Harps in Revelation 14:2

Don't the Harps in Revelation 14:2 Authorize Instruments of Music in Worship? No. This is highly symbolic SECRET language to Christians who understood the pagan belief that earthly music and instruments were made of SPIRITUAL stuff. The revelation of God is to enable us to worship the SPIRIT God and to prevent us from worshipping what He created. However, secular men insist upon worshipping the works of other men's hands and speaking their "revelations" in song and sermon to other "prophets" rather than as messengers from God to the lost.

God in Christ is never silent: that is because no mankind has any ability to draw God closer or make believers any more spiritual. That would smack of sorcery as John warns.  The Church is defined by Christ in a future sense in the prophets: that is why Peter specified the prophets and the prophecies made more perfect as the only thing that can cause the day star to arise in our heart.  The evil day star is called Lucifer which Christ defined as a singing and harp playing prostitute in the garden of Eden.

Those promoting musical machines when Jesus comes to be our only Teacher never look beyond a few phrases or verses and always ignore the context. Take a look at Revelation 5 which only those with a need to know can read.  The only clear significance of the ELDERS are those who usurped the throne of God by demanding a king like the nations: God knew that they wanted to worship like the nations. They had already been abandoned to the national (Babylonian) sacrificial system because of musical idolatry at Mount Sinai. The use of the Levite musicians under the king and commanders of the Army intended to typically prove their superiority to God. Perhaps they can throw down their crowns.

ADDED 7.10.13

The meaning of Beast in Revelation is "a new style of singing or drama."

Thêrion , to (in form Dim. of thêr), 
III. as a term of reproach, beast, creature, “ō deilotaton su thērionAr.Pl.439, cf. Eq.273; kolaki, deinō thēriōPl.Phdr.240b; “Krētes, kaka th.Epimenid.1; dusnouthetēton th., of poverty, Men. Georg.78; “ mousikē aei ti kainonthērion tiktei Anaxil.27, cf. Eup.132; ti de, ei autou tou thēriou ēkousate; said by Aeschines of
Kolax A. flatterer, fawner, parasite,
II. lisping pronunciation of korax, Ar.V.45.
2. in later Gr., = Att. goēs,
Goēs , ētos, ho,
A. sorcerer, wizard epōdos Ludias apo khthonosE.Ba.234
2. juggler, cheat, “deinos g. kai pharmakeus kai sophistēsPl.Smp.203d; “deinon kai g. kai sophistēn . . onomazōnD.18.276; “apistos g. ponērosId.19.109; “magos kai g

Sophis-tēs , ou, ho,
A. master of one's craft, adept, expert, of diviners, with modal words added, “hoi s. tōn hierōn melōn” [MELODY IN THE SHRINE]
3. later of the rhētores, Professors of Rhetoric, and prose writers of the Empire, such as Philostratus and Libanius, Suid.; “Apollōnidē sophistē [Abaddon, Apollyon]
PHARMAKIA identifies the speakers, singers and instrument players in Revelation 18: John called them sorcerers and says they will be (are) cast alive into the lake of fire.
III. as a term of reproach, beast, creature, hê mousikê aei ti kainon thêrion tiktei

Of the phrase

mousikê aei ti kainon thêrion tiktei

A.  Mousikos, musical, agônes m. kai gumnikoi  choroi te kai agônes ta mousika music,  

II. of persons, skilled in music, musical, X.l.c., etc.; poiêtikoi kai m. andres Pl.Lg.802b ; kuknos [minstrel]  kai alla zôia; peri aulous - professional musicians, mousikos kai melôn poêtês, use with singing, skilled in speaking before a mob. Melody, 

B. aei always
C. kainos , esp. of new dramas, the representation of the new tragedies,  (Aphrodisias dedicated to Aphrodite (ZOE); comedy, sexual love, pleasure, a woman's form of oath, Aster or Venus or ZOE.
D. Tikto mostly of the mother 
E. of Rhea one of the zoogonic or vivific principles

Rev. 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns. 

thêraô 1. to hunt or chase wild beasts,

Rev 15:2 And I saw as it were a sea of glass mingled with fire: and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, having the harps of God.

Revelation 5:8 And when he had taken the book,
        the four beasts and four and twenty elders fell down before the Lamb,
        having every one of them
                harps [comma often omitted]
                and golden vials full of odours,
                         which are the prayers of saints.

Worship is iN the spirit or mind as opposed to IN the flesh or IN a house built by human hands OR by the WORKS of human hands.  Both APPREHENDING the instrument of God AND prayers are IN the spirit or mind and never WITH musical instruments.  There was a demand for SILENCE in the literal throne room and a literal harp player who ventured inside was to be executed.

A Disciple or Student of Christ has TWO CHOICES for Having or Holding Harps

FIRST  Ekhō 9. possess mentally, understand, “hippōn dmēsinIl.17.476; “tekhnēnHes.Th.770; “pant' ekheis logonA. Ag.582, cf. E.Alc.51; “ekhete to pragmaS.Ph.789; ekheis ti; do you understand? Ar.Nu.733: imper.ekhe attend! listen!

OR 10. keep up, maintain, kanakhēn ekhe made a rattling noise, Il.16.105,794; boēn ekhon, of flutes and lyres, 18.495

A Disciple of Christ is given the instrument BY GOD:

Organon , to, (ergon, erdō) A.instrument, implement, tool, for making or doing a thing, engine of war,
FIRST 2. organ of sense or APPREHENDING,ta peri tas aisthēseis o.Pl.R.508b ; to o. katamanthanei hekastos ib.518c, cf. Tht.185c,

OR  3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhordaId.R.399c, al.; “met' ōdēs kai tinōn organōnPhld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2.
Revelation 5:9 And they sung a new song, saying,
"Thou art worthy to take the book [biblion], and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and nation; 
And hast made us unto our God kings and priests: and we shall reign on the earth. Revelation 5:10
When you sing to a deity you SPEAK or RECITE: We know exactly WHAT they recited so that we do not have any authority to FABRICATE our own song and sing complex HARMONY while PLAYING the harp which would not seem adult.
Legō  1.to say, speak, Hdt., Trag., etc.; lege say on, Hdt.; so, legois an Plat.: of oracles, to say, declare,
6. like Lat. dicere, to mean, ti touto legei; what does this mean?
7.Pass., legetai, like Lat. dicitur, it is said, on dit
9. to recite what is written, labe to biblion kai lege
dīco   to say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor, verba facio, dicto, dictito, oro, inquam, aio, fabulor, concionor, pronuntio, praedico, recito, declamo, affirmo, assevero, contendo
opp. ouden legei has no meaning, no authority, “ouden l. to sōphronōs traphēnaiAr.Eq.334,
Click for Jesus and the apostles SPOKE a HYMN (Biblical text) and WENT OUT which would be a good PATTERN withought having musicians PRETEND to be mediators.

Matthew 26.30 When they had 'hymned" they went out to the Mount of Olives.

I believe that the Latin agrees with the common understanding that "singing was using the normal inflections of the human voice." Especially when you are confessing God the Father by the use of a hymn or prayer which gives HIM the glory. Mature males then and probably now do not agree to get together to appease God with singing.

Matthew 26.30  et hymno dicto exierunt in montem Oliveti

Hymnus , i, m., = humnos, I. a song of praise, a hymn: “hymnus cantus est cum laude Dei,Aug. Enarr. in Psa. 148, 17; Ambros. Expos. Psa. 118, prol. § 3; Lucil. ap. Non. 330, 9; Prud. Cath. 37 praef.; 4, 75: “divinorum scriptor hymnorum, Lact. 4, 8, 14; Vulg. Psa. 60 tit.; id. Matt. 26, 30.

Psalm 60 A teaching poem by David, when he fought with Aram Naharaim and with Aram Zobah, and Joab returned, and killed twelve thousand of Edom in the Valley of Salt.

There is no SINGING TUNEFULLY involved in hymning:

Dīcoto say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,
Ontōs , Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs a^, Dor. ala_thēs , es, (lēthō,
I. Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3. of oracles, true, unerring, “alathea mantiōn thōkonPi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthaiHdt. 1.14
        Opposite Epos
1. song or lay accompanied by music, 8.91,17.519. b. generally, poetry, even lyrics
        5. celebrate, of poets, “Aiantos bian
Acts 7:38 This is he, that was in the church in the wilderness with the angel which spake to him in the mount Sina, and with our fathers: who received the lively oracles to give unto us:
Romans 3:2 Much every way: chiefly, because that unto them were committed the oracles of God.
Hebrews 5:12 For when for the time ye ought to be teachers, ye have need that one teach you again which be the first principles of the oracles of God; and are become such as have need of milk, and not of strong meat.
1Peter 4:11 If any man speak, let him speak as the oracles of God; if any man minister, let him do it as of the ability which God giveth: that God in all things may be glorified through Jesus Christ, to whom be praise and dominion for ever and ever. Amen.
Luke 2.34 and Simeon blessed them, and said to Mary, his mother, "Behold, this child is set for the falling and the rising of many in Israel, and for a sign which is spoken against.
They SAID the song and we know exactly the words used: you cannot insert your own song or sermon here.


Revelation 5:11 And I beheld, and I heard the voice of MANY ANGELS
        round about the throne and the beasts and the elders:
        and the number of them was ten thousand times ten thousand,
        and thousands of thousands;
Revelation 5:12 SAYING with a loud voice,
        "Worthy is the Lamb that was slain to receive power, and riches,
        and wisdom, and strength, and honour, and glory, and blessing."


Revelation 5:13 And EVERY CREATURE which is in heaven, and on the earth,
        and under the earth, and such as are in the sea, and all that are in them,
        heard I SAYING,
                "Blessing, and honour, and glory, and power,
                be unto him that sitteth upon the throne,
                and unto the Lamb for ever and ever. "


Symbols speak beyond themselves: Jesus said that truth had been hidden in parables from the foundation of the world.  and He did not speak to the masses of the WORLD (Kosmos) or to the WISE (Sophos: rhetoricians, singers and instrument players): poets and song writers were never permitted to write true history."

Updated 5.19.10 Click to see that the SOUNDS are to CALL ATTENTION and not to literally worship:
Updated 5.15.10 6:16
Updated 5.14.10 4:40


Nietzsche Tragedy

In these Greek festivals, for the first time nature achieves its artistic jubilee. In them, for the first time,

the tearing apart of the principii individuationis [the individualizing principle] becomes an artistic phenomenon.

Here that dreadful witches' potion of lust and cruelty was without power. The strange mixture and ambiguity in the emotions of the Dionysian celebrant remind him, as healing potions remind him of deadly poison, of that sense that pain awakens joy, that the jubilation in his chest rips out cries of agony.

From the most sublime joy echoes the cry of horror or the longingly plaintive lament over an irreparable loss. In those Greek festivals it was as if a sentimental feature of nature is breaking out, as if nature has to sigh over her dismemberment into separate individuals.

The language of song and poetry of such a doubly defined celebrant was for the Homeric Greek world something new and unheard of.

Dionysian music especially awoke in that world fear and terror. If music was apparently already known as an Apollonian art, this music, strictly speaking, was a rhythmic pattern like the sound of waves, whose artistic power had developed for presenting Apollonian states of mind. The music of Apollo was Doric architecture expressed in sound, but only in intimate tones, characteristic of the cithara [a traditional stringed instrument}. The un-Apollonian character of Dionysian music keeps such an element of gentle caution at a distance, and with that turns music generally into emotionally disturbing tonal power, a unified stream of melody, and the totally incomparable world of harmony.

NEW 5.20.10
Isaiah 50 the Smiting and Plucking and Shaming all point to Him being treated like a priest of Cybele or a Dionysus priest always naked and perverted.  Paul outlaws these sects in Romans 14 who were marked by their diet in the marketplace.  In Revelation 15 Paul said that could not engage in the SELF-pleasure which is defined as all of the performing arts and connects this to the REPROACES Jesus suffered for out sins. This leaves us free to engage in "synagogue" where we speak "that which is written."

Isaiah 55 clearly defines both inclusively and exclusively of His Words which provide spirit and life.  Peter uses many of the same concepts to dare anyone to teach beyond the written memory of the Apostles who were eye and ear witnesses. This is a quick study for today. If that awas not enough authority He defines the true Rest for the future church to exclude personal pleasure or even speaking your own words.  "Teach that which has been taught" should be warning enough.

Isaiah 58 has Christ urging a restoration and, as in the church in the wilderness, and Paul for the assembly forbidding seeking our own pleasure or even speaking our own words.

Claiming the use of MUSIC to unchain people was the goal of all pagan, perverted musical "worship" intending to make the lambs dumb before the slaughter.
  1. First: the SOUNDS LIKE which can be heard above Zion are all sounds which create alarm or panic.
  2. Second: when you hear these SOUNDS-LIKE in the New Zion it will be a sound of Judgment.
  3. The Second angel then warns you to worship God and PREACH THE GOSPEL: time is up.
  4. The Third angel connects back to the fall of Lucifer personified in the Garden, by Tyre and by Babylon.
Revelation 17 is another warning of the Babylonian Mother of Harlots. In Revelation 18 she uses speakers, singers and instrument players and other craftsmen and John calls them sorcerers who HAD deceived the whole world.  In Revelation 19 the instruments have been silenced in those churches whose lamps have not been removed.

See the connection of MUSIC among the living and the Pruning Hook.


Ezekiel speaking for God defines the condition of Israel which would destroy them:

Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Ezek 33:30

And they come unto thee as the people cometh, and they sit before thee as my people, and they hear thy words, but they will not do them: for with their mouth they shew much love, but their heart goeth after their covetousness. Ezek 33:31

And, lo, thou art unto them as a very lovely song of one that hath a pleasant voice, and can play well on an instrument: for they hear thy words, but they do them not. Ezek 33:32

And when this cometh to pass, (lo, it will come,) then shall they know that a prophet hath been among them. Ezek 33:33

Entertaining singing and playing instruments IS the mark that people have no regard for the Works of God's hand.

Woe unto them that rise up early in the morning, that they may follow strong drink; that continue until night, till wine inflame them Isa 5:11

And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:

but they regard not the work of the Lord,
neither consider the operation of his hands. Is.5:12

Amos defines the Marzeah which was a musical festival WITH and FOR dead ancestors. This is quite identical to the BAAL EPIC which defines "god" as fall down drunk.

So the next day they rose early and offered burnt offerings, and brought peace offerings;
Woe to you who are complacent in Zion, and to you who feel secure on Mount Samaria" (Amos 6:1). (The complacent do not fully observe God's Law).
and the people sat down to eat and drink, and rose up to play (Exod 32:6). (Play includes musical instruments)
Woe to those who sing idle songs to the viol and who improvise upon instruments like David" (Amos 6:1a, 5)
But he said, 'It is not the sound of the cry of triumph, nor is it the sound of the cry of defeat; but the sound of singing I hear (Exod. 32:18)
they drink wine in bowls (and their singing was part of the pagan Marzeach- a feast with and for dead ancestors. See also Isaiah 5)
They have quickly turned aside from the way which I commanded them. They have made for themselves a molten calf, and worshiped it (Exod. 32:8a).
You also carried along Sikkuth your king and Kiyyun, your images, the star of your gods which you made for yourselves (Amos 5:26)
Now then let Me alone, that My anger may burn against them, that I may destroy them; and I will make of you a great nation (Exod. 32:10)
Therefore, they will now go into exile at the head of the exiles (Amos 6:7a)

Exodus 32 Defines the meaning of rising up to play to PROFANE the Sabbath.

This is the same vocal or instrumental rejoicing outlawed for the Church of Christ in the wilderness.

THIS DEFINES WHY ISRAEL WAS DESTROYED AND JUDAH WENT INTO BABYLONIAN CAPTIVITY: THAT IS WHY THEY HELD THEIR HARPS. Not in this example or anywhere: not even in the vilest pagan temple did the SINGERS or MUSICIANS ever enter into the holy precincts into the presence of their "god." See this illustrated in Amos

If God approved of being worshipped with what was the secular weapon of the prostitute, why would He compromise this by drawing negative conclusions!

As the Jews went into the first Babylonian captivity as God carrying out His death sentence because of the musical idolatry at Mount Sinai we have Psalm 137 saying:

BY the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
We hanged our harps upon the willows in the midst thereof. Psa 137:2 Psa 137:1
For there they that
carried us away captive required of us a song; 
and they that wasted us required of us
mirth, saying, Sing us one of the songs of Zion. Psa 137:3  

The Levitical Warrior Musicians or noise makers served (hard bondage like "abaddon, apollyon or apollo)) the priests in the sacrificial system. This was not a place of public worship but a "like thenation's" temple for the king, clergy and government officials. The "congregation" never included the common people.   

"Hebrew music... was used in the luxurious times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and stretched upon their couches of ivory, were wont at their banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and amused themselves with devising musical instruments while their nation was perishing... music was the legitimate expression of mirth and gladness, and the indication of peace and prosperity." (Smith's Bible Dictionary, Music, p. 590).


