open and explore with my friends. If we come on any good thing, we extract it, and we set much store on being useful to one another.”

Rom. 15:4 For whatsoever things were written aforetime were written for our learning, that we through patience and comfort of the scriptures might ha
ve hope.

HO, every one that thirsteth,
        come ye to the waters,
        and he that hath no money;
        come ye, buy, and eat; yea,
        come, buy wine and milk WITHOUT MONEY
        and WITHOUT PRICE. Isa 55:1

2 Cor. 2:17 For we are not as many,
............ which corrupt the word of God:
............ but as of sincerity, but as of God,
............ in the sight of God speak we in Christ.

kapēl-euō,  A. to be a retail-dealer, drive a petty trade Hdt. 3.89  ta mathēmata
learning by retail, hawk it about, Pl. Prt.313d , 2 Cor. 2:17, of prostitutes,
Plat. Prot. 313d  For among the provisions, you know, in which these men deal, not only are they themselves ignorant what is good or bad for the body, since in selling they commend them all, but the people who buy from them are so too, unless one happens to be a trainer or a doctor. And in the same way, those who take their doctrines the round of our cities, hawking them about to any odd purchaser who desires them, commend everything that they sell, and there may well be some of these too, my good sir, who are ignorant which of their wares is

[313e] good or bad for the soul; and in just the same case are the people who buy from them, unless one happens to have a doctor's knowledge here also, but of the soul. So then, if you are well informed as to what is good or bad among these wares, it will be safe for you to buy doctrines from Protagoras or from anyone else you please: but if not, take care, my dear fellow, that you do not risk your greatest treasure on a toss of the dice.

Homer, Odyssey 1:[1] Tell me, O Muse, of the man of many devices, who wandered full many ways after he had sacked the sacred citadel of Troy. Many were the men whose cities he saw and whose mind he learned, aye, and many the woes he suffered in his heart upon the sea

-Techn-ê , hê, ( [tektôn] ) art, skill, cunning of hand,  of a soothsayer, A.Ag.249 (pl., lyr.), Eu.17, S.OT389, etc.; technai heterôn heterai [religious prostitute: one who corrupts the Word. Pi.N.1.25 ; ôpase t. Pasan Id.O.7.50 

Pasan Id.O.7.50 . Pindar, Olympian 7. [10] for those men who were victors [nike] at Olympia and at Pytho. That man is prosperous, who is encompassed by good reports. Grace, which causes life to flourish, looks with favor now on one man, now on another, with both the sweet-singing lyre and the full-voiced notes of flutes.


9] For he lives in a city that loves music, the city of the Aeacidae with their clashing spears; [10] and they very much want to foster a spirit familiar with contests. If someone is successful in his deeds, he casts a cause for sweet thoughts into the streams of the Muses. For those great acts of prowess dwell in deep darkness, if they lack songs, and we know of only one way to hold a mirror up to fine deeds

[13] And now, with the music of flute and lyre alike I have come to land with Diagoras, singing the sea-child of Aphrodite and bride of Helios, Rhodes Truly, a cloud of forgetfulness sometimes descends unexpectedly, and draws the straight path of action away from the mind. For they climbed the hill without bringing the seed of burning flame; and they established the sacred precinct on the acropolis with fireless sacrifices. Zeus brought to them a yellow cloud [50] and rained on them abundant gold. And the gray-eyed goddess herself bestowed on them [51] every art, so that they surpassed all mortal men as the best workers with their hands;
[15] if, by the grace of Mnemosyne with her splendid headdress, one finds a recompense for toils in glorious song. [17] Skillful men know the wind that will come on the day after tomorrow, and they do not suffer loss through the love of gain. The rich man and the poor man alike travel together to the boundary of death. [20] And I expect that the story of Odysseus came to exceed his experiences, through the sweet songs of Homer, [22] since there is a certain solemnity in his lies and winged artfulness, and poetic skill deceives, seducing us with stories, and the heart of the mass of men is blind. 
Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly. On this spot it is fitting to sing with a gentle voice of the king of gods.
To plough the same ground three or four times [105] is poverty of thought, like babbling "Corinth of Zeus" to children.
Id.P.10.39 Pindar.Neaman 10. [31] Once Perseus, the leader of his people, entered their homes and feasted among them, when he found them sacrificing glorious hecatombs of donkeys to the god. In the festivities of those people [35] and in their praises Apollo rejoices most, and he laughs when he sees the erect arrogance of the beasts. [37] The Muse is not absent from their customs; all around swirl the dances of girls, the lyres loud chords and the cries of flutes. [40] They wreathe their hair with golden laurel branches and revel joyfully.

