Musical Heresy - Hippolytus - Soothsaying

Hippolytus refutes the heresies and ridicules the customers who are defrauded by musical magicians pretending to BRING THEM INTO THE PRESENCE OF GOD. Old bones and empty wineskins were used to make the foolish believe that they were listening to the gods speak in the hums,whispers, melody, booms and clangs of the musican or soothsayer. Paul would say that "fools love to be fooled" and perhaps deserve to be taken in by

See More on Music as Heresy

Click to see the sin of bringing instruments into the Holy Places.
Adam Clark on Instrumental music and Amos
Click for more mind control.
Click for David Lipscombs False Claims
See how Justin Martyr grasps the meaning of Amos.
Musical Worship Teams as Heresy
Musical Heresy Two
See the MUSIC connection to HERESY in the Greek language
See how Tertullian connects rituals to heresy.

The refutation of all heresies Hippolytus (Excerpts on Music, Astrology, and Magic) H

Book IV


The Roman Catholic church is a Chaldean or Babylonian form of religion from trinity to priesthood to music to eating and drinking the gods to making images weep to fool the foolish. Therefore, you may want to look at some of the modern "miracles" to keep the superstitious bound to Babylon.

Employing these (as analogies), Euphrates the Peratic, and Acembes the Carystian, and the rest of the crowd of these (speculators), imposing names different from the doctrine of the truth, speak of a sedition of AEons, and of a revolt of good powers over to evil (ones), and of the concord of good with wicked (AEons), calling them Taparchai and Proastioi, and very many other names. But the entire of this heresy, as attempted by them, I shall explain and refute when we come to treat of the subject of these (AEons).

But now, lest any one suppose the opinions propounded by the Chaldeans respecting astrological doctrine to be trustworthy and secure, we shall not hesitate to furnish a brief refutation respecting these, establishing

that the futile art is calculated both to

deceive and blind the soul indulging in vain expectations,
rather than to profit it. And we urge our case with these, not according to any experience of the art,
........... but from knowledge based on practical principles.Hi

Click To See A Modern Version soothsayers,

Those who have cultivated the art, becoming disciples of the Chaldeans, and communicating mysteries as if strange and astonishing to men, having changed the names (merely), have from this source concocted their heresy.

And he laid hold on the dragon, that old serpent, which is the Devil, and Satan, and bound him a thousand years, Rev 20:2

Drakon (g1404) drak'-own; prob. from an alt. form of derkomai , (to look); a fabulous kind of serpent (perh. as supposed to fascinate): - drago

Opis (g3789) of'-is; prob. from 3700 (through the idea of sharpness of vision); a snake, fig. (as a type of sly cunning) an artful malicious person, espec. Satan: - serpent.

But since, estimating the astrological art as a powerful one, and availing themselves of the testimonies adduced by its patrons,

they wish to gain reliance for their own attempted conclusions, we shall at present, as it has seemed expedient, prove the astrological art to be untenable, as our intention next is to invalidate also the Peratic system, as a branch growing out of an unstable root.


That, then, the Chaldeans profess to be acquainted with the horoscope at the periods of birth, but in reality do not know it, is evident from these considerations. But that neither is their horoscope infallible, it is easy to conclude.

For when they allege that the person sitting beside the woman in travail at the time of parturition gives,
........... by striking a metallic rim, a sign to the Chaldean,

who from an elevated place is contemplating the stars, and he, looking towards heaven, marks down the rising zodiacal sign;

in the first place, we shall prove to them, that when parturition happens indefinitely, as we have shown a little before,

neither is it easy to signify this (birth) by striking the metallic rim. However, grant that the birth is comprehensible, yet neither is it possible to signify this at the exact time;

for as the noise of the metallic plate is capable of being divided by a longer time and one protracted, in reference to perception,

it happens that the sound is carried to the height (with proportionate delay).pp

And the following proof may be observed in the case of those felling timber at a distance. For a sufficiently long time after the descent of the axe, the sound of the stroke is heard, so that it takes a longer time to reach the listener. And for this reason, therefore, it is not possible for the Chaldeans accurately to take the time of the rising zodiacal sign, and consequently the time when one can make the horoscope with truth.

