Laughing and Mocking Jesus

Everyone must flatter himself and commend himself to himself before he can be commended by others. Erasmus

See more history on the Laughing-Mocking Exercises

See Tom Burgess and the typical DEFENSE of musical mocking as Christian worship.

Donnie Cruz reports on the "worship" at Madison: Random Quotes connecting the Comic Fool, Jester, etc. with ancient paganism.

This is how the "MUSICAL" WORSHIP went. It started out with four men who were on the stage with the WORSHIP LEADER. They all sang the medley (this time the male singers overpowered the Praise Team for a change). The first ("traditional") service had the medley of the same songs listed in the worship guide, and I wonder if they were the same four men that performed this part of the program. [Can someone verify this?] Anyway, this PERFORMANCE received a big applause from the contemporary folks. [Let the reader know that the Madison body is fast becoming a clapping group. It claps just about every time there is anything that a non-church public gathering would do --

if it is a joke told in the sermon or if the WORSHIP LEADER motions the crowd to clap after a song.]

There were three "praise" songs that mentioned "dancing" [just imagine how receptive the youth-oriented group was/is to that thought]. (By the way, the list of "praise" songs, narrow as their message is, needs to be checked for accuracy in designating the page number of the song or its source. It is a fact that the individual does not have time to look for the song in any book as it is the intent of the MUSIC department for the people to look at the BIG WHITE SCREEN for just about everything and to rely on Keith's Praise Team for the music. This may be the reason for but I did not find the following songs in the "red notebook" as marked "*" beside: (a) We Will Worship the Lamb of Glory, (b) I Love To Be In Your Presence, (c) River Is Here. With the exception of the Communion and contribution and outside of the sermon and the activities following that, the "core" MUSICAL WORSHIP lasted from 10:30 to 11:18am. It was obvious that the musical performers were enjoying themselves to the fullest.)

He exclaimed: WE MUST BE A SPIRIT-LED CHURCH! (THE AUDIENCE APPLAUDED [learned quickly, didn't it?]!)

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The pictures DO NOT represent anyone living or dead. Again, nothing here is personal: our purpose is to show that the UNIVERSAL message of MUSIC AS WORSHIP as well as comedy, acting, acrobats and all of the performing arts were believed to have come from Satan and all of them historically speak of perverted or polluted principles.

Why would a church adopt such practices and give them a SECOND INCARNATION as spiritual?

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Paul's unique "worship" concept is to give heed to or pay attention to Christ by giving attendance to the Word. We worship whatever we GIVE HEED TO and if it is the preacher's joke or the "musicians" performance then they are SIPHONING OFF worship due God: and the paying audience loves to have it so.

However, prophecies are fulfilled right before your eye:

We have noted, Donnie, the universal connection between MUSICAL PERFORMANCE in religion and the homosexual, emasculated priesthoods serving a female goddess. Modern science also knows that LAUGHING is a mind control device used by many theatrical performers to CLOSE THE SALE. However, the Bible makes it clear that all MUSICAL terms are related to destructive concepts.

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Setting the Stage for Perverting Jesus

Zeus and Dionysus were worshiped as the Abomination of Desolation in the Jerusalem Temple. The building of the GYMNASIUM marked the victory of Hellenism. This is why the clergy believed that MESSIAH would be Dionysus and went out to see John hoping he wore the SOFT clothing of the king's Catamite. The Babylon Whore of Revelation 18 will again see the false clergy lusting for the victory of Dionysus which would mean the victory of Lucifer or ZOE known as the BEAST and the "female instructing principle." The Greek Version (LXX) identifies Eve as ZOE.

Hoping that Jesus was Bacchus or Dionysus:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows,

And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt.11:17 Mt 11:16

Mourned is:

Threneo (g2354) thray-neh'-o; from 2355; to bewail: - lament, mourn.
Threneo (g2354) thray-neh'-o; from 2355; to bewail: - lament, mourn.

Threnos (thrnos). The Greek term for a dirge sung by a chorus to the accompaniment of flutes, either at the burial or at the funeral feast. See Funus; Musica. Perseus Greek Dictionary

Alalazo (a214) al-al-ad'-zo; from alale, (a shout, "halloo"); to vociferate, i.e. (by impl.) to wail; fig. to clang: - tinkle, wail

THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. 1Co.13:1

Thriambeuo (g2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 [touch or set on fire] (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - (cause) to triumph (over).

