Anti-Christ Judas - Instrumental Music as Worship
Christian Chronicle Worship Forum Reviews: Dan Dozier
--Jack Reese
The serpent name is associated with the whispering and muttering (speaking in tongues, humming, hissing) of the soothsayers or priests claiming power to lead you into the presence of God. Its name is also associated with brass or copper, and with the flutes or wind instruments used because the "gods lived inside" of the instruments as the idols.
The booming and clanging sounds Paul condemned in First Corinthians 13 is identical in function to the "familiar spirit" or old wineskin of the witch of Endor. The clanging brass is a direct connect to the "Chaldeans" which had become symbolic of the soothsayers or astrologers. Molech worship as part of the "worship of the starry host" to which God sentenced Israel because of their musical idolatry (play) at Mount Sinai sent a message. It ignored the WORD of God where The spirit of Christ was the Spirit of the prophets (1 Pe 1:11) and sacrificed the CHILD in an effort to get a better revelation from the "gods."
The Jews offered up Jesus on the cross which was a symbol of Tammuz as the pagan, dead but resurrected messiah.
The Jews offered up a child with loud drumming, hand clapping and "making a joyful noise before the Lord" which was the Israelite warrior's chant. They also offered up Jesus with the same kind of mocking. This is why Jesus compared them to children piping trying to get John and Jesus to sing and dance the Dionysus (Babylonian) effeminate song and dance.
Here is a picture of Molech worship in Jerusalem:
As part of their "masculine journey" these fellows carried a new wineskin, blew trumpets, clapped or hissed in derision and carried their staves or oxgoads. They were truly the fullment of Shamgar whose descendants attempt to find their own manhood the same way. Click for The Sons of Shamgar.
If this sounds strange then remember that the Deceiver will always use what is popular and attracts large crowds. He appears as a guiding light and will supply whatever appeals to the human senses. This silences the still, quiet of God's voice within our own spirit.
Anti-Christ, then, is anything or anyone which stands between God and his worshipers who serve as their own priests. Of musical worship teams which Rubel Shelly claims can "lead you into the presence of God" a priestess claims:
"We are called to be kings and priests (I Peter 2:9). In this study I would like to focus especially on the priesthood and some of the functions which they were responsible for, as well as how these functions relate to dance particularly in regards to intercession Webster's defines a priest as,
"One authorized to perform the sacred rites of a religion;
especially as a mediatory agent between man and God." Roberta WaltherAnti-Christ is any substitution of the words or actions of those replacing the still, quiet voice of God in our heart.
Narrative Theology: "We have taken liberites with Exodus" to make the musical idolatry as the sin beyond redemption at Mount Sinai into "a pattern for Christian Worship and Community." Rubel Shelly
Judas under Satan's control would attempt to triumph over Jesus. Triumph over in Psalm 41 was outlawed for the assembly (Numbers 10:7) and is variously translated as "blow the trumpet or make a joyful noise." Jesus refused to sing and dance while the "children" piped.
Yes, the flute is derived from a word similar to "halal" and includes play the flute, pollute and prostitute. While a male phallic symbol, if you will look closely you will see the vulva attached.
"The second pertinent passage in the bible is the well-known story of Salome, who is said to have danced for the head of John the Baptist. Before we discuss this story once more, consider that in the time the bible stories were created,
their greatest competition for the hearts of the people were the many pagan religions already in existence, many of which would have been mother goddess or fertility cults.
There are numerous references to these cults, if one understands that these cults often featured sacred trees or groves of trees where rituals were conducted. Therefore, one finds in the bible numerous references to "groves", and building altars in groves, where the protagonist is condemned; Reference Deuteronomy 16:21; Judges 6:25, 6:28, 6:30; I Kings 15:13, 16:33; 2 Kings 17:16, 21:3, 21:7, 23:4, 23:6, 23:15, and 2 Chronicles 15:16. From Resource
Topheth had been king Solomon's "music grove" and is named after the tabret or tambourine. It became the symbol of hell itself.