OUR citizenship is in heaven but we are still in "Babylonian captivity." During this captivity we are at war against principalities and powers in heavenly places. Therefore, as the WILLOW TREE was the symbol of Orpheus who is the inventor of THRESKIA or charismatic (perverted) musical worship, we must HOLD our harps. As we will see you cannot fall on your face and PLAY instruments at the same time. Paul said that our attack is not with CARNAL WEAPONS which means LIFELESS INSTRUMENTS. Our weapon is the Sword of the Spirit, the Word of God where "church" is a school of the Bible and never a pagan worship center.

Satan's sin was giving the mortals of the pleasures of heaven where we have no responsibility but the story of the angel ot the living was to "PREACH THE GOSPEL IN EVERY TONGUE" or native dialect.

"In the Apocalypse, no doubt, we read of " harpers harping with their harps;" but the book where this occurs, is a symbolical book; and it would be absurd to understand it in any other than a symbolical sense.

"If the "harpers" are to be understood literally; the offering of "incense," referred to in that book, must be understood literally too.

"The beast with the seven heads and ten horns, must be a literal beast; and the woman that sits on the back of it, must be a literal woman.

"Who, in his senses, would contend for such a principle of interpretation in regard to these? But this must be contended for, and maintained, before any argument can be drawn from the "harpers" of the Book of Revelation, in favour of the use of instrumental music in the Gospel Church.

We know that HOLDING harps does not mean PLAYING harps: holding means "apprehending" the Word of God. The incense is the "fruit of the lips" and we know that in the pattern in heaven no singer or instrument player could enter or come near any holy place or thing in the Tabernacle or the temple. Making noise in the "holy place" would have  Christ violating all of the patterns and direct commands not to make vocal or instrumental noises in the synagogue or church in the wilderness.

See Brown and the Allegorical language.
See the Lament of the Fallen Angels

The harps in heaven symbolize the REST of the dead who have triumphed in life. They signify that the person has no more earthly responsibility and can take their ease, rest and relax. This is a common image of the Greek world: the "dead" are cheered by having instruments carved on their tombstones. Or the living who are pictured on tombstones bringing instruments to the dead are never playing them.

And he said, This will I do: I will pull down my barns, and build greater; and there will I bestow all my fruits and my goods. Luke 12:18

And I will say to my soul, Soul, thou hast much goods laid up for many years; take thine ease, eat, drink, and be merry. Luke 12:19

But God said unto him, Thou fool, this night thy soul shall be required of thee: then whose shall those things be, which thou hast provided? Luke 12:20

This is consistent with the book of Revelation: the totally pure dead are pictured as free of responsibility but the living have the duty to teach the Word of God. No living person is pictured playing a harp on the memorials.

Etruscan, 490-470 BC From Chiusi, Tuscany, Italy Music for the after-life

This is one side of a limestone cippus, or marker, which would have been placed outside a tomb. They were usually surmounted either by a stone sphere, thought to denote a female burial, or a cone, thought to denote a male. The sides are often decorated in shallow relief with scenes

showing activities which were enjoyed during life, such as hunting and banqueting. Presumably it was hoped the deceased would be able to continue enjoying them in some way.

This cippus is decorated on all four sides with scenes showing music and dancing: here and on another side are a boy playing the double pipes between a man and a woman dancing, while on the remaining sides are a boy with a lyre between two youths dancing and a girl between a man and a woman.

Harps in the Book of Revelation

Now, let's take a look at the use of harps in the bok of Revelation. It should be clear to all that these musical instruments in connection with the secret song from God is a coded warning to the people under overpowering influence from the musical prophetesses speaking in tongues under the influence of something like laughing gas. Furthermore, she got her message from the earth.

Using the word as indicates the language of parable. Nevertheless, the 144,000 Jewish males who are allowed to learn speaking to and for God, must be innocent virgins. The unknown song indicates that they had the power of prophets in a real sense while the pagans of the time pretended to have the power and sold it using pretend or dramatic virgins. These pseudo-virgins literally "spoke in tongues" when they were drugged or gassed by the "breath" (spirit) from the fissure in the earth:

However, Scripture is usually inspired to warn Christians against pagan practices: 

Note that the 144,000 are on the Earth:

AND I looked, and, lo, a Lamb stood on the mount Sion, and with him an hundred forty and four thousand, having his Fathers name written in their foreheads. Rev 14:1

What they heard was from heaven--in the atmosphere over Zion.

And I heard a voice from heaven,
as the voice of many waters, and
the voice of a great thunder:
and I heard the voice of harpers harping with their harps: Rev 14:2
And I heard a sound from heaven
..........like the roar of rushing waters and
..........like a loud peal of thunder. The sound I heard was
..........like that of harpists playing their harps. Rev 14:2NIV
And I heard a voice from heaven,
..........like the sound of many waters and
..........like the sound of loud thunder, and the voice which I heard was
..........like the sound of harpists playing on their harps. Rev 14:2NAS

And I heard a voice from heaven
..........like the sound of many waters and
..........like the sound of loud thunder; the voice I heard was
..........like the sound of harpers playing on their harps Revelation 14:2RSV

Keladeo sound as flowing water 2. of persons, shout aloud, atar keladēsan Akhaioi, in applause. keladeonti amphi Kinuran phamaiPi.P.2.15: c. acc. cogn., “k. humnous” lSound of the grasshopper, ring bells, of the flute, sing of, celebrate loudly.

There is nothing to support the voice "of harpers harping with their harps in either Latin or Greek.

We have noted that when you hear these SOUNDSthe next angel sounds a warning that you should PREACH THE GOSPEL: time is short.

NEW: 5.19.10

2 kai ēkousa phōnēn ek tou ouranouhōs phōnēn hudatōn pollōnkai hōs phōnēn brontēs megalēs, kai phōnē hēn ēkousa hōs kitharōdōn kitharizontōn en tais kitharais autōn.

Sound Latin: Voco to call upon, summon, invoke; to call together, convoke,
                        1. To cite, summon into court, before a magistrat
                        3. In gen., to call, invite, exhort, summon, urge, stimulate
                        b. Of inanimate or abstract subjects, to invite, call, summon, incite, arouse:

This is identical to the direct command for the Qahal, synagogue or Church of Christ in the wilderness.

Commanded by Christ for the Qahal, synagogue or church in the wilderness.
Num. 10:7 But when the congregation is to be gathered together,
        ye shall blow,
        but ye shall not sound an alarm.

[7] quando autem congregandus est populus simplex tubarum clangor erit et non concise ululabunt

Congregoin Academiā congregati,Academia where Plato taught; whence his scholars were called Academici, and his doctrine Philosophia Academica, in distinction from Stoica, Cynica, etc.

Simplex I. In gen., simple, plain, uncompounded, unmixedfree from complication. direct, guileless, artless,
Cyrenaica philosophia, quam ille et ejus posteri simpliciter defenderunt,Cic. de Or. 3, 17, 62:
Cynĭcus , i, m., = kunikos (doglike).
I. Subst., a Cynic philosopher, a Cynic, Cic. de Or. 3, 17, 62; id. Fin. 3, 20, 68; Hor. Ep. 1, 17, 18; Juv. 13, 121: “nudi dolia,” i. e. of Diogenes, id. 14, 309.—Hence, adj.: Cynĭcus , a, um, Cynic: “institutio,Tac. A. 16, 34: “cena,Petr. 14; and in * adv.: Cynĭcē , after the manner of the Cynics, Plaut. Stich. 5, 4, 22.—
II. Suffering by spasmos kunikos, spasmodic distortion, Plin. 25, 5, 24, § 60; cf. Cels. 4, 2, 2

Cano  melodious sounds, like a cock
a. A shameless, vile person, Plaut. Most. 1, 1, 40; Ter. Eun. 4, 7, 33
b. fierce or enraged person, Plaut. Men. 5, 1, 14; 5, 1, 18; Hyg. Fab. 3; cf. Cic. Rosc. Am. 20, 57; S
2. As the regular designation of the hangers-on or parasites of an eminent or rich Roman; a follower, dog, creature
called also viperius,id. Am. 3, 12, 26: “Tartareus,
trĭformis , e, adj. ter - forma, I. having three forms, shapes, or natures; threefold, triple, triform (poet.): “Chimaera,Hor. C. 1, 27, 23: “canis,” i. e. Cerberus, Sen. Herc. Oet. 1202: “Geryon,id. Agam. 841: diva, i. e. Diana, who was also Luna and Hecate, Hor. C. 3, 22, 4; called also triformis dea, Ov. M. 7, 94: “mundus, because composed of air, earth, and water,

Chĭmaera , ae, f., = Khimaira (lit. a goat),
I. a fabulous monster in Lycia, which vomited fire; in front a lion, in the hinder part a dragon, and in the middle a goat; slain by Bellerophon, Cic. N. D. 1, 38, 108; 2, 2, 5; Lucr. 5, 903; 2, 705; Tib. 3, 4, 86; Verg. A. 6, 288; Hor. C. 1, 27, 24; 2, 17, 13; 4, 2, 16; Ov. Tr. 4, 7, 13; 2, 397; Sen. Ep. 113, 8; Hyg. Fab. 57; Serv. ad Verg. A. 5, 118; 6, 288; its figure, used to adorn a helmet, Verg. A. 7, 785.— 

kunikos 1 [kuôn] I. dog-like, Lat. caninus, Xen. II. Kunikos, ou, a Cynic, as the followers of the philosopher Antisthenes were called, Plut.

The trumpet could SOUND but not in the anxiety arousing form of going to war or celebrating victory.

Tuba I. a trumpet, esp. a war-trumpet (straight, while the cornu was curved,
b. Sonorous, elevated epic poetry,
c. A lofty style of speaking


Concido  I. to cut up, cut through, cut away, cut to pieces, to bring to ruin, destroy, etc. (class. in prose and poetry).
A. Of discourse, to divide minutely, dismember, render feeble
The Greek for melody is Melos limb by limb, dismember especailly a musical member B. esp. musical member, phrase: hence, song, strain, first in h.Hom.19.16
Ululo ,  Howl, Shreik
sing out Cano to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc.
2. Of the faulty delivery of an orator, to speak in a sing-song tone:
In the lang. of the Pythagoreans, of the heavenly bodies (considered as living beings),the music of the spheres, Cic. N. D. 3, 11, 27.—
C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,
a. In gen., to sing, to cause to resound, to celebrate in song, to sing of, Lucr. 5, 328
C. Since the responses of oracles were given in verse, to prophesy, foretell, predict.
A. Act.: “bellicum (lit. and trop.) canere, v. bellicus: classicum, v. classicus: signa canere jubet,to give the signal for battle
Sound. Phone A.  sound, tone, prop., the sound of the voice, whether of men or animals with lungs and throat
I.  mostly of human beings, speech, voice, utterance
of the battle-cry of an army, of the cries of market-people
with one voice,  the notes of the voice,
Hom. Il. 15.592 [615] But fain was he to break the ranks of men, making trial of them wheresoever he saw the greatest throng and the goodliest arms. Yet not even so did he avail to break them, for all he was so eager; for they abode firm-fixed as it were a wall, like a crag, sheer and great, hard by the grey sea, [620] that abideth the swift paths of the shrill winds, and the swelling waves that belch forth against it; even so the Danaans withstood the Trojans steadfastly, and fled not

However, the LITERAL sounds in Revelation 18 John calls "sorcerers."  The "heaven" are terms used in paganism and the role of Christ is to replace them: 
Ouranos vault or firmament of heaven, sky  
Hesperos, hos kallistos en ouranō histatai astēr22.318; “ouranos asteroeis6.108,al.
2. heaven, as the seat of the gods, outside or above this skyey vault, the portion of Zeus (v. Olumpos),  15.192, cf.Od.1.67,
Heaven-gate, i. e. a thick cloud, which the Hōrai lifted and put down like a trap-door, 5.749, 8.393; so, later, hoi ex ouranou the gods of heaven,

Opora III. metaph., life's summer, the time of youthful ripeness, Pi.I.2.5 ; tereinan mater' oinanthas opōran (v. oinanthē) Id.N.5.6 ; ripe virginity, A.Supp.998, 1015 ; “o. Kupridos
Therefore, rather than worship the creature and the heavens, we are commanded worship God Who MADE all of these things:

Rev. 14:6 And I saw another angel fly in the midst of heaven,
        having the everlasting gospel to preach unto them that dwell on the earth,
        and to every nation, and kindred, and tongue, and people,
Rev. 14:7 Saying with a loud voice, Fear God, and give glory to him;
        for the hour of his judgment is come:
        and worship him that MADE heaven, and earth, and the sea, and the fountains of waters.
Rev. 14:8 And there followed another angel,
        saying, Babylon is fallen, is fallen, that great city,
        because she made all nations drink of the wine of the wrath of her fornication.

A musical instrument or organon is a machine for doing hard work in warfare or producing the "shock and awe" to induce fear or panic in the "presence" of the Divine.  This can be sold at retail meaning to corrupt the word.  The ancients had water organs, machines which performed magic tricks on the state, machines make thunder and the 'rushing waters' at a high technical level. 


as well as the sounds of judgment.

Cic. Catil. 2.22 [22] There is a fifth class [genus], of parricides, assassins [Sicarius], in short of all infamous characters, whom I do not wish to recall from Catiline, and indeed they cannot be separated from him. Let them perish in their wicked war, since they are so numerous that a prison cannot contain them.
vĕnēfĭcĭum , ii, n. veneficus ac-cūso
II. The preparation of magic potions, magic, sorcery: subito totam causam oblitus est: “idque veneficiis et cantionibus Titiniae factum esse dicebat,Cic. Brut. 60, 217;
Cantĭo , ōnis, f. cano, lit. a singing, playing; hence meton. abstr. pro concr..
I. A song (rare; “mostly ante-class.),Plaut. Stich. 5, 4, 25; 5, 5, 19; 5, 6, 8; Suet. Ner. 25; “of birds,App. Flor. 2, p. 349, 11; Fronto ad Ver. 1 (cf. cantatio).—
II. An incantation, charm, spell, Cato, R. R. 160: “subito totam causam oblitus est, idque veneficiis et cantionibus Titiniae factum dicebat,Cic. Brut. 60, 217; App. M. 1, 10, p. 106, 27.

Vitr. 1.1 8. Music, also, the architect ought to understand so that he may have knowledge of the canonical and mathematical theory, and besides be able to tune ballistae, catapultae, and scorpiones to the proper key.

9. In theatres, likewise, there are the bronze vessels (in Greek ēkheion) which are placed in niches under the seats in accordance with the musical intervals on mathematical principles. These vessels are arranged with a view to musical concords or harmony, and apportioned in the compass of the fourth, the fifth, and the octave, and so on up to the double octave, in such a way that when the voice of an actor falls in unison with any of them its power is increased, and it reaches the ears of the audience with greater clearness and sweetness. Water organs, too, and the other instruments which resemble them cannot be made by one who is without the principles of music.
-ēkheion , to, (ēkhos)
A. drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2.
II. in the lyre, = khalkōma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5.
2. Adj. ēkheion organon sounding instrument,

Aristoph. Cl. 292

O ye greatly venerable Clouds, ye have clearly heard me when I called.

Turning to Strepsiades.

Did you hear the voice, and the thunder which bellowed at the same time, feared as a god?

I too worship you, O ye highly honoured, and am inclined to reply to the thundering, so much do I tremble at them and am alarmed. And whether it be lawful, or be not lawful, I have a desire just now to ease myself.

Organon , to, (ergon, erdō) A. instrument, implement, tool, for making or doing a thing
3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhordaId.R.399c, al.; “met' ōdēs kai tinōn organōnPhld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2.
Plut. Crass. 23 But when they were near the Romans and the signal was raised by their commander, first of all they filled the plain with the sound of a deep and terrifying roar. [7] For the Parthians do not incite themselves to battle with horns or trumpets, but they have hollow drums of distended hide, covered with bronze bells, and on these they beat all at once in many quarters, and the instruments give forth a low and dismal tone, a blend of wild beast's roar and harsh thunder peal. 
        They had rightly judged that, of all the senses,
        hearing is the one most apt to confound the soul,
        soonest rouses its emotions,
        and most effectively unseats the judgment.
Medical science now knows that music creates endorphins which create the impulse of fight, flight or sexuality.
-Organon,(ergon, erdō) machines for doing hard WORK in making war or creating religious anxity.  3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organôn ekêlei anthrôpous, of Marsyas, Pl.Smp.215c ; aneu organôn psilois logois ibid., cf. Plt.268b ; o. poluchorda Id.R.399c , al.; met' ôidês kai tinôn organôn Phld.Mus.p.98K. ; of the pipe,  [Jubal "handled" instruments without authority}
Polu-khordos , on, A. many-stringed,barbitonTheoc.16.45; many-toned, of the flute,
Plat. Sym. 215c Why, yes, and a far more marvellous one than the satyr. His lips indeed had power to entrance mankind by means of instruments;  
        KELEO A. charm, bewitch, beguile, esp. by music, “korēn humnoisiE.Alc.359; “ōdais

a thing still possible today for anyone who can pipe his tunes: for the music of Olympus' flute belonged, I may tell you, to Marsyas his teacher.
        So that if anyone, whether a fine flute-player or paltry flute-girl,
        can but flute his tunes, they have no equal for exciting a ravishment,
        and will indicate by the divinity that is in them
       who are apt recipients of the deities and their sanctifications.
You differ from him in one point only—that you produce the same effect with simple prose unaided by instruments. For example, when we hear any other person—

-Echetês A. clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., Tettix , ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.