And not only does more time seem to elapse after parturition, when he who is sitting beside
woman in labour strikes the metallic plate, and next after the sound reaches the listener,
that is,
the person who has gone up to the elevated position;

but also, while he is glancing around and looking to ascertain in which of the zodiacal signs is the moon, and in which appears each of the rest of the stars, it necessarily follows that there is a different position in regard of the stars,

the motion of the pole whiffing them on with incalculable velocity, before what is seen in the heavens is carefully adjusted to the moment when the person is born.

See First Corinthians and the Sounding or Clanging Brass connection.


And (the sorcerer), taking (a paper), directs the inquirer to write down with water whatever questions he may desire to have asked from the demons. Then, folding up the paper, and delivering it to the attendant, he sends him away to commit it to the flames, that the ascending smoke may waft the letters to demons.

While, however, the attendant is executing this order, (the sorcerer) first removes equal portions of the paper, and on some more parts of it he pretends that demons write in Hebrew characters.

Then burning an incense of the Egyptian magicians, termed Cyphi, he takes these (portions of paper) away, and places them near the incense.

But (that paper) which the inquirer happens to have written (upon), having placed on the coals, he has burned.

Then (the sorcerer), appearing to be borne away under divine influence, (and) hurrying into a corner (of the house),

utters a loud and harsh cry, and unintelligible to all,
and orders all those present to enter,

crying out
(at the same time), and invoking Phryn, or some other demon.

But after passing into the house, and when those that were present stood side by side, the sorcerer,

flinging the attendant upon a bed, utters to him several words,

partly in the Greek, and partly, as it were, the Hebrew language, (embodying) the customary incantations employed by the magicians.

[This was speaking in tongues]

(The attendant), however, goes away to make the inquiry. And within (the house), into a vessel full of water (the sorcerer) infusing copperas mixture, and melting the drug, having with it sprinkled the paper that forsooth had (the characters upon it) obliterated, he forces the latent and concealed letters to come once more into light; and by these he ascertains what the inquirer has written down. And if one write with copperas mixture likewise, and having ground a gall nut, use its vapour as a fumigator, the concealed letters would become plain. And if one write with milk, (and) then scorch the paper, and scraping it, sprinkle and rub (what is thus scraped off) upon the letters traced with the milk, these will become plain. And urine likewise, and sauce of brine, and juice of euphorbia, and of a fig, produce a similar result. But when (the sorcerer) has ascertained the question in this mode, he makes provision for the manner in which be ought to give the reply.

And next he orders those that are present to enter, holding laurel branches and shaking them, and uttering cries, and invoking the demon Phryn.

For also it becomes these to invoke him; and it is worthy that they make this request from demons, which they do not wish of themselves to put forward,

having lost their minds. The confused noise, however, and the tumult,

prevent them directing attention to those things which it is supposed (the sorcerer) does in secret. But what these are, the present is a fair opportunity for us to declare.

Click for more mind control.

Considerable darkness, then, prevails. For the (sorcerer) affirms that it is impossible for mortal nature to behold divine things, for that to hold converse (with these mysteries) is sufficient.

Making, however, the attendant lie down (upon the couch), head foremost, and placing by each side two of those little tablets,

upon which had been inscribed in, forsooth, Hebrew characters, as it were names of demons, he says that (a demon) will deposit the rest in their ears.

But this (statement) is requisite, in order that some instrument may be placed beside the ears of the attendant, by which it is possible that he signify everything which he chooses.

First, however, he produces a sound that the (attendant) youth may be terrified; and

secondly, he makes a humming noise; then, thirdly, he speaks through the instrument what he wishes the youth to say,

and remains in expectation of the issue of the affair; next, he makes those present remain still, and directs the (attendant) to signify, what he has heard from the demons.