In Ephesians 4 if you have any Christ-GIFTED or APT elders their first duty is to eject the cunning craftsmen of SOPHISTS. A sophists is a self-speaker for pay, singer, instrument player, actor or STAFF. This is a DIRECT COMMAND because Paul warned that THEY LIE IN WAIT TO DECEIVE.

See Genesis.3.Serpent.Beastia.Image.html

Hor. Od. 2.13
How near dark Pluto's court I stood,
And Aeacus' judicial throne,
The blest seclusion of the good,
And Sappho, with sweet lyric moan

Bewailing her ungentle sex,
And thee, Alcaeus, louder far
Chanting thy tale of woful wrecks,
Of woful exile, woful war!

In sacred awe the silent dead
Attend on each: but when the song
Of combat tells and tyrants fled,
Keen ears, press'd shoulders, closer throng.

What marvel, when at those sweet airs
The hundred-headed beast spell-bound
Each black ear droops, and Furies' hairs
Uncoil their serpents at the sound?

Prometheus too and Pelops' sire
In listening lose the sense of woe;
Orion hearkens to the lyre,
And lets the lynx and lion go.

quam paene furvae regna Proserpinae
et iudicantem vidimus Aeacum
sedesque discriptas piorum et
Aeoliis fidibus querentem

Sappho puellis de popularibus
et te sonantem plenius aureo,
Alcaee, plectro dura navis,
dura fugae mala, dura belli.

utrumque sacro digna silentio
mirantur umbrae dicere, sed magis
pugnas et exactos tyrannos
densum umeris bibit aure volgus.

quid mirum, ubi illis carminibus stupens
demittit atras belua centiceps
auris et intorti capillis
Eumenidum recreantur angues?

quin et Prometheus et Pelopis parens
dulci laborem decipitur sono
nec curat Orion leones
aut timidos agitare lyncas
Pope, Ode on St. Cecilia's Day, IV.,
'But hark! he strikes the golden lyre;
And see! the tortured ghosts respire!
See shady forms advance!

Thy stone, O Sisyphus, stands still,
Ixion rests upon his wheel,
And the pale spectres dance.
The Furies sink upon their iron beds,
And snakes uncurled hang listening round their heads';
'Hear ye sullen powers below,'
'Music for a while
Shall your cares beguile. . .
Till Alecto free the dead
From their eternal bands;
Till the snakes drop from her head,
And whip from out her hands';


(Lactantius, The Divine Institutes, Ante-Nicene Fathers, VII, p. 188
"But we have already spoken of spectacles: there remains one thing which is to be overcome by us,that we be not captivated by those things which penetrate to the innermost perception. (emotions only)
        For all those things which are
unconnected with words, (just speaking in tongues)
        that is,
pleasant sounds of the air and of strings,
        may be easily disregarded, because they do not adhere to us, and cannot be written...

1Corinthians 14:8 For if the trumpet give an uncertain sound, who shall prepare himself to the battle?
1Corinthians 14:9 So likewise ye, except ye utter by the tongue words easy to be understood,
        how shall it be known what is spoken? for ye shall speak into the air.
Is God, therefore, the contriver both of the mind, and of the voice, and of the tongues, unable to speak eloquently?  Yea, rather, with the greatest foresight,
This: He wished those things which are divine to be
without adornment, [Kosmos or Cosmos]
all might understand the things which He Himself spoke to all." 

Therefore God made all things to
supply a contest between two things.
Not This: Those enticements of pleasures, then, are the instruments [carnal weapons, lifeless instruments] of that whose only business it is to subdue virtue,
        and to
shut out justice from men.
        With these
soothing influences and enjoyments it captivates their souls;
        for it knows that pleasure is the contriver of death.   (Lactantius, The Divine Institutes, Ante-Nicene Fathers, VII, p. 188

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm. If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention,
since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men.
        For the sake of a better effect,
with the intention of more easily cheating their devotes,
        that they have set their lies to melodies, rhythms and meters.."
Click for more.