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Myth experts such as Joseph Campbell note that when people LOOSE THEIR footing and confidence in their religion they "CRACK AWAY" and fall back into ARCHAIC forms including the use of drugs to replace what has been LOST.

In the collection of notes below you will see that the ARCHAIC insists that priests, prophets and musicians have some unusual emotional, physical or sexual abnormality.

We LAUGH AT clowns because they are FASCINATING to behold like the SERPENT: at once amazing and repulsive. Since the end-time KIRKE or church will be ruled by THE QUEEN OF HEAVEN or the Holy Whore of Babylon we need to look to Babylon:

The Story of Adam and Eve (cf Book of Enoch)

4 Then Satan, the hater of all good, when he saw Adam thus alone, fasting and praying,

appeared unto him in the form of a beautiful woman, who came and stood before him in the night of the fortieth day.

12 "Then again, thou art as yet but a youth; end not thy youth in this world in sorrow;

but spend the days of thy youth in mirth and pleasure. For thy days are few and thy trial is great.
Be strong; end thy days in this world in rejoicing. I shall take pleasure in thee, and thou shall rejoice with me in this wise, and without fear.

Second Book of Adam and Eve CHAP. IV.
Adam sees the Devil in his true colors.

1 THEN God ordered Satan to show himself to Adam plainly, in his own hideous form.

2 But when Adam saw him, he feared, and trembled at the sight of him.
3 And God said to Adam,

'Look at this devil, and at his hideous look, and know that he it is who made thee fall from brightness into darkness, from peace and rest to toil and misery.

4 And look, 0 Adam, at him, who said of himself that he is God! Can God be black? Would God take the form of a woman? Is there any one stronger than God? And can He be overpowered?

5 "See, then, 0 Adam, and behold him bound in thy presence, in the air, unable to flee away! Therefore, I say unto thee, be not afraid of him; henceforth take care, and beware of him, in whatever he may do to thee."

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The Babylonian Patron God of Music: Lamech's Second Incarnation:

These ancient documents give specific attention to the female "queen of Heaven" (Eve, Sophia, Zoe, Mary) getting the male god drunk or distracted and stealing the ME or human skills of deception. They are a record of how the seed of Satan hitchhiked on the Ark and immediately began rebuilding the "music city" concept.

"According to the legend, Oannes (Ea) instructed Man how to build cities, to found temples, to compile laws, to survey the lands, and how to grow food. He also taught them mathematics, the sciences, and every kind of art.

"Apollodorus referred to Oannes and the Annedoti as "Musarus." The word "musarus" means "an abomination" in Greek just as "annedoti" means "the repulsive ones." In other words, the creatures credited with founding civilization were frankly described by the ancient Babylonian people, who revered them, as "repulsive abominations." ?

"If the tradition had been invented, a more normal attitude would be to glorify these creatures as splendid gods and heroes. Yet the fact that they chose to describe their ancestors this way argues for the authenticity of the account. It was the Babylonian tradition that they owed their knowledge to creatures who came up from the sea who were disgusting and loathsome to gaze upon. (From Ancient Fragments, by Isaac Preston Cory.)

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The Holy Whore Got Grandfather Drunk and Stole the ME.

Inanna (Ishtar) stole these and other ME from Ea, the patron god or demon of music:  

Inanna placed the shugurra, the crown of the steppe, on her head.

She went to the sheepfold, to the shepard.

She leaned back against the apple tree.

When she leaned against the apple tree,

her vulva was wonderous to behold.

Rejoicing at her wounderous vulva,

the young woman Inanna applauded herself.

She said:

"I, the Queen of Heaven, shall visit the God of Wisdom.

Descent into the underworld!

Ascent from the underworld!

The art of lovemaking!

The art of kissing the phallus!"

He gave me the holy shrine.

He gave me the holy priestess of heaven.

He gave me the resounding musical instrument.

He gave me the art of song.

He gave me the art of the elder. 

Let the little children laugh and sing.

Let all Uruk be festive!

Let the high priest greet the Boat of Heaven with song.

Let him utter prayers.

Let him slaughter oxen and sheep.

Let him pour beer out of the cup.

Let the drum and tambourine resound.

Let the sweet tigi-music be played.

Let all the lands proclaim my noble name.

Let my people sing my praises."