But the instrument that is placed beside his ears is a natural instrument, viz., the windpipe of long-necked cranes, or storks, or swans. And if none of these is at hand,

there are also some different artificial instruments (employed); for certain pipes of brass, ten in number, (and) fitting into one another, terminating in a narrow point, are adapted (for the purpose), and through these is spoken into the ear whatsoever the (magician) wishes.

And the youth hearing these (words) with terror as uttered by demons, when ordered, speaks them out.

If any one, however, putting around a stick a moist hide,

and having dried it and drawn it together, close it up, and by removing the rod fashion the hide into the form of a pipe, he attains a similar end. Should any of these, however, be not at hand, he takes a book (scroll), and, opening it inside, stretches it out as far as he think requisite, (and thus) achieves the same result.

But if he knows beforehand that one is present who is about to ask a question, he is the more ready for all (contingencies). If, however, he may also previously ascertain the question, he writes with the drug, and, as being prepared, he is considered more skilful, on account of having clearly written out what is (about) being asked.

If, however, he is ignorant of the question, he forms conjectures, and puts forth something capable of a doubtful and varied interpretation,

in order that the oracular response, being originally unintelligible, may serve for numerous purposes, and in the issue of events the prediction may be considered correspondent with what actually occurs.

Next, having filled a vessel with water, he puts down (into it) the paper, as if uninscribed, at the same time infusing along with it copperas mixture. For in this way the paper written upon floats upwards (to the surface), bearing the response.

Accordingly there ensue frequently to the attendant formidable fancies for also he strikes blows plentifully on the terrified (bystanders).

For, casting incense into the fire, he again operates after the following method. Covering a lump of what are called "fossil salts" with Etruscan wax, and dividing the piece itself of incense into two parts, he throws in a grain of salt; and again joining (the piece) together, and placing it on the burning coals, he leaves it there. And when this is consumed, the salts, bounding upwards, create the impression of, as it were, a strange vision taking place.

And the dark-blue dye which has been deposited in the incense produces a blood-red flame, as we have already declared.
But (
the sorcerer) makes a scarlet liquid, by mixing wax with alkanet, and, as I said,

depositing the wax in the incense.
And he makes the coals be moved, placing underneath powdered alum; and when this is dissolved and
swells up like bubbles, the coals are moved.


Thunder is produced in many ways; for stones very numerous and unusually large,

being rolled downwards along wooden planks,
fall upon
plates of brass, and cause a sound similar to thunder.
And also around the thin
plank with which carders thicken cloth, they coil a thin rope; and then drawing away the cord with a whiff, they spin the plank round, and in its revolution

it emits a sound like thunder (The bull roarer). These farces, verily, are played off thus.

There are, however, other practices which I shall explain, which those who execute these ludicrous performances estimate as great exploits. Placing a cauldron full of pitch upon burning coals, when it boils up, (though) laying their hands down upon it, they are not burned; nay, even while walking on coals of fire with naked feet, they are not scorched. But also setting a pyramid of stone on a hearth, (the sorcerer) makes it get on fire, and from the mouth it disgorges a volume of smoke, and that of a fiery description. Then also putting a linen cloth upon a pot of water, throwing on (at the same time) a quantity of blazing coals, (the magician) keeps the linen cloth unconsumed. Creating also darkness in the house,

(the sorcerer) alleges that he can introduce gods or demons; and if any requires him to show AEsculapius, he uses an invocation couched in the following words:--

The child once slain, again of Phoebus deathless made
I call to come, and aid my sacrificial rites;
Who, also, once the countless tribes of
fleeting dead,
In ever-mournful homes of
Tartarus wide,
The fatal billow breasting, and the inky flood
Surmounting, where all of mortal mould must float,
Torn, beside the lake, with endless grief and woe,
Thyself didst snatch from gloomy Proserpine.
Or whether the seat of Holy Thrace thou haunt, or lovely
Pergamos, or besides Ionian Epidaurus,
The chief of seers, O happy God, invites thee here.


But neither shall I be silent respecting that piece of knavery of these (sorcerers), which consists in the divination by means of the cauldron. For, making a closed chamber, and anointing the ceiling with cyanus for present use, they introduce certain vessels of cyanus, and stretch them upwards. The cauldron, however, full of water, is placed in the middle on the ground;

and the reflection of the cyanus falling upon it, presents the appearance of heaven.

