Worship Drama Dionysus Theater
Dionysia, Dionysus, Bacchus, Orpheus: The excitement of the stage relies on the very fact that we know that what is on stage IS NOT TRUE, that we know these are actually actors, and that the actors know we know it. Slaves provided dinner-theater entertainment for the guests while they served: singing, playing musical instruments, reciting verse, dancing, acrobatics, and playing farce."
Both arousal singing and any other audible or visual "performance" intends to silence the Word of God. The MUSIC word is never used of an assembly to worship in THE SPIRIT. Paul makes it clear that we are to SPEAK "that which is written" with ONE MIND and ONE MOUTH as the only way to TEACH, Glorify God and keep the peace. He defines the SYNAGOGUE devoted solely to the WORD in Romans 15 to solve the diversity problem of Romans 14.
Those who SUBSTITUTE for the Word of God have committed the unforgeable sin according to Hebrews. 6. The Book of Enoch and many contemporaneous writings define the LAMECH family of Jubal, Jabal, Tubal-Cain and Naamah as SEDUCED by Satan to organize "Musical Worship Teams" to further seduce the people away from the Living Word. Once people make the MUSIC or BODY WORSHIP is WORSHIP connection all known accounts show that you will never recover from the FALL.
Dionysia Drama Theater Music
Accordingly Pompey the Great, less only than his theatre, when he had erected that citadel of all impurities, fearing some time or other censorian condemnation of his memory,
superposed on it a temple of Venus; and summoning by public proclamation the people to its consecration,
he called it not a theatre, but a temple, "under which," said he,
"we have placed tiers of seats for viewing the shows."
So he threw a veil over a structure on which condemnation had been often passed,
........... and which is ever to be held in reprobation,
........... by pretending that it was a sacred place; and
by means of superstition he blinded the eyes of a virtuous discipline.
But Venus (Lucifer, ZOE) and Bacchus are close allies. These two evil spirits are in sworn confederacy with each other, as the patrons of drunkenness and lust. So the theatre of Venus is as well the house of Bacchus: for they properly gave the name of Liberalia also to other theatrical amusements-which besides being consecrated to Bacchus (as were the Dionysia of the Greeks), were instituted by him; and, without doubt,
the performances of the theatre have the common patronage of these two deities.
That immodesty of gesture and attire which so specially and peculiarly characterizes the stage are consecrated to them-the one deity wanton by her sex, the other by his drapery;
while its services of voice, and song, and lute, and pipe, belong to Apollos, and Muses, and Minervas, and Mercuries.
"...Osiris is the same as Dionysos, and who should know better than you, Clea, since you are at once the leader of the Thyades [female initiates who celebrated on sacred sites the nocturnal orgies of Bacchus] at Delphi and have been consecrated in the Isirian rites by your father and mother?" - Plutarch, Isis and Osiris
It is not that objectors reject "new and improved" methods of "worship." Rather, they reject ancient pagan forms receiving their second incarnation when preaching and programs have failed. Rubel Shelly in combination with the Zoe Group promote theater as part of the New Age effort to "facilitate change" when the audience does not want change.
Furthermore, these efforts to resurrect Dionysus theater lament that the "city" song books have rural roots. What they do not realize is that the SEEKERS attempt to use music and drama to "move the worshiper into the presence of God" is a revival of ancient, rural fertility rituals Jesus condemned in Jerusalem at the Feast of Tabernacles which had become a giant fertility ritual. These rituals were removed by Jesus as he destroyed Jerusalem and sent the church back to the country.
"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, Henry Bamford, Gods and Men The Origins of Western Culture, p. 30, Knopf).
This is why God absolutely outlawed visual idols which produce the "idolatry of talent" as well as all visual images of the Holy which we cannot remotely imagine.
We should note that the New Testament treats "religion" with contempt as it treats "music" as secular and "musicians" as agents of the Babylonian Mother. Christ said nothing about performing worship for another. He said, "not in your church temple" or in My nation's "church temple." Rather, worship is in spirit (mind) and in truth (verity).
Externals automatically overpower the pure, internal worship and work out there where the "true" family church serves its neighborhood and does not attempt to "Restore Mosaic Law" where national worship was at one place.
Don't toot the horn when you personally hand out your help to the poor. Don't make fasting or praying a publicized ritual but go into your closet because only you can perform your prayers. If you brag about how many hours you have fasted or prayed then you have had your reward.
Rather than remain faithful to The Book of the Covenant, Israel worshiped "like the nations" which was with group ritual, drama, poetry and music which they believed was magic. Didn't the Psalms plead for God to arouse Himself or awaken? This is why God gave them The Book of the Law.
Churches in Corinth, Ephesus and elsewhere were attracted by pagan rituals which made their "assemblies do more harm than good" (1 Corinthians 11:17).
What was the nature of this "worship-potluck"?
"Slaves provided 'dinner-theater' entertainment for the guests while they served: singing, playing musical instruments, reciting verse, dancing, acrobatics, and playing farce.
Serving boys or girls dispensed the wine.
and offered sexually attractive appearances. While slaves were accepted as part of the banquet's course and (sometimes) admired for their entertainment,
they were simultaneously segregated from the real camaraderie of the meal. In a sense, they were performing puppets, subject to derision, degradation, abuse and punishment. See Full Details
However, these new ideas from downtown Babylon are ways of actually showing contempt by "using" women in stand over or preside over ruling roles.
See Apollo's Seeker Center at Delphi from which converts moved into Corinth's Christianity which never got beyond being "carnal" and never able to understand the gospel. Apollo is Revelation's Abbydon or Apollyon who will rise again in the end times.
See Lucian's Alexander the Oracle Monger to see how to fool the fools with music, gymnasiums, swimming pools and theater.
Finally, you can understand The Willow Creek Association, of which men like Max Lucado and Rubel Shelly participate and promote, would be recognized in the same terms:
"The services which take place at Willow Creek church today are unlike all other church services on American soil. The well lighted and spacious auditorium with glass ceilings looks like a plush theater with theater seats and wide aisles. The luxurious furnishing attract those who are uncomfortable in traditional churches."
"As the people file into the auditorium for the weekend "seeker services," a band is playing subdued contemporary jazz or rock.
........... The worship service begins with the drawing of curtains across a huge stage
........... while the tempo of the lively upbeat music gradually engages the audience."