See how Sophia and Zoe forced the "minor jehovah's" to form a musical worship team to worship SOPHIA AND ZOE, of course.

See Enoch to see why ten-thousand angels will come to defeat the end-time Babylonian religion (Rev. 18).

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The Holy Whore Makes you Laugh but Kills You: She has Sex with you because Music and SEXUALITY and LAUGHTER is her instruments or weapons: Modern Science Agrees:

> "Sex feels good, that is why people do it for more than simply procreation. Laughing is enjoyable, for that reason people search for things that amuse them. Touch is pleasing, therefore the massage business thrives. These things can become addictive due to the pleasurable effect that they produce. People have been exercising obsessively for a long time but only recently was an idea postulated as an explanation.

"Laughter often begets laughter and in large doses, has the ability to make one feel high. We do what makes us feel good; human beings are naturally pleasure seekers. It is said that with drugs your first high is the best and never able to be duplicated.

What keeps people using drugs, despite the downfalls associated with use, is that eternal quest for that ethereal feeling that they experienced the very first time.

Pleasurable activities, like exercising, sex, laughter, touch, etc. can all become dangerously addictive. Some people will do anything and everything for 'that fix".

"So what is it that makes people search for the next high, or feel good experience? Exercise, sex, laughter, and touch all produce positive effects within the body via chemicals in the brain. These chemicals are called endorphins, a mixture of the two words endogenous, meaning from within the body, and morphine, a powerful pain fighting drug that is also used and abused for recreational purposes. Endorphins are the body's internal pain regulators. From Source.

> Irenaeus on Laughter.

(3) Such an opinion we should detest and execrate, while we ought everywhere to flee far apart from those that hold it; and in proportion as they vehemently maintain and rejoice in their fictitious doctrines, so much the more should we be convinced that they are under the influence of the wicked spirits of the Ogdoad,--

just as those persons who fall into a fit of frenzy,
the more they laugh, and imagine themselves to be well,
and do all things as if they were in good health [both of body and mind], yea, some things better than those who really are so, are only thus shown to be the more seriously diseased.

Mything Links

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Sacred Clowns, Acrobats, Jesters, Prostitutes, and Musicians are all MINISTERS for the Holy Whore:

> The Cave of Treasures

Of the Transmission of the Art of Playing the Harp, that is to say of Music and Singing and Dancing.

Yôbâl (Jubal) and Tôbalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments of music.

Jôbâl 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.

Tôbalkîn made Fol. 12a, col. 2 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. See Enoch and Second Peter

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.

> Sacred clown (Click Britannica Members) ritual or ceremonial figure, in various preliterate and ancient cultures throughout the world, who represents a reversal of the normal order, an opening to the chaos (engulfed again) that preceded creation, especially during New Year festivals.

The reversal of normality that is the distinguishing mark of the clown relates him to the powerful world that existed before the present one.

In certain traditions clowning is an apotropaic (averting evil) ritual,

a way of deflecting demonic attention from serious religious activities.
In other contexts it serves as an initiatory ordeal in which the initiate must persevere through the jests and insults hurled at him.

Though some attempts have been made to discover the religious origins of secular clowns, fools, and jesters, it is the elaborate ritual roles of masked clown societies among such groups as the American Indians that have attracted most attention. The most famous of these are the Koyemshi, the dancing clowns of the Pueblo Indians.

Their obscene and sacrilegious actions punctuate the most important religious ceremonies and serve as a sign of the presence of the powerful primordial beings and as a means of social control by their satire of the antisocial behaviour of particular individuals.

These Jesters or Wise Fools come to stir things up, to burst the bubble of adults who egotistically believe themselves to control the world. His sublime music points to a world beyond law, control, and words: a divine Otherness.

> Fool also called JESTER, (Or Click Britannica Members) a comic entertainer whose madness or imbecility, real or pretended, made him a source of amusement and gave him license to abuse and poke fun at even the most exalted of his patrons. Professional fools flourished from the days of the Egyptian pharaohs until well into the 18th century, finding a place in societies as diverse as that of the Aztecs of Mexico and the courts of medieval Europe.

Often deformed, dwarfed, or crippled, fools may have been kept for luck as well as for amusement, in the belief that deformity can avert the evil eye and that abusive raillery can transfer ill luck from the abused to the abuser.