In the Apocryphal Book 4th Maccabees we learn the background to Paul in Hebrews:
Women received their dead raised to life again: and others were tortured, not accepting (fellowship) deliverance; that they might obtain a better resurrection: Hebrews 11:35
Tortured is from the Hebrew:
Tumpanizo (g5178) toom-pan-id'-zo; from a der. of 5180 (mean, a drum, 'tympanum"); to stretch on an instrument of torture resembling a drum, and thus beat to death: - torture.
In other words, if you did not accept their fellowship they drove you out or killed you as they symbolically stretched your own hide on a drum frame and beat you to death. Accepting is from the Greek:
Prosdechomai (g4327) pros-dekh'-om-ahee; from 4314 and 1209; to admit (to intercourse, hospitality, credence or [fig.] endurance); by impl. to await (with confidence or patience): - accept, allow, look (wait) for, take.
What they had to do was just to eat a little pork and they could go free. Modern models insist that we should be "all things to all people." One writer insists that Paul would have attended a Barbecue dinner with Gentiles just so he could get close and preach the gospel. Click for the modern Rebels like Jubal who tried to cheat people with music.
All they wanted Jesus to do was to "break down the walls" and just perform a dance or sing a song as the clergy "children" blew their little pipe.
Noise deliberately intends to scramble the rational or spiritual nature of mankind by putting the focus upon the fleshly or carnal nature through the external senses. Therefore, we should not look for a literal beast or dragon but for any effort to take attention from Christ as God Incarnate.
> "Music, like the word, also may have symbolic meaning. The basic elements out of which musical symbolism is built are sounds, tones, melodies, harmonies, and the various musical instruments, among which is the human voice.
Sound effects can have a numinous (spiritual) character and
may be used to bring about contact with the realm of the holy.A specific tone may call one to an awareness of the holy, make the holy present, and produce an experience of the holy. This may be done by means of drums, gongs, bells, or other instruments.
The ritual instruments can, through their shape or the materials from which they are made, have symbolic meaning. The Uitoto in Colombia, for example, believe that all the souls of their ancestors are contained in the ritual drums. (See liturgical music.)
> "Summoning, mediating, and expelling devices In the form of magic or sacred words, singing, and music, sound plays or has played an important role in the worship of most religions. The same is true of light and of aromatic substances, such as oils, perfumes, and incense. The importance of these elements has brought about the creation or adoption of specific objects with functions that often serve converging purposes in worship. In most cases they are used
to draw the attention of the deity,
to establish a connection with it,
and to exorcise forces that are evil or harmful to the god and to men.Because of the need to attract the deity's attention, the sound-producing instruments are usually
percussive or shrill, rather than melodic, and drums, gongs, cymbals, bells, conchs, and sistrums (timbrels, or rattles) are the most common forms. "ceremonial object" Encyclopædia Britannica Online. Or Click Here.
And David tried to arouse or awaken his harp so that he could awaken the dawn.
At its roots all paganism worshiped the heavenly bodies. They were held to be alive, were given names and became gods. The evidence is that Lucifer (Satan, etc.) hitched his stars on astrology and the musical worship of the heavenly spheres. The dragon or the serpent was not literal but comets which may have settled down to become planets after horrendious battles with other stars.
This was the worship of the creature rather than the Creator. The mark of the beast at one level is musical star worship.
CHAP. XLVII.--OPINIONS OF THE HERETICS BORROWED FROM ARATUS.
Ante-Nicene Fathers, Vol. V Hippolytus
"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 (ophis) on all the works of creation, in order that nothing of the things that are being made may escape his notice. 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." CHAP. XLVIII.--INVENTION OF THE LYRE; ALLEGORIZING THE APPEARANCE AND POSITION OF THE STARS; ORIGIN OF THE PHOENICIANS; THE LOGOS IDENTIFIED BY ARATUS WITH THE CONSTELLATION CANIS; INFLUENCE OF CANIS ON FERTILITY AND LIFE GENERALLY.