"The worship services gets underway. The band plays contemporary rock and jazz with religious lyrics flashed on a wide video screen accompanied by 16 vocalists and dancers. Actors stage dramatic skits. Congregational singing is minimal and simple."
"The performance has all the pizzazz of a professional stage show. A thunderous applause greets the conclusion of the entertainment phase. The people are told their applause is for God." (Note: the money is, too).
In the Hebrew temple--built at a Jebusite High Place as an alternative altar for David who was too fearful of God to ever return to Gibeon--the theatrical performers were in the court where they made a great crashing sound during animal sacrifices. Therefore, they were in the PLACE where they mocked Jesus and, as prophesied in Psalm 41 and as translated by the Dead Sea Scrolls, the sounders "under the king and commanders of the army" tried to TRIUMPH OVER Jesus.
The "musical" Levites COULD NEVER enter the holy place even to clean out the garbage. The Holy Place typified the CHURCH as the place for learning (the seven spirits of the candlesticks), the shewbred as typical of the Lord's Supper and the presence of God and the incense altar as a type of prayers.
Therefore, the musicians were not tolerated for learning, the Lord's Supper or during prayer.
The CURTAiN was drawn between the Holy and Most Holy Place which is where God symbolically dwelled.
When Christ was sacrificed--with the mocking music--the curtain tore from top to bottom so that believers as priests can come boldly before the throne of Grace to worship God IN SPIRIT which is the place of the human mind.
The WILLOW CREEK model ZIPS up or SEWS UP the CURTAIN and fulfills the prophecy of THE ABOMINATION WHICH MAKES DESOLATE STANDING IN THE HOLY PLACE which cannot be done without the theatrical performers saying "I am God."
They readily say that "We are mediators between man and God." That is the claim of Christ as full Deity.
Now, click on down below Anderson's method and see how the Neo-pagan Witchcraft people do it.
Their spokesman showed that the applause was really for the performers which is a way to insult Christ:
"Ulrich Eggers, a leading German evangelical who served as press spokesman at the Hamburg sessions, stresses that Willow Creek's "central message has nothing to do with drama or music,
but rather with the living portrayal of dedicated Christians."
"Yet Eggers is worried that liberals may only accept the methodology and forms of this program. He says nothing can change "unless content is changed; the gospel must become a matter of the heart." Christianity Today.
For more details Click Here to see that the Germans are fearful because it seems like one of their old para-military, "control the mind" movements.
Rubel Shelly, Woodmont Hills, in Faith Matters wrote:
Rubel Shelly: "The Bible is not against women ministering, using their God-given talents, standing up and speaking, administering church programs, singing (congregationally, small groups, or solo), reading Scripture, sharing information about church projects, testifying, teaching sub-groups of the church's membership (whether female, male, or mixed), writing articles or poems that will be used by males, or otherwise participating fully in the life of local churches. Rubel Shelly, Faith Matters
In seeking their worship facilitation minister, Woodmont Hills stress that in developing or facilitating the seeker service he must:
"Work with the worship planning committee, the preaching minister and worship presentation groups (music, drama and technical) to facilitate group worship experiences which will help bring worshipers into the presence of God. (This may have been taken off)
Jesus said that God will be seeking us in spirit or in our mind and Paul said that "God is not far from all of us." Therefore, Rubel Shelly claims that the Musical Team replaces Christ as the One Mediator.
The play is named after the chorus, that is, the song-and-dance ensemble who stand for the true followers of the god. That is, they are the mediators replacing the worshippers. See the clear claim here.
Someone noted that churches are tempted to adopt old and largely unsuccessful attempts by theologians to force the worshiper and God into intimate contact. This is defined by the idea of "knowing God personally." Nowhere has there been more success after which theologians lust than secular music as a way to triumph over God and the paying customers:
"A quiet revolution had taken place since John Lennon declared that the Beatles were more popular than God. Suddenly a whole generation raised on free love, drugs, and rock and roll was looking for something more eternal. They found it in Jesus Christ --
not the Jesus Christ who was found in their parents' churches --
but a Jesus Christ that was much like them -- the ultimate hippy. These self-proclaimed "Jesus Freaks" originated in California, centering especially in Calvary Chapel in Costa Mesa.
As the musical dance team claims to be the platform upon which God lands (like the Tower of Babel "helio-port for the gods") the music is the vehicle which brings Him down to the worshipers:
"Like most religious revivals, the "Jesus Movement" was accompanied by a new music that expressed the mood, culture, and tenets of the new faith. "Jesus Music" was an attempt to use the language of the generation-- music--
........... as vehicle to bring Christ to the generation.
As William D. Romanowski points out in his history of Jesus music, "Baptizing rock music with Christian lyrics was a way of legitimizing the music for born-again hippies and making it viable in the youth market" (Schultze 1990, 149). For the article Click Here
Rubel Shelly proposes that we baptize the S.U.N. god to vizualize the S.O.N. God. He further says that we can baptize "santa" and ANY secular activity which can be painted with the name of "Christian." And if we do not baptize these things WE COMMIT SIN.
Can't you see how wonderful this is? like ancient paganism -- and even David -- god is lost, sleeping or "going aside to relieve himself." You, poor laiety, cannot get too close to god because He might harm you if you have not been trained as a god-manipulator or facilitator. Therefore, step aside and let me, with my theme of "the idolatry of talent" use Musical Worship Teams as the vehicle or helicopter to transport you to god or god to you. When he arrives in his musical helicopter fluttering down through the seven heavenly spheres, the Dance and Drama Team will be the platform upon which he lands. This is identical to the worship at the Tower of Babel which was like the Asherah poles errect and pointing at God. After the king, the team which consumed most of the resources of the temple-state, was made up of priests, musicians, soothsayers and prostitutes!
Those who oppose any attempt to explain Jubilee as a giant change agent, lament that we just need to "know Jesus" and nothing more. Fittingly, Jubilee 99 will return Lynn Anderson as the father of religious change agentry.
Intresting, isn't it, that some of the Jesus Only People called themselves The Family of God.
Plato understood the code words of the musical change agents: any attempt to force changes of music and add drama had the secret goal of changing the laws of the institution. He wrote:
- "Music and gymnastic (must) be preserved in their original form, and no innovation made. They must do their utmost to maintain them intact. And when anyone says that mankind must regard...
- The newest song which the singers have,
- they will be afraid that he may be praising, not some new songs, but a new kind of song; and this ought not to be praised, or conceived to be the meaning of the poet; for any musical innovation is full of danger in the whole State, and ought to be prohibited. So Damon tells me, and I can quite believe him; he says that
- when modes of music change, the fundamental laws of the State (church) always change with them..."