Fool figures played a part in the religious rituals of India and pre-Christian Europe, and, in some societies, such as that of Ireland in the 7th century BC,
they were regarded as being inspired with poetic and prophetic powers.

The raillery of the fool and his frequent ritual association with a mock king suggest that he may have originated as a

sacrificial scapegoat substituted for a royal victim.

A resemblance between the sacrificial garments of ancient ritual and the costume of a household jester in the Middle Ages--coxcomb, eared hood, bells, and bauble, with a motley coat--has been noted.

> "In this fashion evey common tribal interest&emdash;the recurrence of the seasons, the increase of the food supply, successful hunting&emdash;was likely to become embodied

in some regularly repeated ceremony, which usually included group dancing, singing, and feasting. Besides enabling men to express, and
thereby to allay, anger and anxiety,

such ceremonies also promoted tribal unity and strengthened the loyalty of the individual to tribal traditions,

for the emotional excitement they aroused had the effect of breaking down the barriers between individuals

and thus fusing all tribesmen into a collective whole.
Meanwhile, whole systems of magical devices were gradually elaborated." (Parkes, H. Bamfort Parkes, Of Gods and Men, p. 29)

'Certain members of a tribe, marked out either by unusual skills or by

some emotional abnormality,

ususally became particularly adept at these operations, and gradually assumed specialized functions. Released from the duty of hunting, and concentrating on the practice of magic, the shaman, sorcerer, or medicine man

was the world's first professional." (Parkes, p. 29).

"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial,

but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Parkes, p. 30).

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence

any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,

and many tribes supposed lunatics and sexual deviants to be divinely possessed.

In Praise of Folly Desiderius Erasmus - Speaking to Modern Clergy Click here.

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Biblical Notes

TRIUMPHING OVER Jesus was to sing, play instruments and clap. This PROVED superiority over God and His WORD. In Psalm 41 it was prophesied that Judas would not succeed in TRIUMPHING OVER Jesus.

LAUGHTER in a religious sense in the Bible is RISING UP TO PLAY in perverted, pagan rituals. This was the "because of transgression" which caused God to give the Law and TURN ISRAEL OVER TO WORSHIP THE STARS.

Sporting or playing is defined as the "original sin" of musical celebration at Mount Sinai after Israel took their "marriage vow" with God and His Covenant. 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. Exodus 32:6   To play is the Hebrew:   Cachaq (h6711) tsaw-khak'; a prim. root; to laugh outright (in merriment or scorn); by impl. to sport: - laugh, mock, play, make sport.   "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). Of Samson: But the Philistines took him, and put out his eyes, and brought him down to Gaza, and bound him with fetters of brass; and he did grind in the prison house. Judges 16:21 Now, when Samson "played" he did play a child's game and when he ground in the prison house he didn't make flour. Grind is: Tachan (h2912) taw-khan'; a prim. root; to grind meal; hence to be a concubine (that being their employment): - grind (-er).   Take the millstones, and grind meal: uncover thy locks, make bare the leg, uncover the thigh, pass over the rivers. Is.47:2   And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev 18:22 This "play" is also the Hebrew: Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport. As Samson was ready to be sacrificed the pagans wanted him to PLAY in the same way the Jewish clergy would try to get Jesus to sing and dance the perverted Dionysus choral. The word for "play" in Exodus and David's musical dance are interchangeable: And it came to pass, when their hearts were merry, that they said, Call for Samson, that he may make us sport (7832) . And they called for Samson out of the prison house; and he made them sport (6711) : and they set him between the pillars. Judges 16:25 The word "played" is used of David to show that this word means that they played the instruments: And David and all the house of Israel played before the Lord on all manner of instruments made of fir wood, even on harps, and on psalteries, and on timbrels, and on cornets, and on cymbals. 2 Sam 6:5 Played is: Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport. Exodus 32 Wilderness Judges Samson 2 Samuel David h6711 h6711 -- -- h7832 h7832 Music and sexual "play" Sodomy Made himself vile honored by girls. Playing or laughing before the Lord was what caused Him to TURN THEM over to worship the pagan gods. Therefore, the common people now quarantined from the temple, were to SYNAGOGUE or EKKLESIA for instruction at which time the TRIUMPH was outlawed: Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.

The universal meaning is that when the JESTER or FOOL evokes LAUGHTER it is to SIPHON OFF worship from God to himself: the Lucifer or Judas principle.