You didn't know that Lyra had an eye. Neither did Astronomers until recently:
Ring Nebula (M57, NGC 6720) in the constellation Lyra, a planetary nebula consisting mainly of gases thrown off by the star in the center. [symbolism intended]
[The once worshiped theatrical and musical performers are now noted as the STARS and "worship" totally revolves around their performance. They have, at times, replaced the table of the Lord, and they stand over or preside over or overlook the flock.]Rubel Shelly claims that John shifted poor memories through philosophy and invented his own gospel account to fit his own personal agenda. Therefore, not knowing that the Word is personified beginning in Genesis, RUBLE claims that John used the Greek Logos to compose his narrative story about Jesus. The Greek Logos or Hermes was the "interpreter" of the Gods which Peter outlaws as "private interpretation" and was the father of musical instrumens, the twanging bow, of thieves and liars. He is the JUBAL figure of Genesis.
Therefore, there has been an eternal warfare between Jesus as the S.O.N. God and these characters as the S.U.N. god whom Shelly baptizes to replace the Dabar or Logos of the Bible.
We are not off track, therefore, to look for the connection between the modern musical worship groups and Gnosticm, Astrology and even witchcraft:
"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,
- Hermes pierced it (a turtle shell
- with strings attached) through,
- and said, Call it Lyre."
"It consists of seven strings, signifying by these seven strings the entire harmony and construction of the world (kosmos) as it is melodiously constituted. For in six days the world was made, and (the Creator) rested on the seventh. [Note: this is the little animal-like Adam before Sophia and Zoe breathed life into him and made the minor jehovahs into musical worship teams]If, then, says (Aratus), Adam, acknowledging (his guilt) and
guarding the head of the Beast,
according to the commandment of the Deity, (ZOE)
........... 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 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.
The cult made a clear connection between instrumental music and the cow or bull. For instance, the only surviving harp from Ur shows that the literal King went into sheol along with the live sacrice of his female harp players.
Mercury is sometimes represented as holding a purse, symbolic of his business functions. Usually, however, artists borrow the attributes of Hermes irrespective of their appropriateness and portray him wearing winged sandals or a winged cap and carrying a caduceus (staff). The Judas Bag or purse was for "carrying the mouthpieces of wind instruments." It relates to music as speaking in tongues and "of the world" or cosmos.
Music to make the spirits come (used by the clergy on Jesus) means what it seems to mean:
Come, ye Bacchae, come, ye Bacchae, bringing down (double entendre) Bromius, (boisterous one) god the child of god, out of the Phrygian mountains into the broad highways of Greece.
Horatius Flaccus, Odes reads in part about the Shelly-like Logos who took the liberties while still in a cradle to scoop out a turtle from his shell and used its guts to make the world's first harp (the Jubal figure)
- Come, Mercury, by whose minstrel spell
- Amphion (musician) raised the Theban stones,
- Come, with thy seven sweet strings, my shell,
- Thy "diverse tones,"
- Nor vocal once nor pleasant, now
- To rich man's board and temple dear:
- Put forth thy power, till Lyde bow
- Her stubborn ear.
- She, like a three-year colt unbroke,
- Is frisking o'er the spacious plain,
- Too shy to bear a lover's yoke,
- A husband's rein.
- The wood, the tiger, at thy call
- Have follow'd: thou caust rivers stay:
- The monstrous guard of Pluto's hall
- To thee gave way,..
- Me let my sire in fetters lay
- For mercy to my husband shown:
- Me let him ship far hence away,
- To climes unknown.
- Go; speed your flight o'er land and wave,
- While Night and Venus shield you; go
- Be blest: and on my tomb engrave
- This tale of woe."
- Amphion was a Corinthian of the Bacchiad clan.