Hes. WD 582 [580] dawn which appears and sets many men on their road, and puts yokes on many oxen. But when the artichoke flowers, [June] and the chirping grass-hopper sits in a tree and pours down his shrill song continually from under his wings in the season of wearisome heat, [585] 
        then goats are plumpest
        and wine sweetest;
        women are most wanton,
        but men are feeblest,

Aesch. PB 575 Io

[575] The waxen pipe drones forth in accompaniment a clear-sounding slumberous strain. Alas, alas! Where is my far-roaming wandering course taking me? In what, O son of Cronus, in what have you found offence so that you have bound me [580] to this yoke of misery—aah! are you harassing a wretched maiden to frenzy by this terror of the pursuing gadfly? Consume me with fire, or hide me in the earth, or give me to the monsters of the deep to devour; but do not grudge, 
        O Lord, the favor that I pray for.
        [585] My far-roaming wanderings have taught me enough,
        and I cannot discern how to escape my sufferings.
        Do you hear the voice of the horned virgin?
Amos 8:10 And I will turn your feasts into mourning, and all your songs into lamentation;
        and I will bring up sackcloth upon all loins, and baldness upon every head;
        and I will make it as the mourning of an only son,
       and the end thereof as a bitter day.
Amos 8:11 Behold, the days come, saith the Lord GOD,  
    that I will send a famine in the land, not a famine of bread, nor a thirst for water,
        but of hearing the words of the LORD:

Amos 8:12 And they shall wander from sea to sea, and from the north even to the east,
        they shall run to and fro to seek the word of the LORD, and shall not find it.
-Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]
1. shaft of an arrow, Il.11.584.
2. shepherd's pipe, Pi. P.12.25 (pl.), A.Pr.574 (lyr.), Theoc.20.29.
4. bridge of the lyre, Ar.Ra. 232.

Pythian 12
For Midas of Acragas Flute-Playing Contest 490 B. C 

I beseech you, splendor-loving city, most beautiful on earth, home of Persephone; you who inhabit the hill of well-built dwellings above the banks of sheep-pasturing Acragas: be propitious, and with the goodwill of gods and men, mistress, [5] receive this victory garland from Pytho in honor of renowned Midas, and receive the victor himself, champion of Hellas
        in that art which once Pallas Athena discovered when she wove into music the dire dirge
        of the reckless Gorgons which Perseus heard
        [10] pouring in slow anguish from beneath the horrible snakey hair of the maidens,
when he did away with the third sister and brought death to sea-girt Seriphus and its people. Yes, he brought darkness on the monstrous race of Phorcus, and he repaid Polydectes with a deadly wedding-present for the long [15] slavery of his mother and her forced bridal bed; he stripped off the head of beautiful Medusa, Perseus, the son of Danae, who they say was conceived in a spontaneous shower of gold.
        But when the virgin goddess had released that beloved man from those labors,
        she created the many-voiced song of flutes
        [20] so that she could imitate with musical instruments the shrill cry
             that reached her ears from the fast-moving jaws of Euryale.

The goddess discovered it; but she discovered it for mortal men to have,
        and called it the many-headed strain,
        the glorious strain that entices the people to gather at contests,

[25] often sounding through thin plates of brass and through reeds,
        which grow beside the city of lovely choruses, the city of the Graces,
        in the sacred precinct of the nymph of Cephisus,
        reeds that are the faithful witnesses of the dancers.
        If there is any prosperity among men, it does not appear without hardship.
        A god will indeed grant it in full today . . .
[30] What is fated cannot be escaped. But that time will come, striking unexpectedly,
            and give one thing beyond all expectation, and withhold another.
Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?
-Don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree
         kardian to agitate one's mind
, hêmas edonêsen hê mousikê,
II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humnôn
rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran [harp] te boai kanachai t' aulôn [flute] doneontai Id.P.10.39 ;  
"Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.
Hippolytus V
"Yobal 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 Satan had been made ruler (or prince) of that camp
And when the men and women were stirred up to lascivious frenzy by the devilish playing of the reeds which emitted musical sounds, and by the harps which the men played through the operation of the power of the devils, and by the sounds of the tambourines and of the sistra which were beaten and rattled through the agency of evil spirits, the sounds of their laughter were heard in the air above them, and ascended to that holy mountain.
Outlawed: Eph. 4:14 That we henceforth be no more children, tossed to and fro, and carried about with every wind of doctrine, by the sleight of men, and cunning craftiness, whereby they lie in wait to deceive;
Panourgos A. ready to do anything, wicked, knavish, “p. te kai sophosPl.R.409c  kai hupokritikōs legein ta epē
Plat. Rep. 409c by the instrument of mere knowledge and not by experience of his own.” “That at any rate,” he said, “appears to be the noblest kind of judge.” “And what is more, a good one,” I said, “which was the gist of your question. For he who has a good soul is good. But that cunning fellow quick to suspect evil, and who has himself done many unjust acts and who thinks himself a smart trickster, when he associates with his like does appear to be clever, being on his guard and fixing his eyes on the patterns within himself. But when the time comes for him to mingle with the good and his elders,
Sophos A. [select] skilled in any handicraft or art, clever mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238

Hupo-kritikos   having a good delivery, 3. metaph., acting a part, pretending to 
Commanded, Exampled and necessarily inferenced for an ekklesia. 

Eph. 4:15 But speaking the truth in love, may grow up into him in all things, which is the head, even Christ:
But what went ye out for to see? A man clothed in soft (clothes of a Catamite=male prostitute) raiment? Behold, they which are gorgeously apparelled, and live delicately (effeminate), are in kings courts. Luke 7:25

Zeus was part of the sexual, homosexual and musical abomination of desolation in Jerusalem. First Maccabees makes this very clear. Therefore, while those who impose this music into the assemblies of Christ, they blame those they have offended with being DIOTREPHES.
Diotrephes, dee-ot-ref-ace´; from the alternate of 2203 and 5142; Jove-nourished; Diotrephes, an opponent of Christianity: — Diotrephes 
2203. Zeus Zeus, dzyooce; of uncertain affinity; in the oblique cases there is used instead of it a (probably cognate) name
    Dis, deece, which is otherwise obsolete; Zeus or Dis (among the Latins, Jupiter or Jove), the supreme deity of the Greeks: — Jupiter.

Apollo (Abaddon, Apollyon) is the son of Zeus.
3John 7 Because that for his name’s sake they went forth,
        taking nothing of the Gentiles.

3John 8 We therefore ought to receive such,
        that we might be fellowhelpers to the truth.
3John 9 I wrote unto the church:
        but Diotrephes, who loveth to have the preeminence among them, receiveth us not.
3John 10 Wherefore, if I come, I will remember his deeds [works] which he doeth,
Ergon1. in Il. mostly of works or deeds of war, 2. result of work, profit or interest, ergon [khrēmatōn] interest or profit on money, Is.11.42, cf. D.27.10a. c. gen. pers., it is his business, his proper work,
Poieō A. make, produce, first of something material, as manufactures, works of art
4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn HellēsiId.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian,
3. of sacrifices, festivals, etc., celebrate,
     prating against us with malicious words:
     and not content therewith, neither doth he himself receive the brethren,
     and forbiddeth them that would, and casteth them out of the church.

Prating Phluareo  A. talk nonsense, play the fool, to be made a fool of, katakertomeō ,Rail violently

Hdt. 1.129.1 When Astyages was a captive, Harpagus came and exulted over him and taunted him, and besides much other bitter mockery he recalled his banquet, when Astyages had fed Harpagus his son's flesh, and asked Astyages what it was like to be a slave after having been a king. 


First Maccabees The Greeks also built one of their gymnasia in Jerusalem, which “attracted the noblest young men of Israel...subduing them under the petaso”  (emphasis ours -- 2 Macc. 4:12).  In the traditional Latin translation the above phrase is rendered “to put in brothels” (Riley:15).   The gymnasia were notorious throughout the ancient world for their association with homosexual practices.  In fact, Flaceliere concludes from Plutarch’s writings that from the beginning of its acceptance in Greece,  “the development of homosexuality was connected to the rise of gymnasia...[which usually contained] not only a statue or Hermes, but also one of Eros” (Flaceliere:65).

The tensions which led to the Jewish revolt were exacerbated when the Jewish high priest, a Hellenist himself, offered a sacrifice to Heracles (Hercules), who was a Greek symbol of homosexuality.  Riley adds, “The Jewish temple itself became the scene of pagan sacrificial meals and sexual orgies [including homosexuality].” The final insult (for which Antiochus is identified in the Bible as the archetype of the antichrist) “was the installation in the temple of a pagan symbol, possibly a representation of Zeus [Baal], called by a sardonic pun ‘the abomination of desolation’” (Riley.:16

(Armstrong, Karen, A History of God, p. 67f)

The Jews of Palestine and the diaspora were surrounded by a Hellenic culture which some found disturbing,
but others were excited by Greek theater, philosophy, sport and poetry. They learned Greek, exercised at the gymnasium and took Greek names. Some fought as mercinaries in the Greek armies.
"Thus some Greeks came to know the God of Israel and decided to worship Yahweh (Iao) alongside Zeus and Dionysus.
Some were attracted to the synagogue... There they read scriptures, prayed and listened to sermons (explanations). The synagogue was unlike anything else in the rest of the ancient religous world.
Since there was no ritual or sacrifice, it must have seemed more like a school of philosophy, and many flocked in the synagogue if a well-known Jewish preacher came to town...
"By the second century BC this hostility was entrenched: in Palestine there had even been a revolt when Antiochus Epiphanes, the Selucid governor, had attempted to Hellenize Jerusalem and introduce the cult of Zeus into the temple....This paganizing involved MUSIC and the GYMNASIUM: both directed to the body and senses.

Pseudo-Apollodorus Shows how Zeus was worshipped 

[1.9.7] Salmoneus at first dwelt in Thessaly, but afterwards he came to Elis and there founded a city. And being arrogant and wishful to put himself on an equality with Zeus, he was punished for his impiety; for he said that he was himself Zeus, and

he took away the sacrifices of the god and
        ordered them to be offered to himself;
and by dragging dried hides, with bronze kettles, at his chariot,
        he said that he thundered,
and by flinging lighted torches at the sky
        he said that he lightened.

But Zeus struck him with a thunderbolt, and wiped out the city he had founded with all its inhabitants.

2 Compare Verg. A. 6.585ff.

Note: In the traditions concerning Salmoneus we may perhaps trace the reminiscence of a line of kings who personated the Skygod Zeus and attempted to make rain, thunder and lightning by means of imitative magic. See The Magic Art and the Evolution of Kings, i.310, ii.177, 180ff. Sophocles composed a Satyric play on the subject (The Fragments of Sophocles, ed. A. C. Pearson, vol. ii. pp. 177ff. ). 19) Pseudo-Apollodorus Library 1.9.7 (Loeb

Strabo 13.4 Antioch is a city of moderate size situated on the banks of the Mæander, at the side towards Phrygia. There is a bridge over the river. A large tract of country, all of which is fertile, on each side of the river, belongs to the city. It produces in the greatest abundance the fig of Antioch, as it is called, which is dried. It is also called Triphyllus. This place also is subject to shocks of earthquakes.

A native of this city was Diotrephes, a celebrated sophist; his disciple was Hybreas, the greatest orator of our times. [16]

Antiocheia-geo 02 The consul Cn. Manlius encamped at Antiocheia (B.C. 189) on his march against the Galatae (Liv. 38.13). This city was the birthplace of Diotrephes, a distinguished sophist, whose pupil Hybreas was the greatest rhetorician of Strabo's time. There are numerous medals of this town of the imperial period.

Liv. 38 13 There was at this place a venerable shrine of Apollo and an oracle; the priests, it is said, give the responses in verses not without polish.

Apollo Apollōn, Apollo, son of Jupiter and Latona, twinbrother of Diana, and god of the sun. On account of his omniscience, god of divination; on account of his lightnings (belē), god of archery (hence represented with quiver and dart), and of the pestilence caused by heat; but, since his priests were the first physicians, also god of the healing art; and since he communicated oracles in verse, god of poetry and music, presiding over the Muses, etc.;

Belos2. used of any weapon, as a sword, Ar.Ach.345, cf. S.Aj.658; an axe, E.El.1159; the sting of a scorpion, A.Fr.169; of the gad-fly, Id.Supp.556.
himerou b. the shaft of love,
denote sudden, easy death of men and women respectively
The Bolts of Zeus
Phthonos envyings, jealousies, heartburnings, II. refusal from feelings of ill-will or envy, grudging

Polish Dico 3. In rhetor. and jurid. lang., to pronounce, deliver, rehearse, speak any thing.4. To describe, relate, sing, celebrate in writing (mostly poet.): “tibi dicere laudes,

b. Of prophecies, to predict, foretell

 I. a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation (cf.: cano, cantus, and canto).
I. In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental

Diotrephes was a:

Sophis-tēsA. master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, “meletan sophistais prosbalonPi.I.5(4).28, cf. Cratin.2; of musicians, “sophistēs . . parapaiōn khelun

with modal words added, “hoi s. tōn hierōn melōn

Melon Melos Vocal and instrumental music   [Never in the Bible]
I. filled with or manifesting divine power, supernatural, omens afforded by sacrifice. c. generally, sacred objects or rites, cult images

of the Creator of the universe (ho dēmiourgos, panu thaumaston legeis

Of Lying Wonders, Rhetoricians and writers (Pharisees and Scribes)

Plat. Rep. 596d [596d] he said. “Are you incredulous?” said I. “Tell me, do you deny altogether the possibility of such a craftsman, or do you admit that in a sense there could be such a creator of all these things, and in another sense not? Or do you not perceive that you yourself would be able to make all these things in a way?” “And in what way, I ask you,” he said. “There is no difficulty,” said I, “but it is something that the craftsman can make everywhere and quickly. You could do it most quickly if you should choose to take a mirror and carry it about everywhere.

Apollōnidē sophistē

Apollōn , o(, Apollo: gen. ōnos (also ō An.Ox.3.222): acc.

A. ApollōIG1.9, al., A.Supp.214, S.OC1091, Tr.209 (lyr.) (mostly in adjurations, nēton Apollō, etc.), “ApollōnaPl.Lg.624a, freq. later, Agatharch.7, etc.: voc. “ApollonAlc.1, A.Th.159(lyr.), Cratin.186, etc.; “ApollōnA.Ch.559; cf. Apellōn, Aploun.
II. Pythag. name of a number,

Apoll-ōnios , a, on,
A. of or belonging to Apollo, Pi.P.6.9, etc.:— fem. Apoll-ōnias (sc. polis or nasos), ados, h(, i.e. Delos, Id.I.1.6: also, = daphnē, Hsch.
III. Apoll-ōnion , to/, temple of Apollo, Th.2.91, Arist.Mir.840a21, GDI5726.45 (Halic.): —also Apoll-ōneion , D.S.14.16, etc., cf. Eust.1562.54.
IV. Apoll-ōnia , ta/, festival of Apollo

Sêmeion  2. sign from the gods, omen Kathair-eô to s. to take it down, strike the flag,
      as a sign of dissolving an assembly, And.1.36; to tês ekklêsias,
      3. of sorcerers, bring down from the sky, selênên [sign in the moon].  *
       V. less freq. like the simple [heresy] hairein, take and carry off

[1] Golden lyre, rightful joint possession of Apollo and the violet-haired Muses, to which the dance-step listens, the beginning [sema] of splendid festivity; and singers obey your notes, whenever, with your quivering strings, you prepare to strike up chorus-leading preludes.

        it is because there is no light in them. Isa 8:20

Matt. 11:25 At that time Jesus answered and said, I thank thee, O Father, Lord of heaven and earth, because thou hast HID these things from the wise [sophists] and prudent, and hast revealed them unto babes.

John 17:6 I have manifested thy name unto the men which thou gavest me out of the WORLD (Kosmos: PYTHAGOREANS): thine they were, and thou gavest them me; and they have kept thy word.
John 17:7 Now they have known that all things whatsoever thou hast given me are of thee.
John 17:8 For I have given unto them the words which thou gavest me; and they have received them, and have known surely that I came out from thee, and they have believed that thou didst send me.

Strabo Geography [10.3.10] And on this account Plato, and even before his time the
Pythagoreians, called philosophy music; and

they say that the universe is constituted in accordance with harmony,
assuming that every form of music is the work of the gods.
And in this sense, also, the
Muses are goddesses,
Apollo is leader of the Muses,
poetry as a whole is laudatory of the gods.

And branch-bearing, choral dancing, and initiations are common elements in the worship of these gods. As for the Muses and Apollo 
the Muses (female pastors) preside over the choruses,
Apollo presides both over these and the rites of divination.