It is evil because it means to DETRACT from a holy God and His Word.

This Judas bag is from the Greek. Defined in the Classics, it is the little box attached to the FLUTE CASE of the fellow on the left. The middle "guy" is playing the BARBATON the instrument of the BARBARIANS. The one on the right carries the OXGOAD to help prop him us as the worshiper of the god of NEW WINESKINS and as a PHALLIC SYMBOL.

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HERE ARE THE BULLS AND DOGS MOCKING JESUS

Glosokomon (g1101) gloce-sok'-om-on; from 1100 (speaking in tongues) and the base of 2889; prop. a case to keep mouthpieces of wind-instruments in, i.e. (by extens.) a casket or (spec.) purse: - bag.

It is made up of two words:

1. Glossa (from Strong's g1100) means "speaking in tongues" especially an unacquired one.

2. Kosmos (g2889) means the "orderly arrangement" or the "adorning" world. this is derived from (g2864 or Komizo which means "to carry off."

Kosmos (g2889) kos'-mos; prob. from the base of 2865; orderly arrangement, i.e. decoration; by impl. the world (in a wide or narrow sense, includ. its inhab., lit. or fig. [mor.]): - adorning, world.

The LUCIFER PRINCIPLE is to try to siphon off worship which originally flowed between God and the earliest humans. When you stand in THE HOLY PLACE using either MUSIC or SPEAKING IN TONGUES you are exercising the JUDAS PRINCIPLE.

Comedy (from Greek komos, meaning "revel") was presented competitively in Athens from 486 BC at the Lenaea winter festival, though it fused much earlier traditions of popular entertainment, mime, phallic rites, and revelry in honour of Dionysus. Ancient shamanistic ceremonies also may have influenced its development. Old Comedy, of which Aristophanes was the chief exponent, was highly satirical. It was characterized by wildly imaginative material (in which the chorus might represent birds, frogs, wasps, or clouds) that was blended with a grotesque, vulgar, and witty tone, which could still accommodate poetry of great lyrical beauty. See more on the connection between Judas and drama and music. (See at Britannica Members)

When you MAKE FUN of the Word and people get the clapp, you know that you have brought a spiritual disease WHICH IS WITHOUT REMEDY.

They triumphed then at that time. Christ rose again, Christ was glorified. Now see they in His Name the human race converted: now let them insult, now shake the head: rather now let them fix the head, or if they shake the head, in wonder and admiration let them shake. ...

All they that see me laugh (h3932 = "speak in tongues") me to scorn: they (hurl insults) shoot out the lip, they shake the head, saying, Psalm 22:7

Leag (h3932) law-ag'; a prim. root; to deride; by impl. (as if imitating a foreigner) to speak unintelligibly: - have in derision, laugh (to scorn), mock (on), stammering.

Laeg (h3934) law-ayg'; from 3932; a buffoon; also a foreigner: - mocker, stammering.

Of speaking in tongues, the RISING UP TO PLAY at Mount Sinai involved the worship of Osiris and the Egyptian Trinity: "Among those most often listed are the Osiris cult originating in the land of the Pharaohs; the Mithra cult of the Persians, and the lesser known Eulusinian, Dionysian, and Orphic cults cradled in Thrace, Macedonia, and Greece. The basis for this opinion is that their entire system of belief and rituals centered around spirit possessions. Another indication comes from Lucian of Samosata (A.D. 120-198) who in De Dea Syria describes an example of glossolalia as exhibited by an itinerant believer of June, the Syrian goddess, stationed at Hierapolis in Syria.* (Interestingly, the term glossolalia, so widely used today, comes from the Greek vernacular which was in existence long before the day of Pentecost.)

The Bulls attacking Jesus

> Many bulls have compassed me: strong bulls of Bashan have beset me round. Psalm 22:12

The "Satyric dance," * or dance of the Satyrs in Greece, seems to have been the counterpart of this Red Indian solemnity; for the satyrs were horned divinities, and consequently those who imitated their dance must have had their heads set off in imitation of theirs.

* BRYANT. The Satyrs were the companions of Bacchus, and "danced along with him" (Aelian Hist.) When it is considered who Bacchus was, and that his distinguishing epithet was "Bull-horned," the horns of the "Satyrs" will appear in their true light. For a particular mystic reason the Satyr's horn was common. Hislop

Tauro-phthongos , on, bellowing like a bull, t. mimoi sounds that imitate the bellowing of bulls, A.Fr.57.8 (anap.)

mimos
I. an imitator, mimic: an actor, mime, Dem., Plut.
II. a mime, a kind of prose drama, such as Sophron wrote, Arist.

mimaulos , ho, mimic actor, accompanied on the flute, Ath.10.452f.