Lucifer was the enemy of Israel in Egypt and triumphed over or defeated them at the foot of Mount Sinai as they were called back to worship Osiris in the form of Apis the golden calf.
The sound of strings or brass were believed to be the voice of the gods living inside: strike or abrade or abuse the musical instrument -- grind it into powder as in the Greek psallo or "melody" -- and you forced the gods living inside to speak to you. The magical performer was the "mediator" or "intercessor" and only by becoming one (knowing personally) the mediator could you know the gods.
A musician never a Jewish or Christian Worship Leader:
"From Greek mousike (techne) the art of the Muses. The music of the Greeks did not signify merely the harmony of sounds, but actually imbodied the idea of inner harmony of the spirit,
........... the becoming at one with the spirit of the Muses, (9 sisters)
........... so that the soul responded in harmonic rhythm to the beat of universal harmony.
|
Note: The Babylon influence at
the end-times will be replacing the Spirit Creator with the
theatrical, creative talent of real humans
|
"The trained musicians which eventually appear around the time of David and Solomon mark a distinctive change in the history of Jewish music.
Before this time much of the music was made by women." (Zondervan Pictorial Dictionary, Music p. 313).
"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephthah's daughter, and the women hailing the young hero David have become almost archetypes of female musicians.
"Characteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating. This is the scene known to the entire Near East, and not
"even the severe rule of Islam could wholly suppress this age-old practice." (Int Dict of the Bible, Music, p. 457).
"Music with the Greeks, therefore, included, besides vocal and instrumental music, choral dancing, rhythmic motions, and various modes of harmony expressed in action, perhaps most particularly that part of education which we should now
classify as a striving for harmony (Kosmos unity) in life combined with aesthetic (art and human creativity), (See Judas and the cosmos above)
........... in contrast with intellectual and physical branches of study and development.It was culture of the essential person, the ego or soul,
whereas the other two divisions care for and supply the needs of the mind and of the body.
"From (the Ugaritic text) come references to a class of Temple personnel designated by the term serim, who exercised functions similar to those of the Hebrew singers during the monarchy and later times. Some of the servants of David who were designated in 1 Kings 4:31 by (a) term meaning 'aboriginal' or 'native sons,' and who possessed Canaanite names such as Heman, Chalcol, and Darda, were engaged in various forms of musical activity.
As such they were described by the phrase 'sons of Mahol,' a Hebrew term closely related to (the Greek),
used of a semi-circular area in which the Greek chorus danced, and meaning 'members of the orchestral guild.'Machowl (h4235) maw-khole'; the same as 4234; dancing; Machol, an Isr.: - Mahol.
Chuwl (h2342) khool; or 2427 kheel; a prim. root; prop. to twist or whirl (in a circular or spiral manner), i. e. (spec.) to dance, to writhe in pain (espec. of parturition) or fear; fig. to wait, to pervert: - bear, (make to) bring forth, (make to) calve, dance, drive away, fall grievously (with pain), fear, form, great, grieve, (be) grievous, hope, look, make, be in pain, be much (sore) pained, rest, shake, shapen, (be) sorrow (-ful), stay, tarry, travail (with pain), tremble, trust, wait carefully (patiently), be wounded.
1 Chron 2:6. Zimri, and Ethan, and Heman, and Calcol, and Dara--These five are here stated to be the sons of Zerah, that is, of Ezra, whence they were called Ezrahites (1 Kings 4:31). In that passage they are called "the sons of Mahol," which, however, is to be taken not as a proper name, but appellatively for "sons of music, dancing," &c. The traditional fame of their great sagacity and acquirements had descended to the time of Solomon and formed a standard of comparison for showing the superior wisdom of that monarch. Jewish writers say that they were looked up to as prophets by their countrymen during the abode in Egypt. Jamieson, Fausset, Brown
"A further reflection of this musical interest became apparent when Megiddo was excavated and the treasure room of the royal palace was uncovered. From this area was recovered a plaque inlaid with ivory, depicting a royal personage seated on a throne.