Of the Bacchus worship which the Jews tried to force upon Jesus as a "mark" to identify Him as their hoped-for god of wine and war, and those alluded to by Paul to the Ephesians (Chapter 5) when he demanded the sober use of the Word of God as the preaching material while the "singing and melody" remain in the heart, Livy wrote of a continual warfare to put down this "marking" religion even in his day. This describes Paul's description of what happened at Mount Sinai when they ROSE UP in musical PLAY as LEGALISM (Rom 1).

"The making of inquisition concerning clandestine meetings was decreed to both the consuls. A Greek of mean condition came, first, into Etruria,

not with one of the many trades which his nation, of all others the most skillful in the cultivation of the mind and body, has introduced among us,

but a low operator in sacrifices, and a soothsayer;
nor was he one who, by open religious rites,
and by publicly professing his calling and teaching,
the minds of his followers with TERROR,
but a priest of
secret and nocturnal rites.

These mysterious rites were, at first, imparted to a few,
but afterwards communicated to great numbers, both men and women.

To their religious performances were added the pleasures of wine and feasting, .
to allure a greater number of proselytes.

When wine, lascivious discourse, night, and the intercourse of the sexes had extinguished every sentiment of modesty, then debaucheries of every kind began to be practiced, as every person found at hand that sort of enjoyment to which he was disposed by the passion predominant in his nature.

Nor were they confined to one species of vice---the promiscuous intercourse of free-born men and women;
but from this store-house of villainy proceeded false witnesses,
........... counterfeit seals (marks), false evidences, and pretended discoveries.

From the same place, too, proceeded poison and secret murders, so that in some cases, not even the bodies could be found for burial. (Ac 19:19; Rev 9:21; 18:23; Rev 21:8. Rev 18 connects this to the musicians of the end-time Babylonian Whore religion)

Many of their audacious deeds were brought about by treachery, but most of them by force;
it served to conceal the violence, that, on account of the
loud shouting, and the noise of drums and cymbals,
none of the cries uttered by the persons suffering violence or murder could be heard abroad

"Philodemos 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. (Paul called it mad or insane)  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.


Philodemus Epicureans.Poetics p25

Philodemus Epicureans.Poetics p25

In the case of music, Philodemus argues that one ought not to practice assiduously to become a proficient performer, distracting oneself from the needful pursuit of philosophy, when the innocent enjoyment which is all the benefit that can be got from music is available to anyone who just listens to the performances available to the public (Mus. 4, col. 151.8–239 Delattre = PHerc. 1497.37). The claims of music theorists such as Damon of Oia and Diogenes of Babylon that music has a crucial role in soothing the passions of adults and in forming the character of the young, he dismisses: music as tone, melody, rhythm, affects only the irrational ear, while any effect on character or behavior must come from the words or poetry in songs, which is alone capable of affecting our reason (e.g., 146.30–147.11 = PHerc. 1497.32–3; cf. Sextus, M 6.19 ff.).

In ancient Hebrew Abaddon is synonymous with Sheol, The etymology of Asmodeus, the king of the demons in Jewish mythology. In the New Testatment (Revelations 9:11) Abaddon is the name of the angel of the abyss who leads a horde of demons and locusts against humanity. In Greek Mythology Apollo was worshipped at the Oracle of Delphi, And this is where a priestess would give forth his predicitons. He also drives across the sky in a chariot, And is known to have loved young men and women alike. Now that you have an idea of who this angel is
Revelation 9:11 And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon.

1Corinthians 3:18 Let no man deceive himself. If any man among you seemeth to be wise in this world, let him become a fool, that he may be wise.

Ephesians 4:14 That we henceforth be no more children, tossed to and fro, and carried about with every wind of doctrine, by the sleight of men, and cunning craftiness, whereby they lie in wait to deceive;
Ephesians 5:6 Let no man deceive you with vain words: for because of these things cometh the wrath of God upon the children of disobedience.

2Peter 2:13 And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you;

2Peter 2:13 And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you;

1 John 1:8 If we say that we have no sin, we deceive ourselves, and the truth is not in us.
1John 3:7 Little children, let no man deceive you: he that doeth righteousness is righteous, even as he is righteous.
Revelation 20:3 And cast him into the bottomless pit, and shut him up, and set a seal upon him, that he should deceive the nations no more, till the thousand years should be fulfilled: and after that he must be loosed a little season.
Revelation 20:8 And shall go out to deceive the nations which are in the four quarters of the earth, Gog and Magog, to gather them together to battle: the number of whom is as the sand of the sea.