Similar to:

narthęx
I. a tall umbelliferous plant, Lat. ferula, with a hollow, pithy stalk, in which Prometheus conveyed fire from heaven to earth, Hes. The stalks furnished the Bacchanalian wands (thursoi ), Eur., (cf. narthęko-phoros); they were also used for canes by schoolmasters, Xen.

II. a casket for unguents, Luc.

Similar Latin

canatim , adv. [canis] , in the manner of a dog, like a dog, kunędon, Nigid. ap. Non. p. 40, 26

kuôn
I. a dog or bitch, Hom., etc.; most commonly of hounds, id=Hom., etc.; the Laconian breed was famous, Soph.;-- nę or ma ton kuna was the favourite oath of Socrates, Plat.: cf. trapezeus.

II. as a word of reproach, to denote shamelessness or audacity in women, rashness, recklessness in men, Hom.

2. at Athens a nickname of the Cynics, Arist., Anth.

II. the Trag. apply the term to the ministers of the gods; the eagle is Dios ptęnos kuôn Aesch.; the griffins Zęnos akrageis kunes id=Aesch.; the Bacchantes Lussęs k. Eur., etc.

IV. a sea-dog, mentioned as a fish in Od.

V. the dog-star, i. e. the dog of Orion, placed among the stars with its master, Il.

Taurobolos 1 [ballô] slaughtering bulls, teletę t. a sacrifice of a bull, Anth.

ballô [Root !bal] to toss out like dung: Jesus CAST OUT the musical minstrels LIKE DUNG.

tauropolos 1 [poleô] a name of Artemis, --either worshipped at Tauris, or hunting bulls, Eur.;--so tauropola (doric for -polę ), Soph.

tauroktonos 1 [kteinô] slaughtering bulls, Soph.

Similar definition

paido-phonos , on, killing children, anęr the slayer of my children, Il.24.506, cf. Porph.Abst.3.19; leaina E.Med.1407 (anap.); sumphorę p. the accident or calamity of having killed a son, Hdt.7.190; p. haima the blood of slain children, E.HF1201 (lyr.).

Dithyrambs

"On some days the Comedies will be preceded by Dithyrambic Contests, rather than the Tragedies and the Satyr Play. At the festivals last year, each Clan (Phulę) chose their two Khoręgoi, one for the Mens' Chorus, one for the Boys'. The Khoręgoi drew lots to see who would get first choice of a Poet and Piper for their chorus. Each Khoręgos also picked his Chorus of 50 from the members of his Clan (the Khoręgoi for the plays are not restricted in this way).

For these contests Pindar and Bacchylides composed their memorable Dithyrambs. The Dithyramb is a sort of Hymn in honor of Dionysos as God of Fertility, Grapes and Wine; it tells the story of His birth, rebirth and further adventures. Originally it was a frenzied dance involving animal mummery (Satyrs, Silenoi etc.), but by now it has become quite dignified and makes use of the same expressive hand-gestures used in Tragedy and Comedy.

After the trumpet signal, the chorus will enter single-file from the right; their Leader will come first and they will be followed by the Piper, all wearing magnificent costumes: shining crowns or wreaths and colorful embroidered robes. The Piper takes a position near the center of the dancing area, perhaps on the steps of the Altar of Dionysos, and the chorus circles around him. While he plays the double reed-pipe (aulos) in the Phrygian Mode, the chorus dances in a circular formation around the Altar of the God. You may see this as a typical magical Encircling Dance to consecrate, protect and worship the central object (the Altar of Dionysos).

Like many Choral Odes, the Dithyramb is organized into Strophes, Antistrophes and Epodes. [Typ. Str. Greek Play{/a} for these terms). While the chorus sings the Strophe they move to the right (counter-clockwise), which represents the East-to-West motion of the Stars; during the Antistrophe they move left (clockwise), representing the West-to-East motion of the Planets; and during the Epode they stand still, representing the stationary Earth. Thus the chorus performs a Cosmic Dance, for indeed the Greeks say that the Heavenly Bodies "dance" in the sky.