- "Then," I said, "our guardians must lay the foundations of their fortress in music?"
- "Yes," I replied, 'in the form of amusement: and at first sight it always appears harmless'." (The Great Dialogs, Plato, Classic edition, p. 312) For more Click Here
- See how paganizing Jerusalem included both music and the gymnasium.
People cannot tolerate success which comes from preaching the principles of Jesus Christ. When the church begins to grow some usurper will rise up and say, "Put me in charge to make this growth continue." So they put him in charge and the mystery of Christian humility and a one-another religion goes up in smoke. This has always been the case:
"With the victory of Christianity and the development of the service came
a soaring of the sermon. Preaching became more frequent, being employed even during the week and during fast seasons in some places daily.
As the Church during that period assimilated more and more Greco-Roman culture, the sermon developed para passu.
The most noted Christian preachers had not seldom been educated in the rhetorical schools of the heathen,
and employed in their sermons the rule of rhetoric and the artistic effects taught there, and polish became almost an end, often giving more brilliancy than warmth.
The hearers came to look for esthetic satisfaction rather than for edification,
leaving after the sermon and before the Eucharist." (The New Schaff-Herzog Religious Encyclopedia, Preaching, p. 150, Period 300-450 A. D.).
Unfortunately, the emotional nature of must people makes it easy for the one with the most Ph.Ds (Pronounced phuds) to be held in honor. One with a Ph.D in phylosophy or theology suddenly is equipped to speak on Scripture. Paul was aware that those who "saw godliness as a means of financial gain" were often trained in rhetoric, drama and musical manipulation.
Because they were involved in religious-commerce it didn't matter what they said but how they said it. The only way they could have a "paying ministry" was to silence Paul and the Word of God. However, Paul warned that fools love to be fooled and there are many kinds of Jesus:
For if someone comes to you and preaches a Jesus other than the Jesus we preached, or if you receive a different spirit from the one you received, or a different gospel from the one you accepted, you put up with it easily enough. 2 Corinthians 11:4
But I do not think I am in the least inferior to those "super-apostles." 2 Corinthians 11:5
I may not be a trained speaker, but I do have knowledge. We have made this perfectly clear to you in every way. 2 Corinthians 11:6
Was it a sin for me to lower myself in order to elevate you by preaching the gospel of God to you free of charge? 2 Corinthians 11:7
You can sell watered wine by putting it into a new wineskin but it is amazingly hard to give away the free Word of God.
Many religious revivals of the frontier were intensely social events where people came to see and be seen, buy and sell, and often to find an eligible mate. The "squaw dance" was one such event where even "the shyest girl is induced to choose a man, and the dance goes on until morning."
"But ceremonial life gives opportunity
........... for personal expression to more than the small group of Singers.
........... Lay folk can show their skill in dancing and singing and in making drypaintings.
They can win plaudits (applause) for their adroitness in helping with the tricks and other 'vaudeville acts' on Mountain Top Way.
They can show off their good memory and oratorical skill in telling myths." (or stupid jokes, we might add) (Goldschmidt, Walter, Exploring the Ways of Mankind, p.515, Holt, Rinehart and Winston)
Clapping has historically been to show contempt for the looser. Did you know that the theater and even some churches used "professional clappers?" They were the ones who induced artificial feelings for the decreed winners. Those left out are "loosers" and don't ever forget it. When God shows contempt he claps His "hands." It would be expected that where theatrical performers have kicked Christ out and made "church" into their "worship entertainment center" would also have their tag-alongs stragetically located to applaud or to "beef up" the weak singers. These are professional clappers.
- In Justin's Dialog with Trypho the Jew he translates Amos:
- Who applaud at the sound of the musical instruments;
- they reckon them as stable, and not as fleeting.
- Who drink wine in bowls, and anoint themselves with the chief ointments,
- but they are not grieved for the affliction of Joseph.
- We do know that Jesus read the Septuagint which reads:
- who excel in the sound of musical instruments;
- they have regarded them as abiding, not as fleeting pleasure." Amos 6:5 LXX
The professional Singer was more important than the lay singers because they had a greater memory and therefore greater status. Ceremonials were often signs of "conspicious consumption" in which the "patient" was summoned and guests invited to the "cure" to show that the family had "arrived" at respectability and honor. The Singer gets good results because his illness is often psychological and the Singer doesn't cost as much as a trained counselor. In addition, s/he has the power to move the worshiper into the presence of the gods. Amazingly, "I brought you into the presence of God and He is Me!!"
- "he is more than a mortal and at times becomes
- identified with the supernaturals,
- speaking in their voices and telling the hearers that all is well.
- The prestige, mysticism, and power of the ceremonial itself are active,
- coming directly from the supernatural powers that
build up the growing earth in spring, drench it with rain, or tear it apart with lightening.
- In the height of the chant the patient himself becomes one of the Holy People,
- puts his feet in their moccasins, and breathes in the strength of the sun.
- He comes into complete harmony with the universe and must of course be free of all ills and evil...
there will be an upswing of reawakened memories, like old melodies bearing him on emotional waves to feelings of security." (Goldschmidt, Walter, Exploring the Ways of Mankind, p. 515, Holt, Rinehart and Winston)
The ancient rural fertility ritual of song, dance and drama was always held to have magical mending power to weld the diverse group into a new unity with "The Family." As the Dance Team is the mediator between the gods and man, the American Indian thought of music and dance as having magical powers:
"One important contribution of the curing chants of good group relationships
comes from the informal chat that goes on between the Singer and the patient and other members of the family.
Since the Singer is usually an intellectual, who often knows the habits and tendencies of his clientele in the manner as the family doctor in white society,
it is very likely that, like the family doctor, he often gives sound practical advice...
The people have a more or less conscious realization that the ceremonies act as a cure, not only for physical and mental illness, but also for antisocial tendencies.
For example, the myth of the Mountain Top Way chant says: 'The ceremony cured Dsiliyi Neyani of all his strange feelings and notions..."
One 'just completed a jail sentence for beating his wife and molesting his stepdaughter remarked: 'I am sure going to behave from now on.
I am going to be changed--just like someone who has been sung over." (Goldschmidt, Walter, Exploring the Ways of Mankind, p.516-7, Holt, Rinehart and Winston)
Beginning in the garden of Eden with the symbolic name of the "serpent" music has been the primary device of the sorcery. Times have not changed.