2Timothy 3:13 But evil men and seducers shall wax worse and worse, deceiving, and being deceived.
James 1:22 But be ye doers of the word, and not hearers only, deceiving your own selves.

"But we have already spoken of spectacles: there remains one thing which is to be overcome by us,
        that we be not captivated by those things which penetrate to the innermost perception. (emotions only)

        For all those things which are
unconnected with words, (just speaking in tongues)
        that is,
pleasant sounds of the air and of strings,
        may be easily disregarded, because they do not adhere to us, and cannot be written...
Is God, therefore, the contriver both of the mind, and of the voice, and of the tongues, unable to speak eloquently? Yea, rather, with the greatest foresight,
        He wished those things which are divine to be
without adornment,
all might understand the things which He Himself spoke to all." 

Therefore God made all things to
supply a contest between two things.
Those enticements of pleasures, then, are the instruments of that whose only business it is to subdue virtue, and to shut out justice from men. With these soothing influences and enjoyments it captivates their souls;
for it knows that pleasure is the contriver of death. (Lactantius, The Divine Institutes, Ante-Nicene Fathers, VII, p. 188).


Aristot. Nic. Eth. 1102b.1 But there also appears to be another element in the soul, which, though irrational, yet in a manner participates in rational principle. In self-restrained and unrestrained1 people we approve their principle, or the rational part of their souls, because it urges them in the right way and exhorts them to the best course; but their nature seems also to contain another element beside that of rational principle, which combats and resists that principle. [16] Exactly the same thing may take place in the soul as occurs with the body in a case of paralysis: when the patient wills to move his limbs to the right


Aristot. Nic. Eth. 1102b.20 they swerve to the left; and similarly in unrestrained persons their impulses run counter to their principle. But whereas in the body we see the erratic member, in the case of the soul we do not see it; nevertheless it cannot be doubted that in the soul also there is an element beside that of principle, which opposes and runs counter to principle (though in what sense the two are distinct does not concern us here). [17] But this second element also seems, as we said, to participate in rational principle; at least in the self-restrained man it obeys the behest of principle—and no doubt in the temperate and brave man it is still more amenable, for all parts of his nature are in harmony with principle. [18]

1 According to the psychology here expounded, the intellect ‘has a plan or principle,’ in the sense of understanding principle, and being able to reason and make a plan: in other words, it is fully rational. The  part of man's nature ‘has a plan or principle’ in so far as it is capable of following or obeying a principle.
        It happens that this relationship of following or obeying can itself be expressed by the words
        to have logos’ in another sense of that phrase, viz. ‘to take account of, pay heed to.’
To be precise the writer should say that the  part logon ekhei tou logou ‘has logos (takes account) of the logos.’ The phrase has yet a third sense in mathematics, where “to have logos” (ratio) means ‘to be rational’ in the sense of commensurable.

Aristot. Nic. Eth. 1175b.1

But things that are akin to things of different kinds must themselves differ in kind.
        [3] A still clearer proof may be drawn
        from the hindrance that activities
        receive from the pleasure derived from other activities.

For instance, persons fond of the flute
        cannot give their attention
to a philosophical discussion [The LOGOS or Regulative Principle]
        when they overhear someone playing the flute,
        because they enjoy music more than the activity in which they are engaged;
                therefore the pleasure afforded by the music of the flute
                impairs the activity of study.

[4] The same thing occurs in other cases when a man tries to do two things at once; the pleasanter activity drives out the other, the more so if it is much more pleasant, until the other activity ceases altogether.

Hence, when we enjoy something very much, we can hardly do anything else; and when we find a thing only mildly agreeable, we turn to some other occupation; for instance, people who eat sweets at the theater do so
especially when the acting is bad.

5] And since our activities [of the flute] are sharpened, prolonged and improved by their own pleasure, and impaired by the pleasures of other activities, it is clear that pleasures differ widely from each other. In fact alien pleasures have almost the same effect on the activities as their own pains; since,
        when an activity causes pain, this pain destroys it,
         for instance, if a person finds writing or doing sums unpleasant and irksome;
for he stops writing or doing sums, because the activity is painful.