Raging waves of the sea, foaming out their own shame; wandering stars, to whom is reserved the blackness of darkness for ever. Jude 1:13

Foaming: Epaphrizo (g1890) ep-af-rid'-zo; from 1909 and 875; to foam upon, i.e. (fig.) to exhibit (a vile passion): - foam out.

Wandering. Agrios (g66) ag'-ree-os; from 68; wild (as pertaining to the country), lit. (natural) or fig. (fierce): - wild, raging.

> "O ye who dwell upon the hallowed mountain-terraces! shall we chase Agave, mother of Pentheus, from her Bacchic rites, and thereby do our prince a service?"

We liked his speech, and placed ourselves in hidden ambush among the leafy thickets; they at the appointed time began to wave the thyrsus for their Bacchic rites, calling on Iacchus (Iacchus or Bacchus, honored by all, deviser of our festal song and dance - (worship facilitator), the Bromian god, the son of Zeus, in united chorus, and the whole mount and the wild creatures re-echoed their cry; all nature stirred as they rushed on.

Now Agave chanced to come springing near me, so up I leapt from out my ambush where I lay concealed, meaning to seize her.

But she cried out, "What ho! my nimble hounds (homosexual priests), here are men upon our track; but follow me, ay, follow, with the thyrsus in your hand for weapon."

Thereat we fled, to escape being torn in pieces by the Bacchantes; but they, with hands that bore no weapon of steel, attacked our cattle as they browsed. Then wouldst thou have seen Agave mastering some sleek lowing calf, while others rent the heifers limb from limb. Before thy eyes there would have been hurling of ribs and hoofs this way and that; and strips of flesh, all blood-bedabbled, dripped as they hung from the pine-branches.

Wild bulls, that glared but now with rage along their horns, found themselves tripped up, dragged down to earth by countless maidens' hands. The flesh upon their limbs was stripped therefrom quicker than thou couldst have closed thy royal eye-lids.

Many bulls have compassed me: strong bulls of Bashan have beset me round. Psalm 22:12

They gaped upon me with their mouths, as a ravening and a roaring lion. Psalm 22:13

I am poured out like water, and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels. Psalm 22:14

More The DOGS attacking Jesus

> The Lord God, which gathereth the outcasts of Israel saith, Yet will I gather others to him, beside those that are gathered unto him. Isaiah 56:8

All ye beasts of the field, come to devour, yea, all ye beasts in the forest. Isaiah 56:9

His watchmen are blind: they are all ignorant, they are all dumb dogs, they cannot bark; sleeping, lying down, loving to slumber. Isaiah 56:10

Yea, they are greedy dogs which can never have enough, and they are shepherds that cannot understand: they all look to their own way, every one for his gain, from his quarter. Isaiah 56:11

Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog.

Thou shalt not bring the hire of a whore, or the price of a dog, into the house of the Lord thy God for any vow: for even both these are abomination unto the Lord thy God. De. 23:18

> "The temple was staffed by priests, priestesses, musicians, singers, castrates and hierodules (Temple Prostitutes). Various public rituals, food sacrifices, and libations took place there on a daily basis. There were monthly feasts and annual, New Year celebrations. During the later, the king would be married to Inanna as the resurrected fertility god Dumuzi...

Asherah: Queen of Heaven, Ashtoreth, Athirat, Astarte, and Ishtar. Her "male" priestesses were known as kelabim, the faithful "dogs" of the Goddess, who practiced divinatory arts, danced in processions, and served as hierodules, qedeshim, in the company of other priestesses. Goddess worship were largely erased in a cultural purge c. 630 BCE by King Josiah.

> For dogs (male prostitutes) have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet. Psa 22:16

Linus was the same god as the Bacchus of Greece, or Osiris of Egypt;

for Homer introduces a boy singing the song of Linus, while the vintage is going on (Ilias), and the Scholiast says that this son was sung in memory of Linus,

who was torn in pieces by dogs.

The epithet "dogs," applied to those who tore Linus in pieces, is evidently used in a mystical sense, and it will afterwards been seen how thoroughly the other name by which he is known--Narcissus--identifies him with the Greek Bacchus and Egyptian Osiris.

This was the choral dance encircling Jesus. Both the bulls and dogs were the homosexual performers of Dionysus who had become part of the Abomination of Desolation in the Holy Places in Jerusalem.