But the floor also has a certain concealed aperture, on which the cauldron is laid, having been (previously, supplied with a bottom of crystal, while itself is composed of stone.

Underneath, however, unnoticed (by the spectators), is a compartment, into which the accomplices, assembling, appear invested with the figures of such gods and demons as the magician wishes to exhibit.

Now the dupe, beholding these, becomes astonished at the knavery of the magician, and subsequently believes all things that are likely to be stated by him.

But (the sorcerer) produces a burning demon, by tracing on the wall whatever figure he wishes, and then covertly smearing it with a drug mixed according to this manner, viz., of Laconian and Zacynthian asphalt,

while next, as if under the influence of prophetic frenzy, he moves the lamp towards the wall.

Alexander, on the other hand, preferred his native place, urging very truly that an enterprise like theirs required congenial soil to give it a start,

in the shape of 'fat-heads' and simpletons; that was a fair description, he said, of the Paphlagonians beyond Abonutichus;

they were mostly superstitious and well-to-do; one had only to go there with someone to play the flute, the tambourine, or the cymbals, set the proverbial mantic sieve a-spinning, and there they would all be gaping as if he were a god from heaven.

"The fountain of Castalia is silent, and the other fountain of Colophon; and, in like manner, all the rest of the springs of divination are dead, and stripped of their vainglory, although at a late date, are shown with their fabulous legends to have run dry. Recount to us also the useless oracles of that other kind of divination, or rather madness, the Clarian, the Pythian, the Didymaean, that of Amphiaraus, of Apollo, of Amphilochus; and if you will, couple with them the expounders of prodigies, the augurs, and the interpreters of dreams. And bring and place beside the Pythian those that divine by flour, and those that divine by barley,

and the ventriloquists still held in honour by many.

Let the secret shrines of the Egyptians and the necromancies of the Etruscans be consigned to darkness.

The drug, however, is burned with considerable splendour. And that a fiery Hecate seems to career through air, he contrives in the mode following. Concealing a certain accomplice in a place which he wishes, (and) taking aside his dupes, he persuades them (to believe himself), alleging that he will exhibit a flaming demon riding through the air. Now he exhorts them immediately to keep their eyes fixed until they see the flame in the air, and that (then), veiling themselves, they should fall on their face until he himself should call them; and after having given them these instructions, he, on a moonless night, in verses speaks thus:- "Infernal, and earthy, and supernal Bombo, come!

Saint of streets, and brilliant one, that strays by night; Foe of radiance, but friend and mate of gloom; In howl of dogs rejoicing, and in crimson gore, Wading 'mid corpses through tombs of lifeless dust, Panting for blood; with fear convulsing men.

Gorgo, and Mormo, and Luna, and of many shapes, Come, propitious, to our sacrificial rites!"


But putting a skull on the ground, they make it speak in this manner. The skull itself is made out of the caul of an ox; and when fashioned into the requisite figure, by means of Etruscan wax and prepared gum, (and) when this membrane is placed around, it presents the appearance of a skull, which seems to all to speak when the contrivance operates; in the same manner as we have explained in the case of the (attendant) youths, when,

having procured the windpipe of a crane, or some such long-necked animal, and attaching it covertly to the skull,

the accomplice utters what he wishes. And when he desires (the skull) to become invisible, he appears as if burning incense, placing around, (for this purpose,) a quantity of coals; and when the wax catches the heat of these, it melts, and in this way the skull is supposed to become invisible.

What profiteth the graven image that the maker thereof hath graven it; the molten image, and a teacher of lies, that the maker of his work trusteth therein, to make dumb idols? Habakkuk 2:18

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. Habakkuk 2:19

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

Basil of Caesarea attacked the playing of the lyre at meals. For him this instrument adorned with gold and ivory was like an idol that was also plated with some precious metals.