XV Theatrical performance creates spiritual anxiesty

Tertullian understood the destructive effect of spectacle on the human body. For instance we discuss the creation of endorphins in the body by music or any visual-audible performance.

Having done enough, then, as we have said, in regard to that principal argument, that there is in them all the taint of idolatry-having sufficiently dealt with that,

let us now contrast the other characteristics of the show with the things of God.
God has enjoined us to deal
calmly, gently, quietly, and peacefully with the Holy Spirit,

because these things are alone in keeping with the goodness of His nature,
with His tenderness and sensitiveness,

"and not to vex Him with rage, ill-nature, anger, or grief.
Well, how shall this be made to accord with the

For the show always leads to spiritual agitation,
since where there is pleasure,
there is keenness of feeling giving pleasure its zest;
and where there is keenness of feeling,
there is rivalry giving in turn its zest to that.
Then, too, where you have rivalry,
you have rage, bitterness, wrath and grief."
(Tertullian, de Spectaculis, Ante-Nicene, III, p. 86). 

Aristotle on Politics 8
2. or whether we ought rather to think that
music tends in some degree to virtue (music being capable of producing a certain quality of character
just as gymnastics are capable of producing a certain quality of body,
        music accustoming men to be able to rejoice rightly);
3. or that it contributes something to intellectual
entertainment and culture (for this must be set down as a third alternative among those mentioned).
        Now it is not difficult to see that one must not make amusement the object of the education of the young;
        for amusement does not go with learning--learning is a painful process.

Commands, Examples and Necessary Inferences (CENI) became a issue when the Disciples of Christ imposed musical instruments insisting that they needed no authority even when it intended to sow massive discord. The CENI is usually used to justify or not those ACTS (legalism) which will permit the Evangelist to STAY instead of GO and in recorded history to try to rescue a failing idolatry of Buildings and Grounds and Staff.

"Nay, rather, to speak out more truly, the augurs, the dream interpreters, the soothsayers, the prophets, and the priestlings, ever vain, have devised these fables;

for they, fearing that their own arts be brought to nought,
and that they may
extort but scanty contributions from the devotees, now few and infrequent,
whenever they have
found you to be willing
that their craft should come into disrepute,
        cry aloud, the Gods are neglected,
        and in the temples there is now a very thin attendance.

For ceremonies are exposed to derision,
        and the time-honoured rites of institutions once sacred
        have sunk before the superstitions of new religions.

And men--a senseless race--being unable, from their inborn blindness, to see even that which is placed in open light,

dare to assert in their frenzy what you in your sane mind do not blush to believes." (Arnobius, Against the Heathen, Ante-Nicene Fathers, VI, p. 418).

People who DENY God's Right to regulate the Assembly PRETEND that "a" spirit guided them into some new ACT almost always imposing the use of musical instruments to "make the lambs dumb before the slaughter."

Arnobius, Heresies IV 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 ares o much akin to soothsayers [Levites], relate that, in their incantations, pretended 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,-  why should we not similarly believe that here, too, others substitute themselves for those who are not, that they may both strengthen your superstitious beliefs, and rejoice that victims are slain in sacrifice to them under names not their own?

33. Your gods, it is recorded, dine on celestial couches, and in golden chambers, drink,
        and are at last soothed by the music of the lyre, and singing .
        You fit them with ears not easily wearied;
        and do not think it unseemly to assign to the gods
        the pleasures by which earthly bodies are supported,
        and which are sought after by ears enervated by the frivolity of an unmanly spirit.


2Pet. 1:16  For we have not followed cunningly [sophizo]  devised fables,                   
Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]
Muthos   2. fiction (Opposite. logos, historic truth)
Pind. 0. 1 From there glorious song enfolds the wisdom of poets,1 so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts,

Yes, there are many marvels, and yet I suppose the speech of mortals beyond the true account can be deceptive, stories adorned with embroidered lies; [30] and Grace, who fashions all gentle things for men, confers esteem and often contrives to make believable the unbelievable. But the days to come are the wisest witnesses.

 embroidered lies Poikilos
2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōnId.N.4.14; “dedaidalmenoi pseudesi poikilois muthoiId.O.1.29; of style, “lexis poiētikōtera kai p.Isoc.15.47 (Comp.); “skhēmatismoiD.H.Is.3.

 Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]

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