But all educated men, and especially the musicians, are ministers of the Muses;

and both these and those who have to do with divination are ministers of Apollo;
and the
initiated and torch-bearers and hierophants, of Demeter; and the Sileni and Satyri and Bacchae, and also the Lenae and Thyiae and Mimallones and Naïdes and Nymphae and the beings called Tityri, of Dionysus.

-10.3.11] In Crete, not only these rites, but in particular those sacred to Zeus, were performed

along with orgiastic worship and
with the
kind of ministers who were in the service of Dionysus, (Coroi, youth) mean the Satyri (Gender-bent musical Pan types).

These ministers they called "Curetes," young men who executed movements in armour, accompanied by dancing, as they set forth the mythical story of the birth of Zeus; in this they introduced Cronus as accustomed to swallow his children immediately after their birth,

and Rhea as trying to keep her travail secret and, when the child was born, to get it out of the way and save its life by every means in her power; and to accomplish this it is said that

she took as helpers the Curetes, who, by surrounding the goddess with tambourines and similar noisy instruments and with war-dance and uproar,

were supposed to strike terror into Cronus and without his knowledge to steal his child away; and that, according to tradition, Zeus was actually reared by them with the same diligence; consequently the

Curetes, either because,
being young
, that is "youths," they performed this service, or because they "reared" Zeus "in his youth" (for both explanations are given), were accorded this appellation (Curo-trophein), as if they were Satyrs, so to speak,

in the service of Zeus. Such, then, were the Greeks in the matter of orgiastic worship. 

Isaiah 30 expains FOR WHOM God has prepared hell: and He beats them into hell with musical instruments.

Woe to the multitude of many people,
        which make a noise like the noise of the seas; and to the rushing of nations,
        that make a rushing like the rushing of mighty waters Isa 17:12

The nations shall rush like the rushing of many waters:
        but God shall rebuke them, and they shall flee far off,
        and shall be chased as the chaff of the mountains before the wind,
        and like a rolling thing before the whirlwind. Isa 17:13

And behold at eveningtide trouble; and before the morning he is not.
        This is the portion of them that spoil us, and the lot of them that rob us. Isa 17:14

And there shall be upon every lofty mountain and upon every high hill,
        water running in that day, when many shall perish,
        and when the towers [rostrums] shall fall. Isaiah 30:25

And his breath [Spirit], as rushing water [sound of warrior plucking bows and lyres] ,n a valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue them and overtake them. Isaiah 30:28 LXX

Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX

and the Lord shall make his glorious voice to be heard and the wrath [Greek: Orge] of his arm, to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX

For by the voice of the Lord the Assyrians [Egypt and Jerusalem] shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX

And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums [Tabrets = hell] and with pipe. Isaiah 30:32 LXX

For thou shalt be required before thy time: has it been prepared for thee also to reign?
        nay, God has prepared for thee a deep trench, wood piled fire and much wood:
        the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX

One of the seven angels who had the seven bowls came and said to me, "Come, I will show you the punishment of the great prostitute, who sits on many waters. Re.17:1

She uses FRUITS which people lust after.

In Revelation 18 John calls the rhetoricians, singers and instrument players SORCERERS who HAD deceived the whole World.  In Revelation 19 there is blessed peace when the instrumentalists have driven themselves into hell.

And they sung as it were a new song before the throne, and before the four beasts, and the elders: and no man could learn that song but the hundred and forty and four thousand, which were redeemed from the earth. Rev 14:3

And I saw another angel fly in the midst of heaven,
..........having the everlasting gospel to preach unto them that dwell on the earth,
..........and to every nation, and kindred, and tongue, and people, Rev 14:6

INSTRUMENTAL NOISE is always the MARK or SOUND of Judgment and NOT Spiritual worship.

Saying [not singing] with a loud voice, Fear God, and give glory to him;
..........for the hour of his judgment is come:
..........and worship him that made heaven, and earth, and the sea,
..........and the fountains of waters. Rev 14:7
Proskuneo (g4352) pros-koo-neh'-o; from 4314 and a prob. der. of 2965 (mean. to kiss, like a dog licking his master's hand); to fawn or crouch to, i.e. (lit. or fig.) prostrate oneself in homage (do reverence to, adore): - worship. 

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

Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Rom 15:5

That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ. Rom 15:6

Docazo (g1392) dox-ad'-zo; from 1391; to render (or esteem) glorious (in a wide application): - (make) glorify (-ious), full of (have) glory, honour, magnify.

Rev. 14:8 And there followed another angel, saying, 
        Babylon is fallen, is fallen, that great city,
        because she made all nations drink [enchantment] of the wine of the wrath of her fornication.

Is. 5:12 And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:
        but they regard not the work of the LORD,
        neither consider the operation of his hands.

The "firs" meaning a lance or musical instrument rejoices at their fall because they are not consumed in making war of making music.

Is. 14:8 Yea, the fir trees rejoice at thee, and the cedars of Lebanon, saying,
        Since thou art laid down, no feller is come up against us.
Is. 14:9 Hell from beneath is moved for thee to meet thee at thy coming: it stirreth up the dead for thee,
        even all the chief ones of the earth; it hath raised up from their thrones all the kings of the nations.
Is. 14:10 All they shall speak and say unto thee,
        Art thou also become weak as we? art thou become like unto us?
Is. 14:11 Thy pomp is brought down to the grave,
        and the noise of thy viols: the worm is spread under thee,
        and the worms [maggots] cover thee.
Amos 5:23 Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols.
Is. 14:12 How art thou fallen from heaven,
        O Lucifer, son of the morning! how art thou cut down to the ground,
        which didst weaken the nations!
Is. 14:13 For thou hast said in thine heart, I will ascend into heaven,
        I will exalt my throne above the stars of God:
        I will sit also upon the mount of the congregation, in the sides of the north:

Woe to the multitude of many people,
        which make a noise like the noise of the seas; and to the rushing of nations,
        that make a rushing like the rushing of mighty waters Isa 17:12

The nations shall rush like the rushing of many waters:
        but God shall rebuke them, and they shall flee far off,
        and shall be chased as the chaff of the mountains before the wind,
        and like a rolling thing before the whirlwind. Isa 17:13

Is. 23:15 And it shall come to pass in that day,
        that Tyre shall be forgotten seventy years,
        according to the days of one king:
        after the end of seventy years shall Tyre sing as an harlot.
Is. 23:16 "Take an harp, go about the city,
        thou harlot that hast been forgotten;
        make sweet melody, sing many songs,
        that thou mayest be remembered."
Is. 23:17 And it shall come to pass after the end of seventy years,
        that the LORD will visit Tyre, and she shall turn to her hire,
        and shall commit fornication with all the kingdoms of the world upon the face of the earth.

The Jews went in musical procession to the temple to burn infants to Moloch. They burned infants before the 2 Chronicles 29 proof text and they burned infants afterward.  They continued the Assyrian form of worship and all nations will meet the same end:  

Isaiah 30 shows the sights and sounds of God driving His enemies into "hell."

Must ye always rejoice
, and go into my holy places continually, 
        as they that keep a feast? and must ye go with a pipe,
        as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX

        and the Lord shall make his glorious voice to be heard and the wrath of his arm,
        to make a
display with wrath and anger and devouring flame:
        he shall
lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX
For by the voice of the Lord the Assyrians shall be overcome,
by the stroke where with he shall smite them. Isaiah 30:31 LXX
And it shall happen to him from every side, that they from whom their hope of assistance was,
        in which he trusted, themselves
shall war against him in turn
drums and with harp. Isaiah 30:32 LXX
Tumultus . Of thunder, storm, etc.: “tremendo Juppiter ipse ruens tumultu,” i. e. the roar of thunder, tempest
1. In milit. lang., a sudden or impending war, civil war, insurrection, tumult, sedition, rebellion:
2. Excitement, anxiety: S. Disturbance, disquietude, agitation, tumult of the mind or feelings: “tumultus Mentis,Hor. C. 2, 16, 10;
B. Of speech, confusion, disorder: “sermonis,
Hor. Carm. 2.16 

For ease the Mede, with quiver gay:
For ease rude Thrace, in battle cruel:
Can purple buy it, Grosphus? Nay,
Nor gold, nor jewel.

No pomp, no lictor clears the way
'Mid rabble-routs of troublous feelings, [mind]
Nor quells the cares that sport and play
Round gilded ceilings....

With double dyes; a small domain,
The soul that breathed in Grecian harping, [Carmena A muse Mousa]
My portion these; and high disdain
Of ribald carping. 
Ezek. 26:12 And they shall make a spoil of thy riches,
        and make a prey of thy merchandise: and they shall break down thy walls,
        and destroy thy pleasant houses: and they shall lay thy stones and thy timber
        and thy dust in the midst of the water.
Ezek. 26:13 And I will cause the noise of thy songs to cease;
        and the sound of thy harps shall be no more heard.
Ezek. 26:14 And I will make thee like the top of a rock:
        thou shalt be a place to spread nets upon; thou shalt be built no more:
        for I the LORD have spoken it, saith the Lord GOD.
Ezek. 26:15 Thus saith the Lord GOD to Tyrus;
        Shall not the isles shake at the sound of thy fall,
        when the wounded cry, when the slaughter is made in the midst of thee?
h2491 from 2490 pierced, play the flute, pollute, prostitute, profane
Ezek. 28:12 Son of man, take up a lamentation upon the king of Tyrus, and say unto him,
        Thus saith the Lord GOD; Thou sealest up the sum, full of wisdom, and perfect in beauty.
Ezek. 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold:
         the workmanship of thy tabrets and of thy pipes was prepared in thee
        in the day that thou wast created. [cast down]
Ezek. 28:14 Thou art the anointed cherub that covereth;
        and I have set thee so: thou wast upon the holy mountain of God;
        thou hast walked up and down in the midst of the stones of fire.
Ezek. 28:15 Thou wast perfect in thy ways from the day that thou wast created, till iniquity was found in thee.
Ezek. 28:16 By the multitude of thy merchandise they have filled the midst of thee with violence,
        and thou hast sinned:
        therefore I will cast thee as profane out of the mountain of God:
2490 pierced, play the flute, pollute, prostitute, profane
        and I will destroy thee, O covering cherub, from the midst of the stones of fire.
Ezek. 28:17 Thine heart was lifted up because of thy beauty,
        thou hast corrupted thy wisdom by reason of thy brightness:
        I will cast thee to the ground, I will lay thee before kings, that they may behold thee.
Ezek. 28:18 Thou hast defiled thy sanctuaries by the multitude of thine iniquities
2490 pierced, play the flute, pollute, prostitute, profane
        by the iniquity of thy traffick; therefore will I bring forth a fire from the midst of thee,
        it shall devour thee, and I will bring thee to ashes upon the earth in the sight of all them that behold thee.  

Rev 14:9 And the third angel followed them, saying with a loud voice,
        If any man worship the beast and his image, and receive his mark in his forehead, or in his hand,

Rev 14:10 The same shall drink of the wine of the wrath of God, which is poured out without mixture into the cup of his indignation; and he shall be tormented with fire and brimstone in the presence of the holy angels, and in the presence of the Lamb:
Wisdom of Solomon

Wisd 17.16
- And whoever was there fell down, and thus was kept shut up in a prison not made of iron;

17 - for whether he was a farmer or a shepherd or a workman who toiled in the wilderness,
        he was seized, and endured the inescapable fate; for with one chain of darkness they all were bound.

18 - Whether there came a whistling wind, or a melodious sound of birds in wide -
        spreading branches, or the rhythm of
violently rushing water,

19 - or the harsh crash of rocks hurled down,
        or the unseen running of leaping animals, or the sound of the most savage roaring beasts,
        or an
echo thrown back from a hollow of the mountains, it paralyzed them with terror.

20 - For the whole world was illumined with brilliant light, and was engaged in unhindered work,

21 - while over those men alone heavy night was spread, an image of the darkness that was destined to receive them; but still heavier than darkness were they to themselves.

Wisd 19.13 - The punishments did not come upon the sinners
        without prior signs in the
violence of thunder, [Rev 14]
        for they justly suffered because of their wicked acts;
        for they practiced a more bitter hatred of strangers.

14 - Others had refused to receive strangers when they came to them,
        but these made
slaves of guests who were their benefactors.

15 - And not only so, but punishment of some sort will come upon the former for their hostile reception of the aliens;

16 - but the latter,
        after receiving
them with festal celebrations,
with terrible sufferings those who had already shared the same rights.

17 - They were stricken also with loss of sight - - just as were those at the door of the righteous man - -
        when, surrounded by yawning darkness, each tried to find the way through his own door.

18 - For the elements changed places with one another,
        as on a harp the notes vary the nature of the rhythm,
        while each note remains the same.
        This may be
clearly inferred from the sight of what took place.

19 - For land animals were transformed into water creatures,
        and creatures that swim moved over to the land.

20 - Fire even in water retained its normal power,
water forgot its fire -quenching nature.
God's Wrath is: G2372 thumos thoo-mos' From G2380 ; passion (as if breathing hard):—fierceness, indignation, wrath. Compare G5590 .

However, the wrath Paul warned about when the women wave unholy ARMS is;

-Org-aô , I.to be getting ready to bear, growing ripe for something, and of fruit, swell as it ripens, II. of men, like sphrigaô, swell with lust, wax wanton, be rampant, 2. generally, to be eager or ready, to be excited,
3. metaph., full-blooded, swollen with passion or pride, sphrigônta thumon A.Pr.382 ; muthon E.Supp.478 . 4.swell with desire, be at heat,

-Orgi-azô  A. celebrate orgia, E.Ba.415 (lyr.), etc.: c. acc., “o. teletēnPl.Phdr.250c; “hieraId.Lg.910c; thusias, pompas,khoreiasPlu.Num.8: c. dat., pay ritual service to a god or goddess,tautēStr.10.3.12:—so in Med., orgiazesthai daimosi, and in Pass., of the sacred places, have service done in them, both in Pl.Lg.717b.II. c. acc., honour or worship with orgia, tautēn v.l. in Str. l.c. ; “tous megalous theousD.H.1.69, cf. Plu.Cic.19. 2. o. tina initiate into orgia,

orgia Mousôn

Alalazo 2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 sound loudly, psalmos d'alalazei A.Fr.57 ; kumbalon alalazon1 Ep.Cor.13.1
Rev. 14:11 And the smoke of their torment ascendeth up for ever and ever: 
        and they have no rest day nor night, who worship the beast and his image, and whosoever receiveth the mark of his name.
Rev. 14:12 Here is the patience of the saints:
        here are they that keep the commandments of God,
        and the faith of Jesus.
Rev. 14:13 And I heard a voice from heaven saying unto me,
        Write, Blessed are the dead which die in the Lord from henceforth:
        Yea, saith the Spirit, that they may rest from their labours;
        and their works do follow them.
Rev. 14:14 And I looked, and behold a white cloud,
        and upon the cloud one sat like unto the Son of man,
        having on his head a golden crown,
        and in his hand a sharp sickle.
Rev. 14:15 And another angel came out of the temple, crying with a loud voice to him that sat on the cloud,
        Thrust in thy sickle, and reap:
        for the time is come for thee to reap; for the harvest of the earth is ripe.
Rev. 14:16 And he that sat on the cloud thrust in his sickle on the earth; and the earth was reaped.

WHO is this that cometh from Edom, with dyed garments from Bozrah? this that is glorious in his apparel, travelling in the greatness of his strength? I that speak in righteousness, mighty to save. Isa 63:1

Wherefore art thou red in thine apparel, and thy garments like him that treadeth in the winefat? Isa 63:2

I have trodden the winepress alone; and of the people there was none with me: for I will tread them in mine anger, and trample them in my fury; and their blood shall be sprinkled upon my garments, and I will stain all my raiment. Isa 63:3

Gath (h1660) gath; prob. from 5059 (in the sense of treading out grapes); a wine-press (or vat for holding the grapes in pressing them): - (wine-) press (fat).

Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing.. 

And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isa 23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered [as a "male." Is.23:16 

And I will lay it waste: it shall not be pruned (h2167), nor digged; but there shall come up briers and thorns: I will also command the clouds that they rain no rain (The Word of God) upon it. Is.5:6

Pruned: Zamar (h2167) zaw-mar'; a prim. root [perh. ident. with 2168 through the idea of striking with the fingers]; prop. to touch the strings or parts of a musical instrument, i. e. play upon it; to make music, accompanied by the voice

The sickle was a curved bronze or iron blade: you could prune the vines so that the remainder produced good grapes or you could beat on it like a musical instrument or cymbal.

Zamar (h2168) zaw-mar'; a prim. root [comp. 2167, 5568, 6785]; to trim (a vine): - prune.

Zemar (h2170) zem-awr'; from a root corresp. to 2167; instrumental music: - musick.

> Zemar or Zamar:

That at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Da.3:5

Rev. 14:17 And another angel came out of the temple which is in heaven, he also having a sharp sickle.