He was drinking from a small bowl,
and was being entertained by a court musician who stood before him
plucking the strings of a lyre." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 335, see p. 411).
Those with this talent may be believed by the superstitious to have the ability to "bring us into the presence of the gods" because they were taught this skill directly by the god or goddesses like the Muses. However, because the gods were believed to be evil or insane, music was dangerous because it can bring on the mantic art which is "to be outside of ourselves" such as speaking in tongues:
"Music, in all its various branches is represented as having been taught to man by his divine and divine-human ancestors, such as Isis-Osiris, Thoth, Edris (in the Koran), etc. It is one of the elements of the power known as mantrikasakti. Music was represented as one of four divisions of mathematics, the others being arithmetic, astronomy, and geometry.
"The music of sound arouses in us a power which needs to be controlled, as it can carry us to heights from which we may fall. If regarded as a sensual indulgence, even though a refined one, its true import is not realized. (Theosohy)
The Orphic Pantheon by G. R. S. Meade informs us that:
Now Rhea, as Ceres, in Hymn XIV, is called 'brass-sounding' and
'drum-beating'. This has reference to the mystical results of certain sounds and rhythm, part and parcel of what the Hindus call Mantravidyâ. I remember reading a curious old French book in the Bibliothèque de la Ville of Clermont-Ferrand, one of the books confiscated from the Minime Monastery of the same town, at the time of the Revolution. This work dealt with the magical properties of music, and described for what especial purposes the various instruments of music were used in the Temple-service of the Jews.
Now Iamblichus (De Mysteriis, III.ix) goes into the matter of the so-called Corybantic and Bacchic 'frenzies' produced by musical instruments in the Mysteries of Ceres and Bacchus; and in his Life of Pythagoras (xxv) he, further, tells us that:
'The whole Pythagoric school went through a course of musical training, both in harmony and touch, whereby, by means of appropriate chants,
........... they beneficially converted the dispositions of the soul to contrary emotions.For, before they retired to rest, they purified their minds of the [mental, says Quintilian] confusion and noises of the day, by certain songs and peculiar chants, and so prepared for themselves peaceful repose with either few or pleasant dreams. And again, when they rose from sleep, they freed themselves from drowsiness by songs of another character.
And sometimes by means of melodies without words they cured certain affections and diseases, and this they said was the real means of "charming".
........... And it is most probable that the word "charm" (epode)
........... came into general use from them.It was thus, then, that Pythagoras established a most salutary system of regenerating the morals by means of "music" [Mantravidyâ].' (Op. cit. Kiessling's text, pp. 245, 246; see also Taylor, Iamblichus on the Mysteries, 2nd ed., pp. 130, 131, n.)
"Music and Mantras, therefore, were used by the Orphics to attract, or call down, the influence of the Mother of the Gods, who at the same time was the 'Store-house of Life', of Divine Nature. Thus Proclus in his Commentary on Euclid (ii) tells us that
'the Pole of the World is called by the Pythagoreans the Seal of Rhea' (Myst. Hymns, p. 63).
Now the pole is the conductor of the vital and magnetic forces of the earth-envelope, and is, therefore, appropriately called by this name, as being the seal and signature of the vital forces of Divine Nature, whereby all diseases can be healed and all states of the soul vitalized.
This is why Paul outlawed female leadership which often tends toward mother goddess worship. Furthermore, in Romans 15 Paul limited the public teaching to that which has been written to keep the female and effeminate Orphics and Dionysic's from getting control of the assembly.