These are the deeds of the magicians, and innumerable other such (tricks) there are which work on the credulity of the dupes, by fair balanced words, and the appearance of plausible acts. And the heresiarchs, astonished at the art of these (sorcerers), have imitated them,

partly by delivering their doctrines in secrecy and darkness, and partly by advancing (these tenets) as their own.

For this reason, being desirous of warning the multitude, we have been the more painstaking, in order not to omit any expedient practised by the magicians, for those who may be disposed to be deceived. We have been however drawn, not unreasonably, into a detail of some of the secret (mysteries) of the sorcerers, which are not very requisite, to be sure, in reference to the subject taken in hand;

yet, for the purpose of guarding against the villanous and incoherent art of magicians, may be supposed useful.

Since, therefore, as far as delineation is feasible, we have explained the opinions of all (speculators), exerting especial attention towards the elucidation of the opinions introduced as novelties by the heresiarchs; (opinions) which, as far as piety is concerned, are futile and spurious, and which are not, even among themselves, perhaps deemed worthy of serious consideration. (Having pursued this course of inquiry), it seems expedient that, by means of a compendious discourse, we should recall to the (reader's) memory statements that have been previously made.

Click Here to see how the gods lived in and spoke through musical instruments.


Aratus says that there are in the sky revolving, that is, gyrating stars, because from east to west, and west to east, they journey perpetually, (and) in an orbicular figure. And he says that there revolves towards "The Bears" themselves,

like some stream of a river, an enormous and prodigious monster, (the) Serpent; and that this is what the devil says in the book of Job to the Deity, when (Satan) uses these words: "I have traversed earth under heaven, and have gone around (it)," 

that is, that I have been turned around, and thereby have been able to survey the worlds. For they suppose that towards the North Pole is situated the Dragon, the Serpent, from the highest pole looking upon all (the objects), and gazing on all the works of creation, in order that nothing of the things that are being made may escape his notice. See Serpent Worship and Music

For though all the stars in the firmament set, the pole of this (luminary) alone never sets, but, careering high above the horizon, surveys and beholds all things, and none of the works of creation, he says, can escape his notice.

"Where chiefly Settings mingle and risings one with other."

Job declares himself innocent of worshiping the dragons or stars instead of the God Who created them:

if I have regarded the sun in its radiance or the moon moving in splendor, Job 31:26
so that my heart was secretly enticed and my hand offered them a kiss of homage, Job 31:27

However, the pagan star or serpent worshipers (the Chaldeans) trusted the created things and didn't want to hear about the Creator:

They send forth their little ones like a flock, and their children dance. Job 21:11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21:12
They spend their days in wealth, and in a moment go down to the grave. Job 21:13
They spend their days in wealth, and in a moment go down to the grave. Job 21:13


And (Aratus) says that (the constellations) Lyra and Corona have been placed on both sides near him,--now I mean Engonasis,--but that

he bends the knee, and stretches forth both hands,
as if making a confession of sin.
And that the lyre is a musical instrument
fashioned by Logos while still altogether an infant,
and that Logos is the same as he who is denominated Mercury
among the Greeks. And Aratus,
with regard to the construction of the lyre, observes:--
Then, further, also near the cradle,
pierced it (a turtle shell
with strings attached) through,
and said, Call it Lyre."
See Homer's Hymn to Hermes

It consists of seven strings, signifying by these seven strings the entire harmony (seven roving stars: 5 planets plus sun and moon) and construction of the world as it is melodiously constituted. For in six days the world was made, and (the Creator) rested on the seventh.

If, then, says (Aratus), Adam, acknowledging (his guilt) and guarding the head of the Beast,

according to the commandment of the Deity, will imitate Lyra,that is, obey the Logos of God, that is, submit to the law,
he will receive
Corona that is situated near him. If, however, he neglect his duty,

he shall be hurled downwards in company with the Beast that lies underneath, and shall have, he says, his portion with the Beast.

And he (Apollo, Abaddon, Apollyon) is the God who presides over harmony, and makes all things move together, both among Gods and among men. And as in the words akolouthos and akoitis the a is substituted for an o, so the name Apollon is equivalent to omopolon; only the second l is added

in order to avoid the ill-omened sound of destruction (apolon).