Rev. 14:18 And another angel came out from the altar,
        which had power over fire; and cried with a loud cry to him that had the sharp sickle,
        saying, Thrust in thy sharp sickle, and gather the clusters of the vine of the earth;
        for her grapes are fully ripe.
Rev. 14:19 And the angel thrust in his sickle into the earth,
        and gathered the vine of the earth,
        and cast it into the great winepress of the wrath of God.
Rev. 14:20 And the winepress was trodden without the city, and blood came out of the winepress, even unto the horse bridles, by the space of a thousand and six hundred furlongs.



1Ti 2:8 I will therefore that men pray every where, lifting up holy hands, without WRATH and DOUBTING

Wrath is ORGE meaning ORGY: music and all of the MADNESS Paul speaks about in 1 Cor 14.

The WRATH which Paul outlawed for the male leadership is connected to the SELF PLEASING Paul outlawed in Romans 15 for the church or school of the Bible.

Pauo means: STOP the: melôid-ia , hê, singing, chanting,
II. chant,
choral song, melôidias poiêtês, lullaby, generally, musis
Pauo means: Stop the pain of: aoidê [aeidô]
1. song, a singing, whether the
art of song, Hom.; or the act of singing, song, Il.
2. the thing sung, a song, Hom., etc.
3. the subject of song, Od.
Pauo means: Stop the charismatic music which is with clanging cymbals:
Klangê [klazô] any sharp sound, such as the twang of a bow, the grunting of swine, the hissing of serpents, the barking of dogs, of song, Cassandra-prophecies

Pauo means: Stop the: Panos orgai panic fears (i. e. terrors sent by Pan), Eur.:--but, orgê tinos anger against a person or at a thing, hierôn orgas wrath at or because of the rites.

Catullus: Haste you together, she-priests, to Cybele's dense woods, together haste, you vagrant herd of the dame Dindymene, you who inclining towards strange places as exiles, following in my footsteps, led by me, comrades, you who have faced the ravening sea and truculent main, and have castrated your bodies in your utmost hate of Venus, make glad our mistress speedily with your minds' mad wanderings.

Let dull delay depart from your thoughts, together haste you, follow to the Phrygian home of Cybele, to the Phrygian woods of the Goddess, where sounds the cymbal's voice, where the tambour resounds, where the Phrygian flutist pipes deep notes on the curved reed, where the ivy-clad Maenades furiously toss their heads, where they enact their sacred orgies with shrill-sounding ululations, where that wandering band of the Goddess flits about: there it is meet to hasten with hurried mystic dance."

When Attis, spurious woman, had thus chanted to her comity, the chorus straightway shrills with trembling tongues, the light tambour booms, the concave cymbals clang, and the troop swiftly hastes with rapid feet to verdurous Ida.

Then raging wildly, breathless, wandering, with brain distraught, hurries Attis with her tambour, their leader through dense woods, like an untamed heifer shunning the burden of the yoke: and the swift Gallae press behind their speedy-footed leader. So when the home of Cybele they reach, wearied out with excess of toil and lack of food they fall in slumber. Sluggish sleep shrouds their eyes drooping with faintness, and raging fury leaves their minds to quiet ease.

WRATH: When god pours out His wrath the word is ORGE where He sends jesters and Buffoons:

Paul in defining the synagogue in Romans 2 rejected SELF-pleasing which connects directly to the use of music to enchant or charm. The word REPROACHES predicted about Jews would guard against the sexual and homosexual outbreaks if the church permitted any kind of music.  For some references to ORGE or ORGY produced by instrumental music Click Here.

Strabo Geography 10.3.15

[10.3.15] They invented names appropriate to the flute, and to

the noises made by castanets, cymbals, and drums,
and to their acclamations and shouts of "ev-ah," and stampings of the feet;
and they also invented some of the names by which to designate the [homosexual, emasculated]

ministers, choral dancers, and attendants upon the sacred rites,
I mean "
Cabeiri" and "Corybantes" and "Pans" and "Satyri" and "Tityri,"

and they called the god "Bacchus," and Rhea [Eve] "Cybele" or "Cybebe" or "Dindymene" according to the places where she was worshipped. Sabazius also belongs to the Phrygian group and in a way is the child of the Mother,, since he too transmitted the rites of Dionysus.

"The physiological act of sex and orgasm not only greatly enhances the prospects, but also fires up further excitement.

"Repeatedly induced states of orgasmic collapse can produce, and have been used to produce, states of deep trance."

This is precisely the sexual purpose of an orgy as religious rite, and, in part, what the Greek God APOLLO fed CYPARISSUS in the wilds. The orgia, from which our word orgy is derived, of THE MYSTERY RELIGIONS of DIONYSOS and his homosexual SATYRS, were (in addition to the magic mushrooms and other psychoactive potions) rituals of this kind.

Candidates for initiation into the KABIRI were crowned with a garland of olive and wore a purple band round their loins. The dancing was then begun.

In fact, homosexuality was part of the ritual, what the historians in their scholarly dungeons called their "most immoral tendencies." The purpose was to evoke a passage beyond earth to a higher life. That is, "to lead the worshipers into the presence of the gods."

That is, in their mystical dances, continued leaping into the air achieves a shamanic state of trance, a transfer of consciousness analogous to the transformation of the magician into a bird whereby the apprentice masters his powers to join a gay brotherhood "who, by nature, are superior to other men." Resource

Tubal-Cain is a Kabir, "an instructor of every artificer in brass and iron"; or, if this will please better, he is one with Hephaestos or Vulcan -- Vul-cain, the greatest god also with the later Egyptians, and the greatest Kabir. The god of time was Chium in Egypt, or Saturn, or Seth, and Chium is the same as Cain.

Jabal is taken from the Kabiri -- instructors in agriculture, "such as have cattle," and Jubal is "the father of those who handle the harp," he, or they who fabricated the harp for Kronos and the trident for Poseidon.
The timeless Kabiri
From Theosociety.org

Strabo Geography 10.3.16

Of the rites of Dionysus condemned by Paul in First Corinthians and the wine drinking musical worship in Ephesus:

Also resembling these rites are the Cotytian and the Bendideian rites practiced among the Thracians, among whom the Orphic rites had their beginning. Now the Cotys who is worshipped among the Edonians, and also the instruments used in her rites, are mentioned by Aeschylus; for he says,

O adorable Cotys among the Edonians, and ye who hold mountain-ranging instruments;

And he mentions immediately afterwards the attendants of Dionysus: one, holding in his hands the bombyces (reed flute),

toilsome work of the turner's chisel,
fills full the
fingered melody, the call that brings on frenzy, while another causes to resound the bronze-bound cotylae. (cupped cymbals or vases) "and again, stringed instruments raise their shrill cry, and frightful mimickers from some place unseen bellow like bulls, and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound.

Note: In connection with this bold use of "semblance" (eikôn) by Aeschylus, note Strabo's studied use of "resembles" (eoike, twice in this paragraph) and "unlikely" (apeikos). Others either translate eikôn "echo," or omit the thought.

When the pagan prophetesses performed their RITES often using singing and instruments the claimed to be able to LEAD YOU into the presence of the Gods. These RITES created PANIC or the burden of "spiritual anxiety created by religious rituals" which Jesus died to SILENCE. Remember that the Greeks defined the BEAST in Revelation as PAN. His horns were musical pan pipes which tyrants used to gain their own mountain kingdom.

Orge I. natural impulse or propension: one's temper, temperament, disposition, orgê , hê, II. passion, anger, wrath, 3. Panos orgai panic fears (i. e. terrors sent by Pan), Eur.:--but, orgê tinos anger against a person or at a thing, Soph.; hierôn orgas wrath at or because of the rites, Aesch.

G3709 orge or-gay' From G3713 ; properly desire (as a reaching forth or excitement of the mind), that is, (by analogy) violent passion... wrath.
G3713 oregomai; to stretch oneself, that is, reach out after (long for):covet after, desire.

G3735 oros or'-os perhaps akin to
G142 ; compare G3733 ); a mountain (as lifting itself above the plain):

Orgi-a , iôn, ta, secret rites, secret worship, practised by the initiated, of the rites of the Cabeiri [homosexuals] and Demeter, of Orpheus, of Cybele, most freq. of the rites of Dionysus .2.81, E.Ba.34, al., Theoc.26.13.

II. generally, RITES, orgia Mousôn [Rev 18:22] Ar.Ra.356 . Aphroditês [similar to Lucifer or Zoe].

Org-aô  I. to be getting ready to bear, growing ripe for something, 
II. of men, like sphrigaô, swell with lust, wax wanton, be rampant, ho ep' aphrodisiois mainomenos . . orgôn Poll.6.188 ; of human beings and animals, to be in heat, desire sexual intercourse,   .

2. generally, to be eager or ready, to be excited, Lakedaimoniôn orgôntôn emellon peirasesthai Th.4.108 ; orgôntes krinein judge under the influence of passion,

Aphrodisiois mainomenos . .
Aphrodisios [From Aphroditê]
I. belonging to Aphrodite,

II. Aphrodisia, ta, sexual pleasures, .

2. a festival of Aphrodite, 

Aphrodisiois mainomenos . .

Mainomai  I. to rage, be furious, Hom.; ho maneis the madman, Soph.: to be mad with wine, Od.:--of Bacchic frenzy, Il., Soph.; hupo tou theou m. to be driven mad by the god, Hdt.; to mainesthai madness, Soph.; plein ê mainomai more than madness, Ar.:--c. acc. cogn., memênôs ou smikran noson mad with no slight disease, Aesch. 

The Message of Release from Human Responsibility -- Even that of teaching.

A common message on tombstones was that the dead are in the presence of eternal joy: food, shelter, warmth and the extreme idleness typified by musical instruments. The living bringing instruments as gifts to the dead are never pictured as playing them. The message of the Bible is that music is a MARK that one has repudiated the Word of God and human responsibility. This was the MARK on Israel when they rose up to play at Mount Sinai with musical "worship" and were sentenced to worship the STARRY HOST as the creature rather than God as the Creator.

Johannes Quasten, in Music and Worship in Pagan and Christian Antiquity, p. 155 observes of musical instruments in the hands of the mourners and offered to the dead:

Harps For The Dead. The worship of the starry host in Amos and Isaiah was the "Marzeah" which was a feast WITH and FOR dead ancestors or DEMON WORSHIP.

"It is often said that in these portrayals the relatives of the deceased are depicted coming to the grave to entertain him with music.

"But we must first distinguish
"between the portrayals in which the
dead person has a musical instrument in his hand "and those in which the persons visiting the deceased are carrying musical instruments.

Among the Dead: "In the first case the musical instrument in the dead person's hand -- usually a lyre or tambourine -- is meant to signify that the deceased no longer leads an earthly life

but is already taken up with the affairs of the other world."
(Note: Job 21; Isaish 5; Amos 5,6,8 and Ezekiel 33 all show that the instruments show a disregard for the Words of God)

However, of those still on Earth (That's us): "The fact remains that the persons depicted as approaching the deceased on Greek oinment jars are never playing their instruments... the person bearing the cithara is stretching out his hands toward the gravestone on which the dead man is sitting as if he wished to offer the latter the instrument."

Why? "In antiquity, singing and instrumental music, playing and dancing were considered to be the chief occupation and pastime of the blessed...

The popular religions of the time, especially Orphism and the mystery cults, portrayed the life of the blessed as a continual banquet." (ibid. p. 156)

This is why Paul defined the synagogue in Romans 15 to prevent the division and judgmentalism in Romans 14.

John Chrysostom Homily Homily XXXI.

3. "And when He came into the ruler's house, and saw the minstrels and the people making a noise, He saith unto them, Give place, for the maid is not dead, but sleepeth. And they laughed Him to scorn." [ Matt. ix. 23, 24. [R. V., "the flute-players, and the crowds making a tumult."]

"Noble tokens, surely, these, of the rulers of synagogues; in the moment of her death pipes and cymbals raising a dirge! What then doth Christ?

All the rest He cast out, but the parents He brought in;
leave no room for saying that He healed her in any other way.

The prophecy of Psalm 41 was that the Jews would MOCK Jesus but Judas would not "triumph over" Him. This triumph over was the "instrumental noise and making a joyful noise before the Lord." This was every pagan's WAR CHANT and not worship. The Dead Sea Scroll translation of Psalm 41 shows how the laughing to scorn and mocking Jesus was the musical noise of the PANIC LEVITES whose service was "A HARD BONDAGE" because they were under the KING AND COMMANDERS OF THE ARMY.

The musical mocking treated Jesus as Beliar or Beel-Zebub: "Their enemy was the god's enemy."

"But yet they laughed Him to scorn: He however was not indignant at being disbelieved by those for whom He was a little afterwards to work miracles;

neither did He rebuke their laughter, in order that both it and the pipes, and the cymbals, and all the other things, might be a sure proof of her death.

"For since for the most raft, after the miracles are done, men disbelieve, He takes them beforehand by their own answers; which was done in. the case both of Lazarus and of Moses. For to Moses first He saith, "What is that in thine hand?" [ Ex. iv. 2. ] in order that when he saw it become a serpent, He should not forget that it was a rod before, but being reminded of his own saying, might be amazed at what was done. And with regard to Lazarus He saith, "Where have ye laid him?" [ John xi. 34, 39.] that they who had said,

"Come and see," and "he stinketh, for he hath been dead four days," might no longer be able to disbelieve His having raised a dead man.

Seeing then the cymbals and the multitude, He put them all out, and in the presence of the parents works the miracle; not introducing another soul, but recalling the same that had gone out, and awakening her as it were out of a sleep.

Who harps upon their harps

In 5:8 John defines the four living creatures and the 24 elders who exercise some level of rulership. They have the harps and the bowls of incense (which are the prayers of the saints) so when in Revelation 14 we hear the harpers harping with their harps it is these two groups who offer praise directly before the throne of God in heaven.

Revelation 5:8 And when he had taken the book,
         the FOUR BEASTS and four and twenty ELDERS
         fell down before the Lamb,
         having every one of them harps, and golden vials full of odours,
                which are the prayers of saints.
Revelation 5:9-10 And they sung a new song, SAYING,
        "Thou art worthy to take the book, and to open the seals thereof:
         for thou wast slain, and hast redeemed us to God by thy blood
        out of every kindred, and tongue, and people, and nation;
        And hast made us unto our God kings and priests:
        and we shall reign on the earth.

Revelation 5:11 And I beheld, and I heard the voice of MANY ANGELS
        round about the throne and the beasts and the elders:
        and the number of them was ten thousand times ten thousand,
        and thousands of thousands;
Revelation 5:12 SAYING with a loud voice,
        "Worthy is the Lamb that was slain to receive power, and riches,
        and wisdom, and strength, and honour, and glory, and blessing."

Revelation 5:13 And EVERY CREATURE which is in heaven, and on the earth,
        and under the earth, and such as are in the sea, and all that are in them,
        heard I SAYING,
                "Blessing, and honour, and glory, and power,
                be unto him that sitteth upon the throne,
                and unto the Lamb for ever and ever. "

Even if these are literal harps, they are played in heaven and they are played by someone who has high spiritual authority and abandons their thrones as they fall down and worship God with the fruit of their lips. They abandon the symbol in favor of the Word. However, it is the concensus of translations that what John heard was not physical harps but a sound which could best be explained to humans as of a great sound whose message was loud and blurred.

"was like the sound of harpists" (NASB)
"the voice I heard [seemed like the music] of harpists" (AMPB)
"was like the sound of harpers" (RSV)
"was like that of harpists playing" .

"Come, let us make our love the great censer of the community, and offer on it as incense our hymns and our prayers to Him Who made His cross a censer for the Godhead, and offered from it on behalf of us all.

Ephraim of Cyrus b. 304, d. 373 on Out Lord wrote.

The Physical Difficulty

Perhaps God has deliberately figured the harps and incense to show that they are not appropriated from the Old Covenant which dealt only with bodily or ceremonial cleansing, but are something which can only be performed in a spiritual realm.

"Like the incense, however, the harps are only symbolic,
reflecting the Jewish temple worship.
The fact that
both hands of the elder were occupied
does not present an insuperable barrier to his prostration in worship." (William S. Smith, quoted by Jividen, p. 42).

Jamison-Fausett-Brown notes that:

"In the Jewish temple, musical instruments and singing resounded during the whole time of the offering of the sacrifices, which formed the first part of the service.

But at the offering of incense, solemn silence was kept ("My soul waiteth upon God," Ps 62:1; "is silent," Margin; Ps 65:1, Margin),

Duwmiyyah (h1747) doo-me-yaw'; from 1819; stillness; adv. silently; abstr. quiet, trust: - silence, silent, waiteth.

the people praying secretly all the time. The half-hour stillness implies, too, the earnest adoring expectation with which the blessed spirits and the angels await the succeeding unfolding of God's judgments. A short space is implied; for even an hour is so used (Re 17:12 18:10,19).

The incense altar stood at the partition into the Most Holy Place. We meet God in silence and darkness where He sits "enthroned" over the mercy seat which is over the LAW. The harp players would be out in the court.

The nature of the song precludes literal instruments because it is a personal praise given to Jesus Christ. The "elders fell down and worshiped" but they did not play. They held harps and bowls of incense and one cannot picture them being able to play harps while holding bowls.