Of course, there is nothing remotely close to musical harmony in the music of either the Old or New Testaments! This is why Paul warned that women's participation in Corinth would bring on speaking in tongues and people would see them as mad, insane or mantic. This, in turn, would make the unbelievers that they were practicing the same "worship" they had just left in paganism:
|
Because women were always more effective, their masters used them for their own ego or financial gain: Manteuomai (g3132) mant-yoo'-om-ahee; from a der. of 3105 (mean. a prophet, as supposed to rave through inspiration); to divine, i.e. utter spells (under pretence of foretelling): - by soothsaying. If therefore the whole church be come together into one place, and all speak (or sing out of the person's own mind or spirit) with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad? 1Co.14:23 And it came to pass, as we went to prayer, a certain damsel possessed with a spirit of divination met us, which brought her masters much gain by soothsaying: Acts 16:16 |
"It seems that in addition to the public and official cult of the "twelve great gods" and their subordinate divinities, the Assyrians had a more sacred and secret religion,
........... a religion of mystery and magic and sorcery.These "religious" texts, moreover, together with a mass of talismanic inscriptions on cylinders and amulets, prove the presence of an exceedingly rich demonology. Below the greater and lesser gods there was a vast host of spirits, some of them good and beneficent and some of them evil and hurtful. And these spirits were described and classified with an exactness
which leads some to liken the arrangement to that of the choirs and orders of our own angelic hierarchy.
The antiquity and importance of this secret religion, with its magic and incantations of the good spirits or evil demons, may be gathered from the fact that by order of King Assurbanipal his scribes made several copies (songbooks) of a great magical work according to a pattern which had been preserved from a remote antiquity in the priestly school of Erech in Chaldea.
And Paul wrote:
<BE ye followers of me, even as I also am of Christ. 1 Corinthians 11:1
Now I praise you, brethren, that ye remember me in all things, and keep the ordinances, as I delivered them to you. 1 Corinthians 11: 2But I would have you know, that the head of every man is Christ; and the head of the woman is the man; and the head of Christ is God. 1 Corinthians 11: 3
Every man praying or prophesying, having his head covered, dishonoureth his head. 1 Corinthians 11: 4
But every woman that prayeth or prophesieth with her head uncovered dishonoureth her head: for that is even all one as if she were shaven. 1 Corinthians 11: 5For if the woman be not covered, let her also be shorn: but if it be a shame for a woman to be shorn or shaven, let her be covered. 1 Corinthians 11: 6
For a man indeed ought not to cover his head, forasmuch as he is the image and glory of God: but the woman is the glory of the man. 1 Corinthians 11: 7
For the man is not of the woman; but the woman of the man. 1 Corinthians 11: 8
Neither was the man created for the woman; but the woman for the man. 1 Corinthians 11: 9
For this cause ought the woman to have power on her head because of the angels. 1 Corinthians 11: 10This work consisted of three books, the first of which is entirely consecrated to incantations (chanting a powerful song), conjurations (to summon a god), and imprecations (A curse) against the evil spirits. These cuneiform books, it must be remembered, are really written on clay tablets. And each of the tablets of these first books which has come down to us ends with the title, "Tablet No. - of the Evil Spirits". The ideogram which is here rendered as kullulu -- "accursed" or "evil" -- might also be read as limuttu -- "baneful". Besides being known by the generic name of udukku -- "spirit" -- a demon is called more distinctly ecimmu, or maskimmu.
One special class of these spirits was the sedu, or divine bull, which is represented in the well-known figure of a man-headed bull so common on the Assyrian monuments.
This name, it may be remarked, is probably the source of the Hebrew word for demon. The Assyrian sedu, it is true, was more commonly a beneficent or tutelary (guardian) spirit. But this is hardly an obstacle to the derivation, for the good spirits of one nation were often regarded as evil by men of rival races. (Catholic Encyclopedia)
According to Vincent, Paul reaches back to Deuteronomy to explain what was happening when the people participated with demons. Rubel Shelly sees the Exodus event as a pattern for Christian worship and community and even suggests baptizing the S.U.N. god to represent the S.O.N. God.