Now the suspicion of this destructive power still haunts the minds of some who do not consider the true value of the name, which, as I was saying just now, has reference to all the powers of the God, who is the single one, the everdarting, the purifier, the mover together (aplous, aei Ballon, apolouon, omopolon).

The name of the Muses and of music would seem to be derived from their making philosophical enquiries (mosthai); and Leto is called by this name, because she is such a gentle Goddess, and so willing (ethelemon) to grant our requests; or her name may be Letho, as she is often called by strangers- they seem to imply by it her amiability, and her smooth and easy-going way of behaving.

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev 18:22

Mousikos (g3451) moo-sik-os'; from Mousa , (a Muse); "musical", i.e. (as noun) a minstrel: - musician

This is seen especially in The Church Growth Movement. For instance, CGM forerunner Bill Hybels of Willow Creek Community Church [a church into using drama and music to reach people] says,

"A person's resistance to persuasion is very high when spoken to...

but very low when exposed to drama and music. We communicate truth through the back door. People don't even know it's happening." Daily Herald, May 18, 1988.

We can explain this by saying that the arts of the Muses have a power to lower resistance in order to persuade a person's thinking, and subtly at that [which is disturbing]. We can see the concepts of this same myth used by marketing psychology in radio and TV commercials. Commercials use music and drama to affect our minds in this manner. The power to transform.

And Engonasis seems on both sides to extend his hands, and on one to touch Lyra, and on the other Corona--and this is his confession;--so that it is possible to distinguish him by means of this (sidereal) configuration itself.

But Corona nevertheless is plotted against, and forcibly drawn away by another beast, a smaller Dragon,
which is the offspring of him who is guarded by the foot of Engonasis.

A man also stands firmly grasping with both hands, and dragging towards the space behind the Serpent from Corona; and he does not permit the Beast to touch Corona. though making a violent effort to do so.
And Aratus styles him Anguitenens, because he restrains the impetuosity of the
Serpent in his attempt to reach Corona.

But Logos, he says, is he who, in the figure of a man, hinders the Beast from reaching Corona, commiserating him who is being
........... plotted against by the Dragon and his offspring simultaneously.


But Aratus says, near this (constellation) is Cepheus, and Cassiepea, and Andromeda, and Perseus, great lineaments of the creation to those who are able to discern them. For he asserts that Cepheus is Adam, Cassiepea Eve, Andromeda the soul of both of these, Perseus the Logos, winged offspring of Jove, and Cetos the plotting monster. Not to any of these. but to Andromeda only does he repair, who slays the Beast; from whom, likewise taking unto himself Andromeda, who had been delivered (and) chained to the Beast, the Logos--that is, Perseus--achieves, be says, her liberation.

"Perseus," bronze sculpture by Benvenuto Cellini, 1545-54; in the Loggia dei Lanzi, Florence

Perseus, however, is the winged axle that pierces both poles through the centre of the earth, and turns the world round.

The spirit also, that which is in the world, is (symbolized by) Cycnus, a bird--a musical animal near "The Bears"--type of the Divine Spirit, because that when it approaches the end itself of life,

it alone is fitted by nature to sing, on departing with good hope from the wicked creation, (and) offering up hymns unto God.

But crabs, and bulls, and lions, and rams, and goats, and kids, and as many other beasts as have their names used for denominating the stars in the firmament, are, he says, images, and exemplars from which the creation, subject to change, obtaining (the different) species, becomes replete with animals of this description.

[24] For Cycnus had a son Tenes and a daughter Hemithea by Proclia, daughter of Laomedon, but he afterwards married Philonome, daughter of Tragasus; and she fell in love with Tenes, and, failing to seduce him, falsely accused him to Cycnus of attempting to debauch her,

and in witness of it she produced a flute-player, by name Eumolpus.

[25] Cycnus believed her, and putting him and his sister in a chest he set them adrift on the sea. The chest was washed up on the island of Leucophrys, and Tenes landed and settled in the island, and called it Tenedos after himself.