"the twenty-four elders fall down before Him who sits on the throne and worship Him who lives forever and ever, and cast their crowns before the throne, saying" (Rev. 4:10).

"And the twenty-four elders who sat before God on their thrones fell on their faces and worshiped God" (Rev. 11:16).

"And when he had taken the book, the four beasts and four and twenty elders fell down before the Lamb,

The new songs are harped with the "harp of God" which is the human voice and heart. The literal bowls are likewise human types of spiritual prayers.

having every one of them harps,
golden vials full of odors,
which ARE the
prayers of saints,
and they
sang a new song saying:

"Worthy art Thou to take the book, and to break its seals; for Thou wast slain, and didst purchase for God with Thy blood men from every tribe and tongue and people and nation..."(Rev. 5:8-10).

Of the fifth chapter of Revelation, Lenski points out the figurative nature of the bowls and zithers (harps).

As long as they HOLD them then we are not to worry. The fact is that there was a half hour's silence at the incense altar looking into the Most Holy Place which was dark and silence. Instruments were idols and believed to be the voice of the demons. That is why they were played OUTSIDE of the Holy Place (type of church) and outside of the area of the Incense altar where God was represented to be to receive OUR worship in OUR spirit or mind.

Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it. Hab 2:19

But the Lord is in his holy temple: let all the earth keep silence before him. Hab 2:20

"We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'arousers,' sang every morning this verse from Ps 44: 'Awake, Lord, awake! Do not abandon us for ever.' The Talmud tells us that Johh Hyrcanus suppressed the practice because it recalled too readily a pagan custom.

"A similar practice is attested in connection with the cult of Herakles-Melkart. According to Menander, as he is quoted by Josephus, the king Hiram, who was a contemporary of Solomon, rebuilt the temples of Tyre and, 'he was the first to celebrate the awakening of Heracles in the month of Peritius.'" (de Vaux, p. 247)

"In an inscription from Cyprus, in one from Rhodes and in several from around the district of Carthage, there are references to important personages who bear the title Mqm'lm which we can translate as 'arouser of the god.'" (de Vaux, p. 247).

Any singer or musician who attempted to play an instrument in the Holy Place as a type of the church of Christ woud be a dead man-killed by his 'brethren.' So, unless you are a DEAD VIRGIN don't rush it. The message to the LIVING is PREACH THE GOSPEL.

"It is trivial to ask and then to explain how the elders managed the zither and the incense bowl so as to play on the former. .. Why not also ask what was done with the zither and the bowl when the elders fell down?

Are not the odors coming from the bowls prayers?. 'Each one has a zither' is only the common individualization found with the plurals, which might have been used also with reference to the bowls but is not necessary in the case of the second object." (Lenski, Rev. p. 204)

"Let my prayer be set before you as incense, the lifting up of my hands as the evening sacrifice" (Psa. 141:2).

It is self-evident that the attempt to bring the Majesty of heaven into the "worship" of the church is to miss the point: John attempts to describe that which cannot describe. To think of literal harps and literal incense is to drag heaven down to the level of earth.

Secondly, this attempt to bring the lives of the dead into the worship of living people is condemned over and over in the Old Testament as a "covenant with death." We will look at some comments on Amos to show that Israel was destroyed because they brought the idle music signifying death into their worship.

Ezekiel 8 speaks of the women of Jerusalem "Lamenting for Tammuz" right in the temple while the men worshiped the "rising sun in the east."

An Urn for containing the oil for a Greak Cult of the Dead.
Tennyson in the "Lotos-eaters,"
"Death is the end of life; ah, why
"Should life all labour be?
"Let us alone. Time driveth onward fast,
"And in a little while our lips are dumb.
"Let us alone. What is it that will last?
"... Is there any peace
"In ever climbing up the climbing wave?
"All things have rest, and ripen toward the grave
"In silence; ripen, fall and cease:
"Give us long rest or death, dark death, or dreamful ease.

"How sweet it were, hearing the downward stream

With half-shut eyes ever to seem
Falling asleep in a half-dream!
To dream and dream, like yonder amber light
Which will not leave the myrrh-bush on the height;
To hear each other's whispered speech;
Eating the Lotos, day by day,
To watch the crisping ripples on the beach,
And tender curving lines of creamy spray:
To lend our hearts and spirits wholly
To the influence of mild-minded melancholy;
To muse and brood and live again in memory,
With those old faces of our infancy
Heaped over with a mound of grass,
Two handfuls of white dust, shut in an urn of brass."

Harps Not For Playing By The Living:

Again, of those still on Earth (That's us): "The fact remains that the persons depicted as approaching the deceased on Greek oinment jars are never playing their instruments... the person bearing the cithara is stretching out his hands toward the gravestone on which the dead man is sitting as if he wished to offer the latter the instrument."

Why? "In antiquity, singing and instrumental music, playing and dancing were considered to be the chief occupation and pastime of the blessed... The popular religions of the time, especially Orphism and the mystery cults, portrayed the life of the blessed as a continual banquet." (ibid. p. 156)

The musical instruments did not have to be literal: they were signs or symbols of the life of the blessed. The people still living clearly understood that they were not yet freed from all human responsibility and coult therefore enjoy music as their chief enjoyment. This is also the theme of those who had little regard for the Word of God. See Job 21, Amos 5, 6, 8; Isaiah 5 and Ezekiel 33.

John continued:

And they sung as it were a new song before the throne, and before the four beasts, and the elders: and no man could learn that song but the hundred and forty and four thousand, which were redeemed from the earth. Revelation 14:3

These are they which were not defiled with women; for they are virgins. These are they which follow the Lamb whithersoever he goeth. These were redeemed from among men, being the firstfruits (dedicated like the vestal virgins) unto God and to the Lamb. Revelation 14:4

The Apocalyptic Odes of Solomon written around this time notes that there are only a few people who can understand the revealed Spirit Word of God written is human language. Click Here and then read the whole article.

Psalm 71:who understood the classical Greek, knew that poetry is symbolic. On Psalm LXXI we understood that the instrument of psalmody does not mean a mechanical psaltery or harp. Psaltery is from the Hebrew:

Keliy (h3627) kel-ee'; from 3615; something prepared, i. e. any apparatus (as an implement, utensil, dress, vessel or weapon): - armour ([-bearee]), artillery, bag, carriage, / furnish, furniture, instrument, jewel, that is made of, * one from another, that which pertaineth, pot, /

and way down the list psaltery,

28. "For I will confess to Thee in the vessels of a Psalm Thy truth" (ver. 22). The vessels of a Psalm are a Psaltery.

But what is a Psaltery? An instrument of wood and strings.

What doth it signify? There is some difference between it and a harp: ...there seemeth to be signified by the Psaltery the Spirit, by the harp the flesh.

And because he had spoken of two bringings back of ours from the bottomless places of the earth, one after the Spirit in hope, the other after the body in substance; hear thou of these two:

"For I will confess to Thee in the vessels of a Psalm Thy truth." This after the Spirit: concerning the body what? "I will psalm to Thee on a harp (flesh), Holy One of Israel.".  

29. Again hear this because of that same "again" and "again." "My lips shall exult when I shall psalm to Thee" (ver. 23). Because lips are wont to be spoken of both belonging to the inner and to the outward man, it is uncertain in what sense lips have been used: there followeth therefore, "And my soul which Thou hast redeemed." Therefore regarding the inward lips having been saved in hope, brought back from the bottomless places of the earth in faith and love, still however waiting for the redemption of our body, we say what? Already he hath said, "And my soul which Thou hast redeemed." But lest thou shouldest think the soul alone redeemed, wherein now thou hast heard one "again," "but still," he saith; why still?

"but still my tongue also:" therefore now the tongue of the body:
"all day long
shall meditate of Thy righteousness" (ver. 24): that is, in eternity without end.


2. For a "Psalm" is a song, not any kind of song, but a song to a psaltery. A psaltery is a kind of instrument of music, like the lyre and the harp, and such kinds of instruments, which were invented for music.

He therefore who singeth Psalms,
........... not only singeth with his voice,
........... but with a certain instrument besides, which is called a psaltery,
........... he accompanieth his voice with his hands.

Wilt thou then sing a Psalm?

Let not thy voice alone sound the praises of God; but let thy works also be in harmony with thy voice.
To please
then the ear, sing with thy voice;
but with thy
heart be not silent, with thy life be not still.

Thou devisest no fraud in thy heart: thou singest a Psalm to God. When thou eatest and drinkest, sing a Psalm:

not by intermingling sweet sounds suited to the ear,
but by
eating and drinking moderately, frugally, temperarely: for thus saith the Apostle, "whether ye eat or drink, or whatever ye do, do all to the glory of God." ...

If by immoderate voracity thou exceedest the due bounds of nature, and gluttest thyself in excess of wine, however great praises of God thy tongue sound, yet thy life blasphemeth Him. After food and drink thou liest down to sleep: in thy bed neither commit any pollution, nor go beyond the license given by the law of God: let thy marriage bed be kept chaste with thy wife: and if thou desire to beget children, yet let there not be unbridled sensuality of lust: in thy bed give honour to thy wife, for ye are both members of Christ, both made by Him, both renewed by His Blood: so doing thou praisest God, nor will thy praise be altogether silent. What, when sleep has come over thee? Let not an evil conscience rouse thee from rest: so doth the innocence of thy sleep praise God. 

11. "Begin to the Lord in confession" (ver. 7). Begin with this, if thou wouldest arrive at a clear understanding of the truth. If thou wilt be brought from the road of faith to the profession of the reality, "begin in confession.

" First accuse thyself: accuse thyself, praise God. What after confession? (adomonish self, Col 3:16)
Let good works follow. "Sing unto our God upon the harp." What is, "Upon the harp"? As I have already explained, just like the Psalm upon the psaltery, so also is the "harp:" not with voice only,
but with works.


4. "Let them praise His Name in chorus" (ver. 3). What meaneth "chorus"? Many know what a "chorus" is: nay, as we are speaking in a town, almost all know. A "chorus" is the union of singers. If we sing "in chorus," let us sing in concord. If any one's voice is out of harmony in a chorus of singers, it offendeth the ear, and throweth the chorus into confusion.

If the voice of one echoing discordantly troubleth the harmony of them who sing,
how doth the discord of
heresy throw into confusion the harmony of them who praise.

The whole world is now the chorus of Christ. The chorus of Christ soundeth harmoniously from east to west. "Let them sing a psalm unto Him with timbrel and psaltery."

Wherefore taketh he to him the "timbrel and psalter)"? That not the voice alone may praise, but the works too. When timbrel and psaltery are taken, the hands harmonize with the voice.

So too do thou, whensoever thou singest "Halleluia,"
deal forth thy bread to the hungry, clothe the naked, take in the stranger: then doth not only thy voice sound, but thy hand soundeth in harmony with it, for thy deeds agree with thy words.
Thou hast taken to thee an instrument, and thy fingers agree with thy tongue.
Nor must we keep back the mystical meaning of the "timbrel and psaltery."

On the timbrel leather is stretched, on the psaltery gut is stretched;
on either instrument the flesh is crucified.

How well did he "sing a psalm on timbrel and psaltery," who said, "the world is crucified unto me, and I unto the world"?
This psaltery or timbrel He wishes thee to take up, who loveth a new song, who teacheth thee, saying to thee, "Whosoever willeth to be My disciple,
let him deny himself, and take up his cross, and follow Me."
Let him not set down his psaltery, let him not set down his timbrel,

let him stretch himself out on the wood, and be dried from the lust of the flesh.

The more the strings are stretched, the more sharply do they sound. The Apostle Paul then, in order that his psaltery might sound sharply, what said he?

"Stretching forth unto those things which are before," etc. He stretched himself: Christ touched him; and the sweetness of truth sounded.

Athenagoras the trinity

If we satisfied ourselves with advancing such considerations as these, our doctrines might by some be looked upon as human. But, since the voices of the prophets confirm our arguments-for I think that you also, with your great zeal for knowledge, and your great attainments in learning, cannot be ignorant of the writings either of Moses or of Isaiah and Jeremiah,

and the other prophets, who, lifted in ecstasy above the natural operations of their minds by the impulses of the Divine Spirit,
        uttered the things with which they were
        the Spirit making use of them as a
flute-player breathes into a flute ;
        -what, then, do these men say?

Quoted by Adam Clark

A most beautiful and chaste allusion to this fact and fable is made by an eminent poet, while praying for his own success as a Christian minister, who uses all his skill as a poet and musician for the glory of God:-

Thy own musician, Lord, inspire,
And may my consecrated lyre
Repeat the psalmist's part!
His Son and thine reveal in me,
And fill with sacred melody
fibres of my heart.

So shall I charm the listening throng,
And draw the LIVING STONES
along By Jesus' tuneful name.

The living stones shall dance,
shall rise,
And FORM a CITY in the skies,
The New Jerusalem.

The Virgin Connection

First, take a look at the nature of the female prophetesses who got their "inspiration" from some kind of gas from a hole in the rocks. The oracles of these virgin prophetesses were delivered in the divine language of poem and song with instrumental accompaniment.

The practice spread and the contaminated "virgin" musical worshipers began leading people astray for their own fame and fortune.

17) Diodorus Historical Library

[16.26.1] Since I have mentioned the tripod, I think it not inopportune to recount the ancient story which has been handed down about it. It is said that in ancient times goats discovered the oracular shrine, on which account even to this day the Delphians use goats preferably when they consult the oracle. [16.26.2] They say that the manner of its discovery was the following.

There is a chasm at this place where now is situated what is known as the "forbidden" sanctuary, and as goats had been wont to feed about this because Delphi had not as yet been settled,

invariably any goat that approached the chasm and peered into it would leap about in an extraordinary fashion and utter a sound quite different from what it was formerly wont to emit.

[16.26.3] The herdsman in charge of the goats marvelled at the strange phenomenon and having approached the chasm (The pit) and peeped down it to discover what it was, had the same experience as the goats, for the goats began to act like beings possessed and the goatherd also began to foretell future events .
After this as the report was bruited among the people of the vicinity concerning the experience of those who approached the chasm, an increasing number of persons visited the place and, as they all tested it because of its miraculous character, whosoever approached the spot became inspired

For these reasons the oracle came to be regarded as a marvel and to be considered the prophecy-giving shrine of Earth. [16.26.4]

For some time all who wished to obtain a prophecy approached the chasm and made their prophetic replies to one another; but later, since many were leaping down into the chasm under the influence of their frenzy and all disappeared,

it seemed best to the dwellers in that region, in order to eliminate the risk, to station one woman there as a single prophetess for all and to have the oracles told through her.

And for her a contrivance was devised which she could safely mount, then become inspired and give prophecies to those who so desired. [16.26.5] And this contrivance has three supports and hence was called a tripod, and, I dare say, all the bronze tripods which are constructed even to this day are made in imitation of this contrivance. In what manner, then, the oracle was discovered and for what reasons the tripod was devised I think I have told at sufficient length. [16.26.6]

It is said that in ancient times virgins delivered the oracles because virgins have their natural innocence intact and are in the same case as Artemis; for indeed virgins were alleged to be well suited to guard the secrecy of disclosures made by oracles.

In more recent times, however, people say that Echecrates the Thessalian, having arrived at the shrine and beheld the virgin who uttered the oracle, became enamoured of her because of her beauty, carried her away with him and violated her; and that the Delphians because of this deplorable occurrence passed a law that in future a virgin should no longer prophesy but that an elderly woman of fifty should declare the oracles and

that she should be dressed in the costume of a virgin, as a sort of reminder of the prophetess of olden times.Such are the details of the legend regarding this; and now we shall turn to the activities of Philomelus.

Thomas Martin Overview of Archaic and Classical Greek History notes that people always want to sell free prophecy:

"The Greeks were always careful to solicit approval from their gods before setting out from home, whether for commercial voyages or colonization. The god most frequently consulted about sending out a colony was Apollo in his sanctuary at Delphi, a hauntingly beautiful spot in the mountains of central Greece. The Delphic sanctuary began to be internationally renowned in the eighth century B.C. because it housed an oracular shrine in

which a prophetess, the Pythia (Python or serpent), spoke the will of Apollo in response to questions from visiting petitioners. The Delphic oracle operated for a limited number of days over nine months of the year, and demand for its services was so high that the operators of the sanctuary rewarded generous contributors with the privilege of jumping to the head of the line The great majority of visitors to Delphi consulted the oracle about personal matters such as marriage and having children.

Strabo in Geography notes the frenzy and poetic inspiration (prophesying) on another mountain -- always loose women:

But ye who left Mt. Tmolus (a gold-producing mountain in Lydia, near Sardis) , fortress of Lydia,
        revel-band of mine,women whom I brought from the land of barbarians
        as my assistants and travelling companions,
        uplift the tambourines native to Phrygian cities, inventions of mine and mother Rhea.

It didn't take long to discover that this frenzied music and dance coupled with prostitution made the new "virgins" the most important religious leaders in the world.

Therefore, we believe that Christ through John is saying very clearly

(In Heaven) :that "unknown" songs of revelation "music" is best left in the hands of angels or real, genuine male virgins who have paid the price for the sincere worship of God.