It is an absolute certainty from Scripture and all of the ancient stories birthed at the Tower of Babel, that when music, drama and dance are promoted it is catering to secular females or the effeminate principle in the male, charismatic leaders. Parkes notes that all ancient priests and "prophesiers" were honored because of their fully-expressed or thinly-veiled bent-gender. Goldschmidt notes that:
"It is no accident that a high proportion of those who suddenly show symptoms of being bewitched (such as fainting or going into a semi-trance) at 'squaw dances' or other large gatherings
are women or men who are somewhat neglected or who occupy low social status.
In most of these cases it is probably not a matter of consciously capitalizing on the credence of their fellows in order to get the center of the stage for themselves.
It is unlikely that Navahos often deliberately complain of the symptoms of witchcraft as a device for getting attention. The process normally takes place at an altogether unconscious level:
those whose uneasiness goes beyond certain point have to do with something; and if they are believed to be at the mercy of witches they are likely to get help." (Goldschmidt, Walter, Exploring the Ways of Mankind, p. 518, Holt, Rinehart and Winston)
The familiar spirit of the witch of instrument was an empty wineskin. It has the same meaning as the harp or nebel and of the instruments condemned by Paul in First Corinthians chapter 13.
Most musical forms were always a form of witchcraft or sorcery.
Seeker churches needs a worship facilitator pastor person to help bring the worshiper into the presence of God. Because the worshiper does not have the power to "ascend to bring Christ down" it must be that the worship facilitator will drag the deity into the presence of the worshiper. Clement noted that this makes the high priestess or worship facilitator greater than the god who promised to be with us when we are gathered:
- "For such are the begging priests of Cybele. Hence Antisthenes replies appropriately to their request for alms:
- I do not maintain the mother of the gods,
- For the gods maintain her."
- "Again, the same writer of comedy, expressing his dissatisfaction with the common usages, tries to expose the impious arrogance of the prevailing error in the drama of the Priestess, sagely declaring: --
- If a man drags the Deity
- Whither he will by the sound of cymbals,
- He that does this is greater than the Deity;
- "But these are the instruments of audacity and means of living Invented by men. --(Clement, Exhortation to the Heathen, Ante-Nicene, II, p. 193).
However, Alexander Campbell, speaking of the Trinity noted that:
"Again, if the person sent, however highly exalted in relative dignity,
were not more than a creature,
there would still remain an infinite distance between him and the Deity,
so that he could neither bring himself, nor any one else,
nearer to God than his or their nature and circumstances had already placed them."
Those who hire professionals to do this "God dragging" or "congregation dragging" (in drag) clearly believe that they have a position equal with the ancient priest, priestess or prophesier and the "layer" is able to do what the "layee person" cannot do.
The ancient writers were never fooled by idolatry and commercial religion. They understood that when one mortal attempted to serve as priest or god caller for the congregation, he had in Paul's words "fooled the fools" and found an audacious means of making a living by "seeing Godliness as a means of financial gain."
Aha! The Worship Facilitator or God Manipulator has the power to force the gods to appear by muttering spells (Ancient songs were magical incantations enhanced with instruments):
"And what, I ask, was the charm which forced Jupiter
........... to leave the all-important direction of the universe,
........... and appear at the bidding of mortals?
the sacrificial meal, incense, blood , the scent of burning laurel-boughts, [chewing or smoking laurel leaves causes the mouth to foam as the "prophet" goes mad. My deer do that free of charge.]
........... and muttering of spells? [songs]
And were all these more powerful than Jupiter,
........... so that they compelled him to do unwillingly what was enjoined,
or to give himself up of his own accord to their crafty tricks." (Arnobius, Against the Heathen, Ante-Nicene, VI, p. 4902).
The familiar spirit of the witch of Endor was a wineskin which acted like a drum or an echo chamber. It was really a primitive musical instrument much like the brass "gong" Paul warned against. The witch or necromancer or worship leader beat the skin (meaning of melody) with a stick or muttered magical songs into it.
The echo was interpreted by the "fools loving to be fooled" as the voice of the gods. It comes as no surprise, therefore, that the feeling of "exhilaration" is the test Rubel Shelly and team apply to tell whether the "spirit" is present. In paganism this was rapture which means spiritual rape. The enthusiasm was not "Jehovah-Savior inside" but "the gods of enthus o mania" inside. Madness!
The witch as musical worship facilitator had dragged the dead person or god by the sounds and was, therefore, more powerful than then gods. A good necromancer or witch or facilitator could use ventriloquism. The "song" or incantation was so altered that the audience thought that it was the voice of the god. As Lucifer spoke from musical instruments as idols--
"The necromancer did not always take the trouble of projecting his voice out of himself;
........... he was often content to bring it up from his own inside and
........... ........... to palm it off on his gullible hearers as the voice of his familiar spirit
........... ........... or of the worshipful ghost.
Hence the familiar spirit or the ghost was said to be inside the necromancer:
........... the supernatural accents appeared to issue from his stomach.
But whereever the voice may have seemed to come from, whether from the bowels of the earth or from the bowels of the conjurer,
it is probable that the ghost himself always modestly kept in the backgreound." (This was because these early Hebrews lacked the showmanship and technology which filled the temple and was condemned by God through Elijah (Ezek ch 8)" (Frazer, James George, Folk-Lore in the Old Testament, p. 296, Macmillian, 1923)
Those just tippy-toeing into a musical worship team use Lynn Anderson's methods.
Perhaps the "audience" will rise up like Samuel from the dead to condemn the witchcraft.
Therefore, rather than bringing them into the level of a catastrophic breakdown you back off. How about just putting the wired-up, amplified "team" on the front pew. That way, they can sing the new "spirit" songs which the "layee" person cannot sing. This was the belief of ancient paganism. First, you are not a "talent idol" and could not possible move the gods into your presence. Second, you are not a "priestess" and therefore might get hurt if you approach the gods without musical mediators.
Music and drama have always been used to "bring the worshiper into the presence of the gods."
- "Then shalt thou see my God, and be initiated into the sacred mysteries, and come up to the fruition of those things which are laid up in heaven reserved for me, which 'ear hath not heard, nor have they entered into the heart of any.'
- And in sooth methinks I see two suns,
- And a double Thebes,'
- "Said one frenzy-striken in the worship of idols,
- intoxicated with mere ignorance.