Because of the musical idolatry at Mount Sinai, God turned Israel over to worship the starry host. Bull worship was actually demon worship as Paul warned the Corinthians about "rising up to play" in 1 Corinthians 10:
Demon: "It is used in the Septuagint, Deut. 32:17, to translate the Hebrew word which seems, originally, to have meant a supernatural being inferior to the gods proper, applied among the Assyrians to the bull deities which guarded the entrances to temples and palaces." (Vincent, p. 244)
"Why do the wicked live on, growing old and increasing in power?
They send forth their children as a flock;
their little ones dance about.
They sing to the music of tambourine and harp;
they make merry to the sound of the flute.
They spend their years in prosperity and go down to the grave in peace.Yet they say to God, 'Leave us alone! We have no desire to know your ways. Who is the Almighty, that we should serve him? What would we gain by praying to him?' -- Job 21:7, 11-15
"Paul, however, fixes attention on the feast which was entirely after the manner of idol worship.
By doing this Paul strikes home directly at the Corinthians who thought that they, too, could preserve their relation to Jehovah while, pretending to make use of their liberty,
........... they ate, drank, and amused themselves at idol celebrations.This very thing the Israelites of old attempted when they feasted upon the offerings brought to the golden calf and then rose up 'to play,' to dance and to have a gay time after the fashion they had learned from the idolatrous Egyptians." (Lenski, 1 Cor., p. 397-398).
"It is a great mistake to imagine that back of their idolatry and their idol sacrifices there is nothing but an empty vacuity. True enough, as 8:4 makes plain, the gods of the idols have no existence whatever; no being by the name of Jupiter exists, and this is true with respect to all other gods.
But something does exist, something that is far more terrible than these pseudo-gods, namely an entire kingdom of darkness which is hostile to God, a host of demons or fallen angels who are ruled by the greatest of their number, namely Satan, Eph. 2:3; 6:12.
All altars, all sacrifices, and all worship that are not intended to serve the true God are thus actually though not necessarily consciously and intentionally devoted to these demons... Hence all idol sacrifices, whatever the pagan ideas concerning them may be, are really sacrifices unto devils." (Lenski, on 1 Cor. p. 415).
When Paul warned the Corinthians about demon worship in 1 Corinthians 10, he was speaking of the demon-bull representing Osiris at Mount Sinai.
Lucifer would be the Anti-Christ as the king of Babylon, Assyria, Egypt and Canaan. She will be the end-time Anti-Christ. Assyria is also identified as the dominant "tree" in the garden of Eden.
The confrontation between the Anti-Christ and Jesus is identified at the "flute-playing children" trying to force Him into the dance or knee bending to a Baal-like figure. (Judas put the money into the mouthpiece bag)
This was prophesied in many places. For instance, when God "sings" with music you may be in grave trouble. Psalm 55 is similar to Psalm 41 which predicts that Judas (my familiar friend) will not triumph over me (with wind instruments). So David and Jesus did not worry about their enemies as the "anti-christ" figure but their closest friends:
|
The Kings of The Word as the Commercial Anti-Christ
The kings of Tyre and Babylon were agents of Lucifer. They were called the musical prostitute and the whore of Babylon but they will ultimately go into hell with her musicians and instruments. Of the king of Tyre:
At that time Tyre will be forgotten for seventy years, the span of a king's life. But at the end of these seventy years, it will happen to Tyre as in the song of the prostitute: Is.23:15NIV
Take up a harp, walk through the city, O prostitute forgotten; play the harp well, sing many a song, so that you will be remembered." Is 23:16
Because "Lucifer" was at times female, his or her male agents tried to escape being called effeminate or whores. Therefore, the king of Tyre wanted to be remembered as a male.
And of the king of Babylon:
Thy pomp is brought down to the grave, and the noise of thy viols: the worm (maggots) is spread under thee, and the worms cover thee. Is 14:11
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 14:12
The Babylonian king (whore) will again go into hell with her musical attempts to deceive the people as a commercial form of religion.