(On Earth): That frees the messengers of the churches to preach the gospel while on earth.  

It would seem that those who claim to be mediators through song, tongues, instruments or dance probably should undergo a gender and virginity test before they go further -- or become angels.

The book of Revelation is highly symbolic, Like the rest of the Bible, making great use of parables to hide the truth from mercinaries according to Jesus (Matthew 13). The book of Revelation was written to Christians living in a hostile world where simple speech would give away the secret prophesied which were for the benefit of the believers.

If we take the harps literally then we are going to have a great waterfall creating a great roaring sound as a worship aid. And the magical sound of thunders? Well an ancient drama speaks volumes about women musical worship teams and the sound of thunder.

These pretend magical sounds were created by the false prophetesses. The "boom" of thunder and the "clang" of lightning were made from physical musical devices. However, Christ the Spirit uses material things to explain Spiritual ideas. If we take the message literally then we fall under the condemnation of the ancient scholars who said that adding instruments to God's songs was adding the work of human hands.

THE Revelation of Jesus Christ, which God gave unto him, to shew unto his servants things which must shortly come to pass; and he sent and signified it by his angel unto his servant John: Revelation 1:1

A sign is the Greek semaino or semeion which is a sign, token or wonder.
A sign is never a sign of itself or it wouldn't be a sign.
This means that songs, harps, bowls of incense etc. are symbolic of something spiritual.

Now, the harps, waters, and thunders and even the "Lamb" are signs or symbols of something else. God in Christ is not a literal lamb. If the harp is a sign it must be the sign of something else. The ancients treated the "harps from God" (as opposed to those from David) as the human heart and voice. Paul agreed and demanded that the melody be in the heart.

We noted that John used the word "as" to indicate that the sounds were like something physical even though they were coming from a spiritual domain.

What John heard was a voice (speech) like that of harpers harping with their harps. He could have said: "I heard harps" but he didn't. He heard speech. This word is used of artificial sounds only in connection with tongues and instruments in 1 Corinthians 14 and only to condemn the artificial or mechanical sounds as having any teaching value.

In Heaven: In Revelation 6:9 John saw the souls of victorious saints. Souls don't need literal harps made by the hands of men out of material. They need "harps from God" or the ability to sing and speak. A precondition for the happiness of the souls of the dead was that while living they were so dedicated to THE WORD OF GOD that they died to defend it:

And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held: Rev 6:9

And I fell at his feet to worship him. And he said unto me, See thou do it not: I am thy fellowservant, and of thy brethren that have the testimony of Jesus: worship God: for the testimony of Jesus is the spirit of prophecy. Rev 19:10

Those with Earthly Responsibilities and still alive

Meanwhile Back on the Earth (where I live)--Christ wants us to be busy teaching the whole Word to everyone in every nation. That doesn't leave much time for worshipping ourselves in songs with instruments and dance teams to call God down to the big meeting:

And I saw another angel fly in the midst of heaven, having the everlasting gospel to preach unto them that dwell on the earth, and to every nation, and kindred, and tongue, and people, Revelation 14:6

Saying with a loud voice, Fear God, and give glory to him; for the hour of his judgment is come: and worship him that made heaven, and earth, and the sea, and the fountains of waters. Revelation 14:7

Praising God is not saying "Lord, Lord" but giving an account of His acts in His Words or thinking about it -- worship in spirit or in mind:

Doca (g1391) dox'-ah; from the base of 1380; glory (as very apparent), in a wide application (lit. or fig., obj. or subj.): - dignity, glory (-ious), honour, praise, worship.

Dokeo (g1380) dok-eh'-o; a prol. form of a prim. verb (used only as an alt. in certain tenses; comp. the base of 1166) of the same mean.; to think; by impl. to seem (truthfully or uncertainly): - be accounted, (of own) please (-ure), be of reputation, seem (good), suppose, think, trow

The actual worship is:

Proskuneo (g4352) pros-koo-neh'-o; from 4314 and a prob. der. of 2965 (mean. to kiss, like a dog licking his master's hand); to fawn or crouch to, i.e. (lit. or fig.) prostrate oneself in homage (do reverence to, adore): - worship.

You can do that by lifting holy HANDS which means with the palms up as if reading the Word written on the heart of flesh. However, you cannot do that WAVING ARMS in the air.

John is demanding that we worship the God who created all material things including the "sounds of rushing waters" and not worship the "gas" from a hole in the rock, human inventors or the mechanical devices they used to pretend that it was the voice of God.

By analogy, when we see a great painting do we honor the canvas or the artist!

John continues the symbolic message in chapter 15. As It Were defines the SYMBOLIC in the whole passage.

AND I saw (present tense!) another sign in heaven, great and marvellous, seven angels having the seven last plagues; for in them is filled up the wrath of God. Re 15:1

And I saw as it were a sea of glass mingled with fire: and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, (as it were) having the harps of God. Revelation 15:2

And they
sing the song of Moses the servant of God,
........... and the song of the Lamb,
saying (3004), Great and marvellous are thy works, Lord God Almighty; just and true are thy ways, thou King of saints. Revelation 15:3

The word SING is the Greek word ADO. This does not inculde instruments. It is used in Ephesiahd 5:19 to be a way to SPEAK the revealed word with the singing in the heart and directed to God and not the audience:

Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; Ep.5:19

Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord. Col.3:16

The "song of Moses" appears in Deuteronomy 32 but they were to SPEAK it to TEACH people because in the end it would be the Words of God which would be their judge.
Deut 31:19 Now therefore write ye this song for you, and teach it the children of Israel: put it in their mouths
        that this song may be a witness for me against the children of Israel.

Deut 31:20 For when I shall have brought them into the land which I sware unto their fathers, that floweth with milk and honey; and they shall have eaten and filled themselves, and waxen fat; then will they turn unto other gods, and serve them, and provoke me, and break my covenant.

Deut 31:21 And it shall come to pass, when many evils and troubles are befallen them,
        that this song shall testify against them as a witness;
        for it shall not be forgotten out of the mouths of their seed:
        for I know their imagination which they go about,  [the law of silence?]
        even now, before I have brought them into the land which I sware.

Deut 31:22 Moses therefore wrote this song the same day, and taught it the children of Israel.
Thy were to write copies and TEACH it to the childrens and put it in their mouths.
That was important because the WRITTEN word would judge them in the end.

Alfred Edersheim writes in The Temple that every Sabbath day throughout the history of the Tabernacle and Temple morning/evening service the Song of Moses was sung in 6 different segments throughout the day. Many of the Psalms, believed to have been written by David are based on this song. King David, seem to have been inspired by the Song of Moses.

Both melody and grace are qualities of SPEECH and not music.

In Exodus 15:

"In the first place, it will be noticed from the account of the triumphant rejoicing on the shore of the Red Sea that the men sang only: 'Then sang Moses and the children of Israel this song unto the Lord, and spake saying.'" (Girardeau, George, p. 33)

"In the second place, it was Miriam and the women who used instruments of music on the occasion: 'And Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went after her with timbrels and with dances." (Girardeau, p. 33).

Of the Bacchus worship which the Jews tried to force upon Jesus as a "mark" to identify Him as their hoped-for god of wine and war, and those alluded to by Paul to the Ephesians (Chapter 5) when he demanded the sober use of the Word of God as the preaching material while the "singing and melody" remain in the heart, Livy wrote of a continual warfare to put down this "marking" religion even in his day:

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

not with one of the many trades which his nation, of all others the most skillful in the cultivation of the mind and body, has introduced among us,
but a low operator in sacrifices, and a soothsayer;
nor was he one who, by open religious rites,
and by publicly professing his calling and teaching,
imbued the minds of his followers with terror,
but a priest of secret and nocturnal rites.
These mysterious rites were, at first, imparted to a few,
but afterwards communicated to great numbers, both men and women.

To their religious performances were added the pleasures of wine and feasting,

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

Nor were they confined to one species of vice---the promiscuous intercourse of free-born men and women;

but from this store-house of villainy proceeded false witnesses,
counterfeit seals (marks), false evidences, and pretended discoveries.

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

Many of their audacious deeds were brought about by treachery, but most of them by force;

it served to conceal the violence, that, on account of the loud shouting, and the noise of drums and cymbals, none of the cries uttered by the persons suffering violence (sodomy)or murder could be heard abroad.

Music is still used to silence the voice of those suffering violence by the introduction of neo-Bacchus or Dionysus "wineskin" worship. See the attempt to "Mark" Jesus with the Seal of Dionysus to "triumph over" Him with Music. 

How can you literally stand on a literal sea of molten glass or mixed with fire and hold literal harps?

Paul uses Isaiah 28 to warn of those in Corinth who were speaking barbarian languages but not teaching. He also associates this singing of secular songs an their own dialect with warfare and lifeless musical instruments:

For with stammering lips and another tongue will he speak to this people. Isa 28:11

Laeg (h3934) law-ayg'; from 3932; a buffoon; also a foreigner: - mocker, stammering.
Laag (h3933) lah'-ag; from 3932; derision, scoffing: - derision, scorn (-ing).
(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.

To play instruments while Christ is speaking to us is to laugh Him to scorn or mock Him.

Throughout the Old Testament, songs were "recited" as revealed discourses from God. Those who sing the song of Moses are no different. When they sing the song of Moses they do what Moses did--they "recite" the song to instruct the leaders so they could remember and repeat it.

lego (g3004) leg'-o; a prim. verb; prop. to "lay" forth, i.e. (fig.) relate (in words [usually of systematic or set discourse; whereas 2036 and 5346 generally refer to an individual expression or speech respectively; while 4482 is prop. to break silence merely, and 2980 means an extended or random harangue]); by impl. to mean: - ask, bid, boast, call, describe, give out, name, put forth, say (- ing, on), shew, speak, tell, utter.

This word is used by Paul to exclude speaking in tongues (negatively compared to musical instruments 13:1)--

Else, when thou shalt bless with the spirit, how shall he that occupieth the room of the unlearned say Amen at thy giving of thanks, seeing he understandeth not what thou sayest? 1 Corinthians 14:16

If God wanted us to stimulate frenzy (mild or severe) in our worship with instruments or loud "melody" He would have commanded it. Because the Bible is so loaded with negative images of the instrument as a change agent to silence the gospel words spoken to the lost, it is logical that those who will do it anyway try to find any "authority" they can find. The search for "authority" is proof-positive that most want to follow Christ's steps for their lives. It simply is not possible to find the steps of Jesus -- Incarnate God of the Universe -- leading to religious musical festivals where music is a powerful agent of change away from the simple Word.

No. The book of Revelation and what goes on in heaven is not authority for what we do on earth where our orders to speak the word to the world is clear and not subject to scholarly gainsaying.

To the contrary, doesn't this symbolic language using Orphic practices warn us that we should be about the business of teaching the words of Christ (Ephesians 5:19; Colossians 3:16) and let the dead bury the dead?

The Prophecy: The Testament of Judah As Punishment for His Mingling with A Canaanite Woman

22. And the Lord shall bring upon them divisions one against another, and there shall be continual wars in Israel;

and among men of other race shall my kingdom be brought to an end, until the salvation of Israel shall come, until the appearing of the God of righteousness, that Jacob and all the Gentiles may rest in peace.

And he shall guard the might of my kingdom for ever: for the Lord sware to me with an oath that the kingdom should never fail from me, and from my seed for all days, even for ever.

23. Now I have much grief, my children, because of your lewdness, and witchcrafts, and idolatries,

which ye will work against the kingdom,
following them that have
familiar spirits
ye will make your daughters
singing girls and harlots for divinations and demons of error,
and ye will be
mingled in the pollutions of the Gentiles:

for which things' sake the Lord shall bring upon you famine and pestilence, death and the sword, avenging siege, and dogs for the rending in pieces of enemies,

and revilings of friends, destruction and blighting of eyes, children slaughtered, wives carried off, possessions plundered, temple of God in flames, your land desolated, your own selves enslaved among the Gentiles,

and they shall make some of you eunuchs for their wives; and whenever ye will return to the Lord with humility of heart, repenting and walking in all the commandments of God, then will the Lord visit you in mercy and in love, bringing you from out of the bondage of your enemies.

24. And after these things shall a Star arise to you from Jacob in peace, and a Man shall rise from my seed, like the Sun of righteousness, walking with the sons of men in meekness and righteousness, and no sin shall be found in Him.

And the heavens shall be opened above Him, to shed forth the blessing of the Spirit from the Holy Father; and
He shall shed forth
a spirit of grace upon you, and ye shall be unto Him sons in truth,
and ye shall walk in His commandments, the first and the last.

This is the Branch of God Most High, and this the Well-spring unto life for all flesh. Then shall the sceptre of my kingdom shine forth, and from your root shall arise a stem; and in it shall arise a rod of righteousness to the Gentiles, to judge and to save all that call upon the Lord.

The Branch of the terrible ones was a song with instrumental accompaniment. This is also the Abominable branch.

Attempting to Bring The Lives of the Living Back Among The Spiritually Dead

Lamenting for Tammuz and Ishtar worship in Ezekiel and elsewhere in the Old Testament is a powerful image. In fact, early Christians began to worship Tammuz or Adonis. Some even planted shrubs at the tomb of Jesus to honor him as the second incarnation of Tammuz. This worship moved easily into the early church and continues in Easter and other instrumental musical arousal rituals.

"Ezekiel in describing the necromantic ritual of the witches, says they fastened 'magic bands' (kesatot) on their wrists and with them 'trapped souls like birds' (Ezekiel 13:20). This rare word is related to the Sumerian KI-ShU, meaning some kind of magical imprisonment, but we have to look to Greek for its precise significance. In the form kiste, Latin cista, it appears as a container used in certain mystery rituals of the Dionysiac cult, supposedly for the carrying of secret implements.

In fact, wherever the cista is graphically represented it is shown as a basket from which a snake is emerging.

Thus on sarcophagi inscribed with Bacchic scenes, the cista is shown being kicked open by Pan and the snake raising itself from the half-opened lid.

The snake is an important feature of the Dionysiac cult and imagery. The Maenads of Euripides' Bacchae have serpents entwined in their hair and round their limbs, and the snake was the particular emblem of the Phyrigian Sabazios (Sabadius) with whom Dionysos is identified." - John M. Allegro, The Sacred Mushroom and the Cross (Click for more Background)

Reverse: Two coiled serpents, heads erect; between them, kerykeion; in right field, long torch

The Britannica Notes: The Dionysiac reliefs are numerous. They show symbols of the religion, such as the shepherd's staff, the winnow (an ancient device for separating chaff from grain), and the phallus; they depict the gay (yes, literally) life of satyrs and maenads, shepherds and shepherdesses; and they represent the "golden age" of the gods with tame and wild animals enjoying a peace that the god had instituted. A great silver dish dating from about the 4th century AD and found at Mildenhall, England, shows the swift and elegant dance of the maenads. Dionysiac sarcophagi represented Bacchic revels and the pastime of the Erotes and Psyches in afterlife. Many reliefs of the Isis Mysteries also survive. They display the mystical cista (a receptacle for carrying sacred objects) with the snake of Horus, the priest carrying holy water in a procession, female attendants with a ladle, and a man in a dog's mask, who represents Anubis (the guardian god of the underworld). Other Isiac reliefs show Isis riding on a dog, symbolic of her position as goddess of Sirius (the Dog Star).

"And in observing the funeral festivities where the food and music was offered to the dead but enjoyed by the living, perhaps we should see the Book of Revelation warning aginst attempting to commingle Christian "in spirit" or "in mind" worship with the external sense-appeal suitable for the dead or the spirituall dead.

But she that liveth in pleasure is dead while she liveth. 2 Tim 5:6

"However, you will grant that nothing can be more ridiculous than to be well anointed and crowned with roses but perishing of hunger and thirst. Thus it is at a funeral meal when the gravestone of one recently deceased is anointed and crowned,

while the funeral guests keep the wine and meal for themselves. (Lucian, De merced conductis 28, 687) It was the same with regard to music at the meal of the dead. When at the end of the meal the funeral guests would resort to their own pleasures, to playing and dancing,

it was because music was originally supposed to have offered comfort to the dead.

"In Egypt it was "eat, drink and be merry" as the mourners are eating drinking, watching the dancers and listening to the song of the harpist, who addresses the dead man himself:

"Celebrate the beautiful day! Set forth ointments and fine oil for your nostrils and wreaths and lotus blossoms for the body of your dear sister, who is seated at your side.

Let there be singing and music before you cast everything sad behind you and think only of joy." (Quasten, p. 154)

"A similar situation existed among the Greeks, the Etruscans and the Romans. A Greek relief of a meal of the dead, dating from the fifth century before Christ and presently in the Museo Baracco in Rome, depicts a husband and wife reclinig at a meal, looking at a Iyrist who attends them with his playing. The portrayals of banquets on Etruscan sepulchral monuments are well known, and music is rarely missing on them. The upper relief of a gravestone in the museum in Fiesole shows a meal of the dead, while the lower relief portrays a flutist and two dancing figures. The museum's inscription notes that this is a representation of the actifities of the blessed in Elysium. On the upper relief the figure who is eating is pictured in a reclining position.