- This is the mountain beloved of God, consecrated to
- dramas of the truth,
- a mount of sobriety, shaded with forests of purity; and there revel on it not the maenades, sisters of Semele, who was struck by the thunderbolt, practicing in their initiatory rites unholy division of flesh.
On the other hand, believing women do not get in the literal dance but join God's Jubilant band. Clement always uses musical instruments as symbolic of God's truth.
"But the daughters of God, the fair lambs, who celebrate the holy rites of the Word, raising a sober choral dance. The righteous are the chorus; the music is a hymn of the King of the universe. The maidens strike the lyre, the angels praise, the prophets speak; the sound of music issues forth, they run and pursue the jubilant band; those that are called make haste, eagerly desiring to receive the Father."
"Come thou also, O aged man, leaving Thebes and casting away from thee both divination and Bacchic frenzy, allow thyself to be led to the truth." --(Clement, Exhortation to the Heathen, Ante-Nicene, II, p. 205).
"Some women by drinking water gets into a frenzy, and loses her senses by the fumes of frankincense, and you say that she has the gift of prophecy. Apollo was a prognosticator and a teacher of soothsayers." ...
Not only does Tatian define these soothsayers in the image of musical worship teams but he more often nails the effeminate preacher trying to "break down the walls" of sexuality:
"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; sometimes personating Aphrodite, sometimes Apollo; 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).
It is hard to know what moves religion from moment to moment. Behind each shift to a new position undoubtedly lies a felt desire to make God more meaningful and accessable to the worshiper. We have no right to try to control those outside of our own God-assigned arena. However, it is proper to try to see how ancient efforts of revival through ceremonials have always been tempting when we feel that "we have planted and we have watered and God has not given the increase we would like."
The Worship Facilitator Minister must, "Work with the worship planning committee, the preaching minister and worship presentation groups (music, drama and technical) to facilitate group worship experiences which will help bring worshipers into the presence of God.
BEHOLD, the Lords hand is not shortened, that it cannot save; neither his ear heavy, that it cannot hear: Isa 59:1
But your iniquities have separated between you and your God, and your sins have hid his face from you, that he will not hear. Isa 59:2
Rubel Shelly defines the Musical Worship Facilitator (manipulator) exactly as Apoll (Apollyon, Abbydon) would define his purely commercial soothsayers who also knew that it was to fool the fools:
Rubel Shelly: "Rehearse presentation groups and work with volunteer directors to improve the musical, dramatic and technical excellence of our group worship experiences.
Assist volunteer leadership in the periodic planning and presentation of musical and dramatic productions which support the worship goals of the church.
Apollo's (Apollyon, Abbydon) Seeker Center is defined here.
Agrippa's Seeker Center is defined here as well as restoring the outlawed Levitical Musical Worship Teams.
Alexander the Oracle Monger's Seeker center is defined here.
Rubel Shelly: Experience and Training:
Minimum of Bachelor's degree or equivalent experience in performing arts (music, drama, directing, theatrical programming).
Affinity for wide range of musical a capella styles (classical to contemporary).
Well developed personal theology of worship.
Experience in planning and presenting worship activities.
Program planning and coordination experience.
Adept in committee work and cooperative work experiences.
For a more complete understanding of ancient Greek influences on the ancient and modern churches Click Here.
Facilitation means 2. Psychologically increased ease of performance of any action resulting from the lessening of nerve resistance by the continued successive application of the necessary stimulation." (Webster).
In time, all of the resistance will be broken down with a pleasure pill and, if history and medical science is correct, a time will come when the congregation will not be able to exercise their God-given balanced mind because the emotional has been promoted to pastor person. The results are:
Loyalty to the new city-state institution is inculcated.
Religious sanction is given to the destruction of the natural, rural roots.
It doesn't take much talent to sit down, shut up and listen to the Word of God delivered to us as it has been delivered by the Spirit of Christ. However, the idea of worship facilitator or manipulator, songs and sermons automatically mean that we are making up a fictional worship for a fictional god.
The real gospel doesn't sell to the masses and you know it. Therefore, if you are out to attract the masses with the methods of the masses you know and God knows that you are involved with drama which works because we know it ain't so.
In another fragment we discuss the ritual drama in attracting the lost gods at length. You may Click Here to find more data on the following quotation.
"This paper is about live dramatic performance as distinct from the technology-based phenomenon known as virtual reality (not in fact or name), which is the logical extension of film and computer technology and which promises to enable us to 'perform' in dramas of our own devising. I would argue that live dramatic performances are themselves models of a kind of virtual reality. That is, in keeping with the etymology of the word, they are virtual in the sense of
........... 'resulting in the effect but not in fact' of something.
Live theater also presents a kind of virtual reality in another sense of the word; it is virtual because it exists in the mind, in the imagination...
"The excitement of the stage relies on the very fact that we know that what is on stage is not true,
that we know these are actually actors, and that the actors know we know it. As Wendy Lesser has written in an attempt to distinguish between theater and film: '
The central fact about theater is that it places us in the presence of fictional characters. In that element of fiction, it differs from reality; and in that element of presence, it differs from film.
We repeat that the Willow Creek or Woodmont Hills need is for a pastor person who will:
Rubel Shelly: "Work with the worship planning committee, the preaching minister and worship presentation groups (music, drama and technical) to facilitate group worship experiences which will help bring worshipers into the presence of God.
"Group Worship Experience" is devoid of Biblical basis and is, in fact, an oxymoron: add it to your list of grand oxymorons.
Oh, God! Help us! Don't you know, dear brother, that you do not have the divine authority or power to present worship to others! Don't you know that? Don't you know that God came in the flesh to burn the chaff of professional presenters of worship for others out of this world?
The conscious, subconscious or unconcious change to musical and dramatic forms which we know are not true will assuredly move the congretation from religious awe to disillusioned rationalism:
"The Greeks believed that they were revealing a divinity eternally present in nature.
In reality they were creating new aesthetic norms and canons (new laws) expressive of a new view of life. [See Plato Above]
"A similar movement, first from static to dynamic conceptions of reality, and afterward from religious awe to a disillusioned rationalism, can be traced in history from the other chief art form of the Athenian polis, the tragic drama.