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The Jewish clergy HOPED that Jesus was their God worshiped under Bacchus or Dionysus.

The name E-anush, or "the Man," was applied to the Babylonian Messiah, as identifying him with the promised seed of the Woman. The name of "the Man," as applied to a god, was intended to designate him as the "god-man." We have seen that in India the Hindoo Shasters bear witness,

that in order to enable the gods to overcome their enemies,

it was needful that the Sun, the supreme divinity, should be incarnate, and born of a Woman. The classical nations had a legend of precisely the same nature. "There was a current tradition in heaven,"says Apollodorus,

"that the giants could never be conquered except by the help of a man."

See Rubel Shelly and seeing the S.U.N. god as the S.O.N. God and baptizing Santa.

See Max Lucado and Shamash or S.U.N. god connection.

That man, who was believed to have conquered the adversaries of the gods, was Janus, the god-man. In consequence of his assumed character and exploits,

Janus was invested with high powers, made the keeper of the gates of heaven, and arbiter of men's eternal destinies. Of this Janus, this Babylonian "man," the Pope, as we have seen, is the legitimate representative;

his key, therefore, he bears, with that of Cybele, his mother-wife; and to all his blasphemous pretensions he at this hour lays claim.

The very fact, then, that the Pope founds his claim to universal homage on the possession of the keys of heaven, and that in a sense which empowers him, in defiance of every principle of Christianity, to open and shut the gates of glory, according to his mere sovereign will and pleasure, is a striking and additional proof that he is that head of the beast from the sea, whose number,

as identified with Janus, is the number of a man, and amounts exactly to 666. Hislop

The principle of Pagan idolatry went directly

to exalt fallen humanity, to consecrate its lusts,
to give men license to live after the flesh,
and yet, after such a life, to make them sure of eternal felicity.

No wonder that it came at last to be firmly believed that the Messiah, on whom the hopes of the world depended, was Himself the "seed of the serpent"! This was manifestly the case in Greece; for the current story there came to be,

that the first Bacchus was brought forth in consequence of a connexion on the part of his mother with the father of the gods, in the form of a "speckled snake." *

* OVID, Metam. So deeply was the idea of "the seed of the serpent" being the great World-king imprinted (marked) on the Pagan mind, that when a man set up to be a god upon earth, it was held essential to establish his title to that character,

that he prove himself to be the "serpent's seed."

Thus, when Alexander the Great claimed divine honours, it is well known that his mother Olympias, declared that he was not sprung from King Philip, her husband, but from Jupiter, in the form of a serpent. In like manner, says the authoress of Rome in the 19th Century, the Roman emperor,

"Augustus, pretended that he was the son of Apollo, and that the god had assumed the form of a serpent for the purpose of giving him birth."

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Of the Dionysia

"Here is Dionysus, the god of wine, drunkenness, madness, ecstasy, masks, and impersonation. He is depicted here with a crown of ivy and a panther skin around his neck (see the paws). Dionysus is quite clearly a nature god."

"The idol was actually a wooden shaft with a mask attached, garlanded with ivy - perhaps the most common way of depicting Dionysus in the Greek world. Here we see a mask of the god Dionysus and clothing hanging on a pole, much in the manner of a scarecrow. Three women dressed as maenads (female worshippers of Dionysus) surround the idol. The maenad on the left of the idol is ladling wine into a drinking cup, while the other two maenads dance ecstatically. The maenad on the right is playing a tambourine.

"This representation of Dionysus was set in the theater so that the dithyrambs and tragic and comic dramas could be performed in front of it. These musical and dramatic performances were originally intended as acts of worship rather than pure entertainment. Accordingly, the chief human spectator is the priest of Dionysus, who along with other priests and high officials, sat in special seats right at the edge of the orchestra in an area called the prohedria, 'front-seating'.

Of Jesus whom the Jews took for Dionysus:

And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and

they bowed the knee before him,
and mocked him, saying, Hail, King of the Jews Mt.27:29
And they spit upon him, and took the reed, and smote him on the head. Mt.27:30

Mock is from the Greek:

Empaizo (g1702) emp-aheed'-zo; from 1722 and 3815; to jeer at, i.e. deride: - mock.
Paizo (g3815) paheed'-zo; from 3816; to sport (as a boy): - play.

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 Co.10:7

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When the AUDIENCE clapps and