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.

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

BACKGROUND SYMBOL OF MUSIC AND REJECTING THE WORD IN EZEKIEL, ISAIAH AND AMOS

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

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)

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).

THESE WERE NOT DEAD VIRGINS!

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.

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.

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.

And I heard a voice from heaven,
as the voice of many waters, and
as 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

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.

Echeion , ( [êchos] ) 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, = chalkôma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5. 2. Adj. êcheion organon sounding instrument, Ph.1.588, cj.ib.444,510. Organon, 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, Melanipp.2, Telest.1.2. êchetês , ou, ho, Ep. êcheta^ , Dor. achetas , acheta^ , ( [êcheô] ) 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., achetas, 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. 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., achetas, 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. Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]   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 te boai kanachai t' aulôn doneontai Id.P.10.39 ; of bees, Choeril.2; rhoizêmasin aithêr doneitai Ar.Av.1183 .--Poet. word, used in Ion., X.Smp.2.8, and late Prose; of medical percussion, Aret.SD2.1   "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          Fol. 12b, col. 2. 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. 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 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. 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 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 14:9 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:

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,         afflicted 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,         and 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, sphrigôntathumonA.Pr.382 ; muthonE.Supp.478 . 4.swell with desire, be at heat,

orgi-azô ,

A. celebrate orgia, E.Ba.415 (lyr.), etc.: c. acc., o. teletên Pl.Phdr.250c ; hiera Id.Lg.910c ; thusias, pompas, choreias Plu.Num.8 : c. dat., pay ritual service to a god or goddess, tautêi Str.10.3.12 :--so in Med., orgiazesthai daimosi, 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

WHY FEMALES ARE EXCLUDED FROM THE "PRAYER" WHERE THE PURPOSE OF THE SYNAGOGUE WAS PRIMARILY INSTRUCTION.

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, musisPauo 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.

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Jonathan Edwards on Praise Begins:

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And I heard a voice from heaven, as the voice of many waters, and as the voice of a great thunder; and I heard the voice of harpers harping with their harps - Revelation 14:2.

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"We May Observe In These Words:

Introduction

"What it was that John heard, that is, the voice and melody of a company praising God. It is said in the next verse that they sung a new song before the throne.

"Whence he heard this voice: "I heard," says he, "a voice from heaven." This company that he heard praising God was in heaven. It is said in the following verse, "They sung this song before the throne, and before the four living creatures, and the elders." But the throne of God and the four living creatures and the four and twenty elders, are all represented in these visions of John as being in heaven. So that this voice was the voice of the heavenly inhabitants, the voice of the blessed and glorious company that is in heaven before the throne of God there.

"The kind of voice which is here set forth in a very lively and elegant manner; it is said to be

as the voice of many waters and

as the voice of mighty thunders and

as the voice of harpers harping with their harps.

"Hereby several things are represented in a very striking manner.

"The distance of the voice.

"That it was the voice of a vast and innumerable multitude: so that it was as the voice of many waters. How naturally does this represent the joint, continual, and loud voice of a vast multitude at a distance, that it resembled the voice of many waters.

"The loudness of the voice. It was as the voice of many waters and as the voice of a great thunder; which describes the extraordinary fervency of their praises and how lively and vigorous they were therein and how that everyone praised God with all his might. They all, joining together, sung with such fervency that heaven did as it were ring with their praises. The noise of thunder and the roaring of many waters are the most great and majestic sounds ever heard upon earth and are often spoken of in the Scriptures as the mightiest sounds. John could not distinctly hear what they said, but they being in heaven, at a great distance, he knew not what better to compare it to than to the roaring of the sea or a great thunder. Yet,

It was a melodious sound, signified by this expression, "I heard the voice of harpers harping with their harps." The harp was a stringed instrument that David made much use of in praising God. John represents the matter thus to us,

that the voice which he heard, being at a great distance, was indistinct;

And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped? 1 Cor 14:7

and being of such a vast multitude, and such a mighty fervent voice that it seemed in some measure like distant thunder or the roaring of water,

Now, brethren, if I come unto you speaking with tongues, what shall I profit you, except I shall speak to you either by revelation, or by knowledge, or by prophesying, or by doctrine? 1 Cor 14:6

and yet he could perceive the music of the voice at the same time; though it was in some respects as thunder and the noise of water, yet there was a sweet and excellent melody in it.

"In short, though these comparisons of which John makes use to signify to us what kind of a voice and sound it was that he heard are exceedingly lively and elegant,

yet this seems to be evident from them, that what he heard was inexpressible and that he could find nothing that could perfectly represent it.

That a voice should be as the voice of many waters and as the voice of a great thunder and yet like the voice of harpers is to us not easily to be conceived of.

But the case was that John could find no earthly sound that was sufficient to represent it; and therefore such various and different similitudes are aggregated and cast together to represent it. But thus much seems to be signified by it, that it seemed to be the voice of an innumerable multitude and that they were exceedingly fervent and mighty in their praises; that the voice of this multitude was very great and exceedingly full of majesty, and yet a most sweet and melodious voice at the same time.

End of Quote:

From John's statement as supported by Jonathan Edward's opinion what was heard was a loud, distant sound like many harpers strumming at the same time, like a great, rumbling thunder storm or like the crashing sound you have heard at the foot of a waterfall.

The message is that John did not hear a distinct message but he expresses the indescribable majesty of heaven.

However, we will note, the duty of the LIVING people is to teach God's Word in a distinct manner which is quite different from the musical sounds described by Paul to the Corinthians.

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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;
to 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.

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,
and 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).