"Jingling, banging, and rattling accompanied heathen cults, and the frenzying shawms of a dozen ecstatic cries intoxicated the masses. Amid this euphoric farewell feast of a dying civilization, the voices of nonconformists were emerging from places of Jewish and early Christian worship ..." (Encyclopedia Judaica, 1971 ed., s.v. "Music")
The new city-state which disdains God's choice of rural, pastoral life seeks to build a political community. This naturally involves holding plenary sessions yearly to get the latest ration of music, worship techniques, teaching methods and perhaps upsetting the equilibrium or stability of the group so that they can easily be shoved in another direction. Call it Woodmont Hills. Call it Jubilee 98. Call it implimenting the Willow Creek agenda among "10,000" under-employeds from all of the rural hinterland.
The Jubilee imperative is to break people away from the imposed slavery of "traditionalism" and give it legal rights in the new tribal restoration. However, you have to sign onto a new government of ceremonial legalism based upon human intelligence vested in the "scholars" and the Phds (Pronounced phuds).
Willow Creek - Woodmont Hills - Music and Drama
We all know that musical or dramatic methods of presenting the worship has nothing to do with Biblical truth. It is a way to display the talent of the manipulators. We are supposed to gaze with worshipful awe of the professional presenters because they take the place of Christ is the visible image of the invisible God.
This idolatry is happily confessed:
Ulrich Eggers, a leading German evangelical who served as press spokesman at the Hamburg sessions, stresses that Willow Creek's "central message has nothing to do with drama or music,
but rather with the living portrayal of dedicated Christians."
Yet Eggers is worried that liberals may only accept the methodology and forms of this program. He says nothing can change "unless content is changed; the gospel must become a matter of the heart." Christianity Today
This data no longer exists. As a response to my request for information: 1.04.05
...unfortunately we don´t have the article that you refered to. Of course: this article dates back many many years. A lot of great things have happend since then due to Willow. In fact, this February we have the Leadership Summit from Willow over here. 11.000 folks have registered already for that. That so many pastors and church leaders come together to learn about biblical leadership in the church, is staggering for us.
Gotthard Westhoff Willow Creek Germany
Von: Kenneth Sublett [mailto:email@example.com]
Gesendet: Dienstag, 4. Januar 2005 05:09
Betreff: Christianity Today Article
Because people do not change easily, the only way the new "political community" can be firmly established is to hire a professional facilitator to interpret and implement the strongly-resisted changes.
The Jewish clergy tried to get Jesus to sing and dance the effeminate choral of Dionysus. It comes as no surprise that when people repudiate everything but the "core gospel" they have an urgent need to disqualify the old Christ so that the new "third apostles" or Blackaby-King's new Christs can take over. The same phallic tribalism of PK gives rise to much of the new movement.
"Tribal groups (congregations?) had been brought together in a political community (denomination?)
giving legal rights to individuals,
and the authority of the dike, established custom,
had been transformed into diakaiosyne,
the ideal justice that must be interpreted and implemented by human intelligence.
By a parallel process, the worship of Dionysus ceased to consist merely of the traditional group songs and dances,
> developing into dramatic performances portraying specific individuals and
presenting new interpretations of the meaning of life." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 207, Knopf)
Now, again, compare Willow Creek - Woodmont Hills with the ancient Greeks goal:
Willow Creek's central message has nothing to do with drama or music,
> "but rather with the living portrayal of dedicated Christians."
The Greeks: the ideal justice that
must be interpreted and implemented by human intelligence. .. with "dramatic performances portraying specific individuals
From Traditionalism to Legalism
Nothing is clear in history than the fact that the worst kind of legalism was the pathetic need of people to search for the lost god through the work of singing, dancing, playing musical instruments and even drinking wine from new wineskins. This brought on a state of mental intoxication which was confused with the presence of the god. Thus, by human effort the musical worship team facilitator had helped bring the worshipers into the presence of God. This, as we have noted, makes the musical facilitator greater than the god he is manipulating.
Therefore, the alternative to traditionalism based on tested and tried conformity to the will of God is always legalism:
"There are a number of conflicting theories about the origins of the drama, but it is agreed that it began as a ritual, in the singing of choral songs at festivals of the god Dionysus (the wine in new wineskins god).
Ritual is always static and collective, its purpose being to summarize certain recurrent elements in human experience and prevent any break in the continuity of natural processes.
The transformation of the Athenian Dionysic rituals into tragic drama, which apparently took place under the tyranny of Pisistratus during the middle decades of the sixth century, was brought about
> partly by the addition of an individual performer who gave answers to the chorus, and
> partly when new compositions, dealing with other myths besides those of Dionysus,
were substituted for the traditional choric dithyrambs.
In this development was mirrored the whole evolution of the Athenian polis
> from the rule of tradition
> to the rule of law."
(Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 206, Knopf)
Footnote p. 206 "Hypocrites, the Greek word for actor (from the New Testament use of which is derived the English word 'hypocrit'), originally meant an answerer.
These rituals of ceremonial legalism were always based upon the belief that the poet, singer, dancer or instrumentalist performed under the inspiration of the gods. Rubel Shelly and Randy Harris seemed to have grown beyond the inspired Paul who showed that the Words of Christ are the new Spirit of speaking to one another to instruct and correct. Your old songs have no relevancy or power to conjure up images because they are not contemporary. The revealed Word of God is never contemporary - which seems elementary.
Rubel Shelly: Praise ought to be in relevant words and images, and it needs to be set to contemporary music. (Rubel Shelly and Randy Harris, The Second Incarnation, p. 136)
A "praise ritual" never existed in Judaism under the Law of Moses, in the Synagogue or in the early church. Praise Rituals are one of the most ancient, legalistic superstitions about God. The praise leaders or teams believed that they could aid the gods to keep the good things in life coming.
A theme of Jubilee 98 was for the left brain (masculine, truth-based) to adapt to the right brain (effeminate, emotion-based):
The right brain controls emotion, unconscious awareness such as dreams, emotional and melodic speech, singing and swearing, comprehension of music and body language, insight and intuitive reasoning, perception of environmental sounds, social-emotional nuances, dancing and other physical activities, as well as symbolic configuration or pattern formations. (New paradigms)
The left brain controls linguistic consciousness, talking, reading, writing, spelling, speech comprehension, keeping mathematical score, marching (like in the Army), as well as logical and analytical reasoning.
Repeating Ancient Paganism
"The Bacchae tells the story of Dionysos, the god of the vine, wine, and intoxication, who returns to his Theban birthplace to demand recognition.
He drives the women of Thebes mad with his spirit; they abandon the city and take to the hills of Mount Kitharon for a Dionysian bacchanal.