But Cycnus afterwards learning the truth, stoned the flute-player to death and buried his wife alive in the earth. Apollodorus, Library and Epitome. Eumpolpus -- good or strong singer -- was:

1. Being a "sweet singer," he was connected with Thrace, the country of Orpheus. He was the son of the god Poseidon and Chione (Snow Girl), daughter of the north wind, Boreas; after various adventures he became king in Thrace but was killed while helping the Eleusinians in their war against Erectheus of Athens.

2. As one of the originators of the Eleusinian Mysteries, he was an Eleusinian, a son of Earth (Ge), father of Keryx, and the mythical ancestor of the Kerykes (Heralds).

3. Because Orpheus and his followers were closely connected with mysteries of all sorts, Eumolpus was believed to be the son, father, or pupil of Musaeus, a mythical singer closely allied with Orpheus.

Muses were: a group of sister goddesses of obscure but ancient origin, the chief centre of whose cult was Mount Helicon in Boeotia, Greece. Allegedly they came from Pieria in Macedonia, but this attribution may be a misunderstanding, the real Pieria being somewhere in Greece. Very little is known of their cult, but they had a festival every four years at Thespiae, near Helicon, and a contest (Museia), presumably--or at least at first--in singing and playing. They probably were originally the patron goddesses of poets (who in early times were also musicians, providing their own accompaniments), although later their range was extended to include all liberal arts and sciences--hence, their connection with such institutions as the Museum (Mouseion, seat of the Muses) at Alexandria, Egypt.


Of this hebdomad Simon and Valentinus, having altered the names, detailed marvellous stories, from thence hastily adopting a system for themselves. For Simon employs his denominations thus: Mind, Intelligence, Name, Voice, Ratiocination, Reflection; and He who stood, stands, will stand. And Valentinus (enumerates them thus): Mind, Truth, Word, Life, Man, Church, and the Father, reckoned along with these, according to the same principles as those advanced by the cultivators of arithmetical philosophy. And (heresiarchs) admiring, as if unknown to the multitude, (this philosophy, and) following it, have framed heterodox doctrines devised by themselves.

Some indeed, then, attempt likewise to form the hebdomads from the medical (art), being astonished at the dissection of the brain, asserting that the substance of the universe and the power of procreation and the Godhead could be ascertained from the arrangement of the brain.

For the brain, being the dominant portion of the entire body, reposes calm and unmoved, containing within itself the spirit. Such an account, then, is not incredible, but widely differs from the conclusions which these (heretics) attempt to deduce from it.

For the brain, on being dissected, has within it what may be called a vaulted chamber. And on either side of this are thin membranes, which they term little wings.

Now these are gently moved by the spirit, and in turn propel towards the cerebellum the spirit, which, careering through a certain blood-vessel like a reed, advances towards the pineal gland. And near this is situated the entrance of the cerebellum, which admits the current of spirit, and distributes it into what is styled the spinal marrow.

But from them the whole frame participates in the spiritual energy, inasmuch as all the arteries, like a branch, are fastened on from this blood-vessel, the extremity of which terminates in the genital blood-vessels, whence all the (animal) seeds proceeding from the brain through the loin are secreted (in the seminal glands).

The form, however, of the brain is like the head of a serpent, respecting which a lengthened discussion is maintained by the professors of knowledge, falsely so named, as we shall prove. Six other coupling ligaments grow out of the brain, which, traversing round the head, and having their termination in (the head) itself, hold bodies together; but the seventh (ligament) proceeds from the cerebellum to the lower parts of the rest of the frame, as we have declared.


Jubilee 99 Navigating The Winds With Dionysus

Homeric Hymn to Apollo

Lucian The Oracle Monger

First Musical Heresy Musical Worship Teams

Musical Heresy 2: Hippolytus on Music and Soothsaying

Hippolytus Book V

Orphic Music

Orphic Connection to Romans 14

Rhea-Saturn-Zoe Connection

Classical Index

Musical Worship Index

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