Since the living usually sat while the deceased were thought to recline, this clearly represents a meal of the dead. The music and dancing portrayed on the lower relief, like the meal, serve to refresh the dead person.

The music of the living in Amos 5, 6 and 8 was God's sign to them that they were condemned to captivity and death. Of this festival with and for the dead, King and Heaton note:

"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. Biblical Archaeological Review, Aug, 1988, p. 37).

"With the wine-drinking (which is the literal meaning of the Hebrew for feasting), went music and dancing." (Heaton, E. W., Everyday Life in Old Testament times, Scribners, p. 93)

"From the Roman circle of culture there are sarcophagi with scenes of meals of the dead which portray the deceased at table, as they had been in life, accompanied by elaborate musical entertainment. A sarcophagus in the Lateran Museum in Rome shows a meal of the dead in which the dead man is at table. From both sides food is being brought to him. To the left, at the foot of the couch on which he reclines, a lutenist and, in the background, a flutist proffer him a musical instrument. "(Ibid p. 154)

However, we repeat:

However, of those still on Earth (That's us): "The fact remains that the persons depicted as approaching the deceased on Greek oinment jars are never playing their instruments... the person bearing the cithara is stretching out his hands toward the gravestone on which the dead man is sitting as if he wis hed to offer the latter the instrument."

Why? "In antiquity, singing and instrumental music, playing and dancing were considered to be the chief occupation and pastime of the blessed...

In the story of Wen Amon in the area of Tyre as the prince was trying to steal his cedar wood. They were, in effect, treating him as a dead man because they intended to, like the king of Tyre, have him murdered after lulling him with song and music:

"He went and told it to the prince. The prince began to weep at the evil words which they spoke to him. He sent out his letter-scribe to me and brought me two jars of wine and a ram. He sent to me, Tento, an Egyptian singer (feminine), who was with him, saying:

'Sing for him; let not his heart feel apprehension.' He sent to me, saying:
'Eat, drink, and let not they heart feel apprehension. Thou shalt hear all that I have to say unto thee in the morning." (Barton, George A., Archaeology and the Bible, p. 452)

The phrase "eat, drink, and be merry" was part of a religious ritual common throughout the region--

"The traditional founder of Tarsus was Sardanapalus, who was worshipped, along with Semiramis, with licentious rites which resembled those of the Feast of Tabernacles. Paul had probably witnessed this feastival, and had seen, at the neighboring town of Anchiale, the statue of Sardanapalus, represented as snapping his fingers, and with the inscription upon the pedestal,

'Eat, drink, enjoy thyself. The rest is nothing." (Vincent, New Testament Word Studies, p. 278)
"If I fought wild beasts in Ephesus for merely human reasons, what have I gained? If the dead are not raised, "Let us eat and drink, for tomorrow we die." 1 Cor 15:32

In the book of Revelation the symbolism and the actual setting in heaven and on earth shows that musical instruments offered on the tombstones or carved on them was to supply harps to the departed who had no earthly responsibilities. Back on earth, the obligation of the living was to teach.

Quasten notes that the tambourine:

"had already occupied an important position in the cult of the Egyptians, for its sound, which was deep and hollow, expelled the demons. The rhythmic musical character of the tambourine was highly suited to induce psychic stimulation." p. 37)

Lucian noted that in observing the funeral festivities where the food and music was offered to the dead but enjoyed by the living. The "gods" or demons were often departed ancestors who had to be appeased or entertained with food, drink, dancing and music.

"Why do you crown the gravestone there and anoint it? Others also erect a funeral pile before the grave, dig a hole and burn these costly means and seem to pour out wine and a mixture of honey into the hole.

Hermes replies:

I do not know, ferryman, how this benefits the one who is in Hades. Nonetheless, they are convinced that the smoke and incense swirl about the soul that are below and that as many as possible of them eat of it and drink the mixture of honey from out of the hole. Charon 22, 219 (See Homer's Hymn to Hermes)

Hosea has God warned against rising above any message from God. Again, these "funeral" practices are symbolic of the spiritual destruction of the nation:

I wrote for them the many things of my law, but they regarded them as something alien. Hosea 8:12

They offer sacrifices given to me and they eat the meat, but the LORD is not pleased with them. Now he will remember their wickedness and punish their sins: They will return to Egypt. Hosea 8:13

Lucian notes that while they heaped the food and entertainment on themselves, only the crumbs which fell to the dead was burned.

Quasten notes that "It was the same with regard to music at the meal of the dead. When at the end of the meal the funeral guests would resort to their own pleasures, to playing and dancing, it was because music was originally supposed to have offered comfort to the dead."

Lucian describes a journey to the Isle of the Blessed, speaks of hearing from afar the music which was being played at their banquet:

Now and then one could also hear very clearly different sounds -- not noisy, but such as would come from a banquet when a few people are playing the flute or the cithara." Lucian, True History II. 5. 108

Because the Babylonian religion will be common in the end and the musicians will cease (Revelation 18), it is interesting that of the graves in Ur:

"The girl harpists' skeleton hands were still resting on the harp strings--or where the harp strings once had been. And the instruments themselves suggested in form the body of a bull, with its beautiful golden bull's head (engravings) bearing a rich lapis-lazuli beard (settings). For this was a mythological bull: the divine lunar bull whose song of destiny had summoned these two willing companies--first of the buried king, then of his lady--to rebirth through death. And we know the name of the god of whom this bull was the animal vehicle. It was the great Near Eastern legendary, god-king and universal savior Tammuz, the dates of whose annual death-and-resurrection festival are now assigned in our own mythic and ritual calendar, by the Synagogue to Passover, and by the Church to Good Friday and Easter." (Campbell, Myths, p. 62-63)

"The graves of the kings of Ur... were veritable treasure chests, for they were filled with all the costly things that Ur in its heyday possessed. Golden drinking cups and goblets, wonderfully shaped jugs and vases, bronze tableware, mother of pearl mosaics, lapis lazuli, and silver surrounded these bodies which had molded into dust. Harps and lyres rested against the walls." Keller, p. 27

The Sirens

In the Book of Enoch called The Watchers, Chapter 19

1 And Uriel said to me: 'Here shall stand the angels who have connected themselves with women, and their spirits assuming many different forms are defiling mankind and shall lead them astray into sacrificing to demons as gods, (here shall they stand,) till the day of the great judgement in

2 which they shall be judged till they are made an end of. And the women also of the angels who

3 went astray shall become sirens.' And I, Enoch, alone saw the vision, the ends of all things: and no man shall see as I have seen.

In chapter1, verse 9:

9 And behold! He cometh with ten thousands of His holy ones

To execute judgement upon all,
And to destroy all the ungodly:
And to convict all flesh
Of all the works of their ungodliness which they have ungodly committed,
And of all the hard things which ungodly sinners have spoken against Him.

In Fourth Maccabees chapter 15, the writer desceibes the people who were tortured on a device called the "Tyre-Timana" or cross-like wheel. The skins were literally stretched and the person who refused to eat pork were "drummed" to death with a "baton."

20 - When you saw the flesh of children burned upon the flesh of other children, severed hands upon hands, scalped heads upon heads, and corpses fallen on other corpses and when you saw the place filled with many spectators of the torturings, you did not shed tears.

21 - Neither the melodies of sirens nor the songs of swans attract the attention of their hearers as did the voices of the children in torture calling to their mother.

22 - How great and how many torments the mother then suffered as her sons were tortured on the wheel and with the hot irons! (The wheel was like a drum frame. They stretched your "hide" on it and beat you to death with a "baton.")

23 - But devout reason, giving her heart a man's courage in the very midst of her emotions, strengthened her to disregard her temporal love for her children.

HELEN by Euripides speaks of the relationship with the DEAD.

Ah me! what piteous dirge shall I strive to utter, now that I am beginning my strain of bitter lamentation? What Muse shall I approach with tears or songs of death or woe?

Ah me! ye Sirens, Earth's virgin daughters, winged maids, come, oh! come to aid my mourning, bringing with you the Libyan flute or pipe, to waft to Persephone's ear a tearful plaint, the echo of my sorrow, with grief for grief, and mournful chant for chant, with songs of death and doom to match my lamentation, that in return she may receive from me, besides my tears, dirges for the departed dead beneath her gloomy roof!
 Clement of Alexandria notes of the Sirens: 

Chapter XII.-Exhortation to Abandon Their Old Errors and Listen to the Instructions of Christ.

Let us then avoid custom as we would a dangerous headland, or the threatening Charybdis, or the mythic sirens. It chokes man,

turns him away from truth, leads him away from life:
custom is a snare, a gulf, a pit, a mischievous winnowing fan.
"Urge the ship beyond that smoke and billow." (Odyss., xii. 219.)

Let us shun, fellow-mariners, let us shun this billow; it vomits forth fire: it is a wicked island, heaped with bones and corpses,

and in it sings a fair courtesan, Pleasure, delighting with music for the common  "Hie thee hither, far-famed Ulysses, great glory of the Achaeans;

Moor the ship, that thou mayest hears diviner voice." (Odyss., xii. 184.)

She praises thee, O mariner, and calls thee illustrious; and the courtesan tries to win to herself the glory of the Greeks.

Leave her to prey on the dead;
a heavenly spirit comes to thy help:
pass by Pleasure, she beguiles.
"Let not a woman with flowing train cheat you of your senses,
With her flattering prattle seeking your hurt."
Sail past the song; it works death.

Exert your will only, and you have overcome ruin; bound to the wood of the cross, thou shalt be freed from destruction:

the word of God will be thy pilot,
and the Holy Spirit will bring thee to anchor in the haven of heaven.

Then shalt thou see my God, and be initiated into the sacred mysteries, and come 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." (1 Cor. ii. 9.)

At length his companions recalled him to nobler sentiments, and he received their admonition gratefully. Circe aided their departure, and instructed them how to pass safely by the coast of the Sirens. The Sirens were sea-nymphs who had the power of charming by their song all who heard them, so that the unhappy mariners were irresistibly impelled to cast themselves into the sea to their destruction.

Circe directed Ulysses to fill the ears of his seamen with wax, so that they should not hear the strain; and to cause himself to be bound to the mast, and his people to be strictly enjoined, whatever he might say or do, by no means to release him till they should have passed the Sirens' island.

Ulysses obeyed these directions. He filled the ears of his people with wax, and suffered them to bind him with cords firmly to the mast.

As they approached the Sirens' island, the sea was calm, and over the waters came the notes of music so ravishing and attractive that Ulysses struggled to get loose, and by cries and signs to his people begged to be released; but they, obedient to his previous orders, sprang forward and bound him still faster.

They held on their course, and the music grew fainter till it ceased to be heard, when with joy Ulysses gave his companions the signal to unseal their ears, and they relieved him from his bonds. Bullfinch

from Jerome: Letter LIV. To Furia.


13. Avoid the company of young men. Let long baited youths dandified and wanton never be seen under your roof.

Repel a singer as you would some bane.
Hurry from your house women who live by playing and singing,
the devil's choir whose songs are the fatal ones of sirens.

Do not arrogate to yourself a widow's license and appear in public preceded by a host of eunuchs. It is a most mischievous thing for those who are weak owing to their sex and youth

to misuse their own discretion
and to suppose that things are
lawful because they are pleasant.

Oh! that you could see your sister (sent to Bethelem) and that it might be yours to hear the eloquence of her holy lips and to behold the mighty spirit which animates her diminutive frame.

You might hear the whole contents of the old and new testaments come bubbling up out of her heart. Fasting is her sport, and prayer she makes her pastime.

Like Miriam after the drowning Pharaoh she takes up her timbrel and sings to the virgin choir, "Let us sing to the Lord for He hath triumphed gloriously; the horse and his rider hath he thrown into the sea."

She teaches her companions to be music girls but music girls for Christ, to be luteplayers but luteplayers for the Saviour.

In this occupation she passes both day and night and with oil ready to put in the lamps she waits the coming of the Bridegroom. Do you therefore imitate your kinswoman. Let Rome have in you what a grander city than Rome, I mean Bethlehem, has in her.

However, in Jerome's work against Pelagius he accused him of winning the favor of his amazons:

"Who does not know that women should sing the praises of the Lord --

in their own chambers,
far removed from the
meetings of men and the assemblies of the multitude?
But you permit what is not permissible, namely,

that they do what should be performed by them secretly and without any witnesses as though they were lawfully constituted teachers."

In a cultural sense, music was the last resort of a dying civilization:

"In the Roman ritual for the dead music was performed at the wake and, in fact, very shortly after death. A relief in the Museo delle Terme in Rome, which was found on the Via Latina, is of special interest here. A woman with the expression of death lies upon a bed. At the foot of the bed two musicians are portrayed, one of whom blows a flute and the other a curved horn. Under the scene is the inscription, MORITUR,

which leads one to conclude that the moment of death itself is shown here. This portrayal recalls the Roman proverb,  "to send for the trumpeters," which was used to indicate approaching death. (Quasten, p. 151)

"In the year 1847 several reliefs were found on the Via Labicana in the vicinity of Rome. They come from the mausoleum of the Haterii and belong to about the first century after Christ. One of the reliefs, presently in the Lateran Museum, gives a remarkably clear depiction of the lamentation in the presence of the corpse. A dead women lies in solemn state on her bier. The man at the head of the bier, who is bringing a garland to adorn the deceased, may be the pollinctor, whose duty it was to prepare the corpse.

The other people standing about the bier are striking their breasts with their hands as a sign of mourning. To the left at the foot of the bed is a woman flutest, seated on a stool, accompanying the mourning with the double flute.

"Although music was essential in mourning at home
it played an even more important role in the
funeral procession.

In Egypt the sistrum accompanied the dirges of the solemn procession to the grave. In Greece Solon had to speak out against too great an expenditure for burials; he abolished the libations and sacrifices of propitiation before the funeral or at the place of interment. However, the dirges with flute accompaniment remained, as Luciian of Samosata bears witness. The funeral procession began to the sound of flutes. (Quasten, p. 151)

See how Miriam (an Egyptian princess and therefore prophetess) may have been a DEATH CHANT for the nation of Israel which would soon fall back into Egyptian, musical idolatry.

"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 ..." (Encyclopaedia Judaica, 1971 ed., s.v. "Music")

This is clearly illustrated as the nation of Israel was dying and going into captivity and death:

Speaking of the Instrumental music in worship condemned by Amos and others we note that:
---- "The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria... The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 36)
----"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37).
"Amos may have referred to sacred vessels at the marzeah to underscore its sacrilegious nature. At the same time, he may be emphasizing their unusually large capacity, in order to condemn the inordinate drinking that was an integral part of the marzeah." (King, p. 42, 43).
"The effect of this demoralizing religion upon Hebrew society was seen in the corruption of justice, in wanton and luxurious living, and in the decay of social unity." (Living Bible Ency., p. 87).
The Battle of Baal and Yahm
  1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
  2. Aloud they [summon the assembly of the gods/ do cry to those near]. They invite
  3. the distant ones/ those far away, to the assembly of `El
  4. they summon/do cry: "`El remains seated
    [in his
    marzeah/banqueting hall//among his cult-guests (dM)] . . .
  5. The shame of the Eternal One/The shameful conduct of the usurper . . .
  6. O gods, (to) the house of your lord . . .
  7. [Who surely travels (S)/lest he go (D/G) quickly/the Runner will not walk (dM)] through the land, . . .
  8. who goes in the dust (of) destruction/a mess of mud on the ground . . .
Comments: Smith believes lines 7-8 should be interpreted "Either literally, as `El walking through the underworld, or an allusion to `El being "dead drunk," or both metaphorical, and ironic, as the marzeah serves as the setting for feasts for the dead and for the living mourning the dead (p. 145).
----"With the wine-drinking (which is the literal meaning of the Hebrew for feasting), went music and dancing." (Heaton, E. W., Everyday Life in Old Testament times, Scribners, p. 93)
----"Worship was form more than substance; consequently, conduct in the marketplace was totally unaffected by worship in the holy place. Amos spoke from the conviction that social justice is an integral part of the Mosaic covenant, which regulates relations not only between God and people, but also among people." (King, p. 44).
----"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans. In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51). (Proof Here).

---- Those whose assigned task is to "take away the keys to knowledge" (Luke 11:52) should be aware that the literate of the world understand that the entire Bible treats instrumental music as a way to take away the Words of Christ. That is a self-evident fact.
And I saw another angel fly in the midst of heaven, having the everlasting gospel to preach unto them that dwell on the earth, and to every nation, and kindred, and tongue, and people, Revelation 14:6

Saying with a loud voice, Fear God, and give glory to him; for the hour of his judgment is come: and worship him that made heaven, and earth, and the sea, and the fountains of waters. Revelation 14:7

The book of Revelation is prophetic: when we see the living people turn from the Word to music we can be assured that it is a sign from heaven. The message to the world is that the state, institution or church is dead and perhaps God celebrates the fact as He removes their candlestick.

Music is very often a sign of STAR WORSHIP and the MARK which declares that a people have turned from worshiping the Creator to worshiping the Creature.

Kenneth Sublett

Musical Worship Index

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