"When Pentheus, the young king of Thebes and by lineage the cousin of Dionysos, tries to restore order,
........... he finds the new god from the East a formidable opponent. Tragedy ensues. (In the end,
........... ........... the predicted end of man-man love resulted in "doing more harm than good")
"The backdrop to the central figures of Pentheus and Dionysos is the chorus of The Bacchae, female devotees of the god. The word bakkhos (masculine) or bakkh (feminine) designates someone who has been possessed by the god, who literally has the god within. (The word entheos, meaning "having the god [= theos] within," is the ultimate source of our word enthusiasm.) The feminine plural of this word, bakkhai, is Latinized as "bacchae," whence the name of the tragedy, Bacchae.
The play is named after the chorus, that is, the song-and-dance ensemble who stand for the true followers of the god.
[I.e. They are mediators between the gods and the paying audience]
These women are Lydians and hence foreigners (i.e. Barbarians) , accompanying Dionysos as he travels all the way from distant Lydia to the center of Hellenism, Thebes. For more Click Here
Grace is not "unlimited forgiveness for unlimited sins." Rather, grace is charisma or power to live as Christ would have us live. By making grace into liscense to let everyone do their own worship thing, sin is actually encouraged. The sin and the claim of overflowing grace becomes evil.
A fundamental part of the charismatic prophets who believed that they were ushering in the Messianic age was "the holiness of sin."
By deliberately violating the mores, religious beliefs and worship practices of the rurals,
........... the urbans believed that they could hasten God.
........... After all, didn't they say: "Let us sin that grace abound."
"The singing and dancing of the chorus of Bacchae, who stand for the Lydian women, is fundamentally an act of ritual, of worshipping the god.
........... This ritual of bacchic moderation is predicated on the myth of bacchic catastrophe.
........... Such a balance of moderation and catastrophe brings to life the theatre of Dionysos.
Click Here to see the Zoe Group and Lynn Anderson's weaving between moderation and catastrophe as the chief change agent's tool.
"Under the charm of the Dionysian, not only is the union between man and man reaffirmed, but nature which has become alienated, hostile or subjugated,
celebrates once more her reconciliation with her lost son, man. Freely earth proffers her gifts, and peacefully the beasts of prey of the rocks and desert approach. The chariot of Dionysus is covered with flowers and garlands; panthers and tigers walk under its yoke.
"Transform Beethoven's Hymn to joy into a painting; let your imagination conceive the multitudes bowing to the dust, awestruck- then you will approach the Dionysian.
Now the slave is a free man; now all the rigid, hostile barriers that necessity, caprice, or "impudent convention" have fixed between man and man are broken.
Now with the gospel of universal harmony, each one feels himself not only united, reconciled and fused with his neighbor, but as one with him, as if the veil of maya had been torn aside and were now merely fluttering in tatters before the mysterious primordial unity.
Thou hast ascended on high, thou hast led captivity captive: thou hast received gifts for men; yea, for the rebellious also, that the Lord God might dwell among them. Psalm 68:18
We should worry when the value of the "worship service" is measured by enthusiasm or exhilaration. Dionysus worship tried on Jesus was exactly what He came to destroy. The priests and Levites had been the musical worship team who exchanged sick lambs for the "worshiper's" money. In return they became the:
"Chorus or the song-and-dance ensemble who stand for the true followers of the god."
That is, even after Messiah came to fire them and tear down their "house" once again, they still had the Satanic arrogance to believe that they had the talent and authority to perform the worship for the "audience." They do it because they believe that their clergy offices give them access to God which you, the bankroller, do not have. Of Dionysus, the god of the NEW WINESKIN:
"One of the greatest of all Greek dramas, The Bacchae powerfully dramatizes the
conflict between the emotional and rational sides of the human psyche.
When the people of Thebes deny the existence of the god Dionysos, he punishes them
by unleashing the full force of female sexuality, thereby destroying social order and driving them to certain tragedy.
"The papacy also continued the practice of creating castratos (boys castrated before puberty to keep their singing voices high-pitched) for their own entertainment, long after it had fallen in disfavor throughout Italy.
Ea, the patron god of music, got drunk and let the female Inanna or Ishtar steal the ME: the supernatural power of mind control including "the authority of the eldership, the power of song and instrumental music and the power of licking the phallus." Ishtar/Tammuz were worshiped in the temple at Jerusalem and in your congregation.
"As the goddess of war and strife, she (Inanna/Ishtar) held the title Ninkur-ra-igi-ga, "the queen who eyes the highland" meaning that other lands feared her.
Battle was called the "dance of Inanna, and she was at the very heart of it.
She was "the star of the battle-cry, who can make brothers who have lived together in harmony fight each other".
She is known for causing the fall of the city of Agade."
Still feeding Lynn Anderson's Change Agentry by "cross-dressing" it up in religious symbols, the ancients understood that change happens gradually.
That which you reject in the name of Scripture is probably rejected because it repulses and revolts you - seeing men mimicking women to become more powerful as "priestesses" and "prophesiers." In time, however, after the musical worship team has performed by rising from the Paul-demanded "sedantary" position, they can gradually "stand over" and "rule over" the entire flock as powerful vocal preachers.
Once people leave the seats and take the chair or pulpit, it is easy to take the next step and feel that you are actually facilitating or mediating between God and the worshipers. For instance, one dancer quotes:
Karen Armstrong, in A History of God, shows how the pagan clergy attempted to neutralize the One God Who was spoken of as male:
- "God lay beyond 'gender' but, as in the Enuma Elish, each pair of emanations consisted of a male and female--a scheme which attempted to neutralize the masculine tenor of more conventional monotheism. Each pair of emanations grew weaker and more attenuated, since they were getting even further from their divine Source." (p. 95)
Speaking of the mystics, Armstrong showed how the new, gender-neutral gods are to be worshipped:
- "This God is to be approached through the imagination and can be seen as a kind of art form, akin to the other great artistic symbols that have expressed the ineffable mystery, beauty and the value of life.
- Mystics have used music, dancing, poetry, fiction, stories, painting, sculpture and architecture to express this Reality which goes beyond concepts." (P. 396)
Lynn Anderson: The mind-set of the times threatens to strip our faith of symbols, rituals, dramas, mystery, poetry, and story, which say about life and God what logic and reason and rationalism can never say. See Volkism By Roberta Walther Dancer-Mediatrix
We are called to be kings and priests (I Peter 2:9). In this study I would like to focus especially on the priesthood and some of the functions which they were responsible for, as well as how these functions relate to dance particularly in regards to intercession Webster's defines a priest as,
"One authorized to perform the sacred rites of a religion;
especially as a mediatory agent between man and God."
In the Dead Sea Scrolls "The War Rule" prescribed the duties of the chiefs of the Levites is defined:
- "The chiefs of their courses, from the age of fifty upwards, shall take their stand with their commissioners on their festivals, new moons and Sabbaths, and on every day of the year. These shall take their stand at the burnt offerings and sacrifices, to arrange the sweet smelling incense according to the will of God,
- to atone for all His congregation, and to satisfY themselves before Him continually at the table of glory.
The trumpets and harps were not to "worship God."
Nevertheless, this is what most theatrical performers claim: the power to move you into the presence of God. Therefore, consistent with the Zoe Group Concept, they are the feminine or effeminate goddesses on a level higher than Jesus Christ.
"As the Mother of the Logos (inferior to Zoe), Mary took on attributes of the Judaic biblical figure of Sophia, or Wisdom--described in Proverbs and Ecclesiasticus as God's eternal creation, a celestial feminine being who personified divine wisdom and mediating humanity's knowledge of God.
"In Roman Catholic theology, Mary was explicitly identified as Sophia. The relationship of the Old Testament Sophia to the New Testament Logos, both of which represented the divine creative and revelatory wisdom, was thus obliquely reflected in the relationship of Mary to Christ. The figure of the Virgin Mother also absorbed some of the original meaning and function of the Holy Spirit--as principle of divine presence in the Church, as comforter, as mediator of wisdom and spiritual birth, and as instrument of Christ's entrance into the world.
"Catholicism signified the disguised return to the religion of the Great Mother who had been defeated by Yahweh." (Tarnas, Richard, The Passion of the Western Mind, p. 480).
Eve or Sophia or Zoe were the mediatrix, the Mother of the gods:
- However, Paul said:
- Who will have all men to be saved, and to come unto the knowledge of the truth. 1 Tim 2:4
- For there is one God, and one mediator between God and men, the man Christ Jesus;1 Tim 2:5
- Who gave himself a ransom for all, to be testified in due time. 1 Tim 2:6
- "I am the way and the truth and the life. No one comes to the Father except through me." John 14:6
"As dancers we have a calling to be signs and symbols (IDOLS) to the people of God and to the world. We are to manifest His character in every step that we dance and every gesture that we make.
In our priestly duties as dancers we have an incredible resposibility.
We not only bring the offerings of the people to God, but as we dance we also
- provide a platform for God to step down upon in order to touch His people with His presence....
- I see us as a bridge between God and man, and bridges do get walked upon! So if we are to be anointed vessels of honor used for His glory, then we must not shy away from the fiery trials of purification that will surely come our way. As our lives are, so will our dance be!
The clergy mocking musically tried to TRIUMPH OVER Jesus. Jesus said that they were like the dionysics in that they were "children piping" trying to force Jesus to do the Dionysic song (lament) and dance (usually naked). This would prove to them that He WAS NOT the Messiah but that He was their hoped for Dionysus--the god of new wineskins.
"Shamanism often exists alongside and even in cooperation with the religious or healing practices of the community....Knowledge of other realms of being and consciousness and the cosmology of those regions is the basis of the shamanic perspective and power. With this knowledge,
- the shaman is able to serve as a bridge between the mundane and the higher and lower states.
- The shaman lives at the edge of reality as most people would recognize it and most commonly at the edge of society itself." - Dean Edwards, "Shamanism-General Overview"
And in Witchcraft:
"The circle above represents a circle of spirits, joined in prayer, standing around a healing light. Half are in body; half are in Spirit. They have joined hands,
- forming a bridge between the two worlds. Our faith tells us that once you entered this page, a link with Spirit has, indeed, been established. Please Click Here Before You Endanger Your Soul.
Nancy Qualls-Corbett's book, The Sacred Prostitute is quoted from:
"This division of sexuality and spirituality is rather recent in the history of religious experience.
- In most pagan societies, sexuality was seen as an important aspect of uniting the spiritual with the physical and with the worship of gods and goddesses.
"In many cities, sacred prostitutes "served" at the temples in order to be the mediatrix between the gods and humans. One writer [Nancy Qualls-Corbett, The Sacred Prostitute] notes,
- ...As the embodiment of the goddess in the mystical union of the sacred marriage, the sacred prostitute aroused the male and was the receptabcle for his passion...
- The sacred prostitute was the holy vessel wherein chthonic and spiritual forced united." (p. 53 MJ) [sic]
- "The qualities of the receptive feminine nature, so opposite from his own are embedded deep within his soul; the image of the sacred prostitute is viable within him. He is fully aware of the deep emotions within the sanctuary of his heart. He makes no specific claims on the woman herself, but carries her image, the personification of love and sexual joy into the world.
- His experience of the mysteries of sex and religion opens the door to the potential of on-going life; it accompanies the regeneration of the soul." [emphasis ours]
However, Paul not only demanded silence in the sense of not "making a discourse" he condemned standing over or presiding over the flock. Silence is:
Esuchios (g2272) hay-soo'-khee-os; a prol. form of a comp. prob. of a der. of the base of 1476 and perh. 2192 (to hold); prop. keeping one's seat (sedentary), i.e. (by impl.) still (undisturbed, undisturbing): - peaceable, quiet.
Hedraios (g1476) hed-rah'-yos; to sit; sedentary, i.e. (by impl.) immovable: - settled, stedfast (Click Here for more details)
"Of particular interest is the way that early modern playwrights, music theorists, and theater apologists addressed this conflated language of the "enemy," by echoing the same connections between sexuality and playing found in the most virulent antitheatrical tracts. As this paper will demonstrate, by "playing" with the conflated language, these writers defended their art,
justifying their existence in a society that was both seduced and repulsed by them. By claiming the polemical antitheatrical language, these players escaped from the ideological margins to which their opponents had tried to relegate them.
Using the artifices of mimesis (imitation) and comedy they pointed out and
defused their opponents' anxieties about music, theater, and sexuality, creating a space for players in the cultural mainstream."
Because the change agents probably know better, it is very likely that - as advertized in Lynn Anderson's book, The Winds of Change, - these men are using music and drama to break down sexual and traditional barriers so that they can, in Plato's words, change the laws. Thus, the move is from traditionalism to legalism.
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