Judas as the Anti-Christ Agent of Satan
To triumph over another person often meant leading them in a processional. The musicians played, the singers sang and the children danced around the defeated enemy to pollute them by mocking them and even spitting on them. God told us through Moses:
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm ( make a joyful noise). Nu 10:7
The two silver trumpets, on the other hand, was used to call assembly of the congregation but were outlawed during those meetings. However, it was not a musical instrument and later Jews outlawed adding holes to change the pitch. These musical devices could not be used against God's people because they were designed to panic the enemy into defeat or to rejoice over (triumph over) them in victory.
Wind instruments in primitive cultures also serve nonreligious functions. In New Guinea, bamboo trumpets were once played
to frighten an enemy during battle and
to alert a village that the victorious warriors were coming home with the corpses of the foes."Trumpets also may be associated with the office of king or chief, as in West Africa,
"where their use is strictly controlled by tribal law. "wind instrument" Encyclopædia Britannica Online.
When used for calling the congregation into assembly they were used much like a church bell.
AND Moses gathered all the congregation of the children of Israel together, and said unto them, These are the words which the Lord hath commanded, that ye should do them. Ex.35:1
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7
However, when the congregation came to hear from God the instruments could not be turned against them to triumph over them. The exception might be excommunication - the music was the shawms of a dying civilization or person:
"All the various usages of the shophar (Ram's horn trumpet) can be viewed under one category: that of a signaling instrument. It sounded all signals in war and peace; it announced the new moon, the beginning of the sabbath, the death of a notable;
it warned of approaching danger;
it heraled excommunication; [Rev 13:17 so that no one could buy or sell unless he had the mark, which is the name of the beast or the number of his name.]
it was instrumental in exorcisms and magic healing." (Interpreters Dictionary of the Bible, p. 473, Abingdon).
Modern medicine understands that musical worship teams or instrumental music or just loud vocal singing splits the ears, alarms the rational part of the brain and shuts it down so that we listen only with our emotion. This loud sound literally breaks down the walls of our mind. Therefore, God condemned and outlawed it as worship.
Psalm 41 Judas Will Not Triumph Over With Wind Instruments
Psalm 41 prophesied that Judas, whose bag carried "the mouthpieces of wind instruments," would not triumph over (blow his triumph trumpet, Jubilee, pipe) over Jesus when He came to teach (see Num 10:7 above).
BLESSED is he that considereth the poor: the Lord will deliver him in time of trouble. Psalm 41: 1
The Lord will preserve him, and keep him alive; and he shall be blessed upon the earth: and thou wilt not deliver him unto the will of his enemies. Psalm 41:2
The Lord will strengthen him upon the bed of languishing: thou wilt make all his bed in his sickness. Psalm 41: 3
I said, Lord, be merciful unto me: heal my soul; for I have sinned against thee. Psalm 41: 4
Mine enemies speak evil of me, When shall he die, and his name perish? Psalm 41: 5
And if he come to see me, he speaketh vanity: his heart gathereth iniquity to itself; when he goeth abroad, he telleth it. Psalm 41: 6
All that hate me whisper together against me: against me do they devise my hurt. Psalm 41: 7
An evil disease, say they, cleaveth fast unto him: and now that he lieth he shall rise up no more. Psalm 41: 8
Yea, mine own familiar friend, in whom I trusted, which did eat of my bread, hath lifted up his heel against me. Psalm 41: 9
But thou, O Lord, be merciful unto me, and raise me up, that I may requite them. Psalm 41: 10
By this I know that thou favourest me, because mine enemy doth not triumph over me. Psalm 41: 11
The Jewish clergy as "musical children" did play their pipes and tried to force John and Jesus into their dance of ecstasy in violation of God's will:
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7
The truimph-over alarm, suitable to tribal movements, panicing the enemy or national rejoicing where no word from God was expected is:
Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears with sound, i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout for joy, sound an alarm, triumph.
By this I know that thou favourest me, because mine enemy (Judas) doth not triumph over me. Ps.41:11
And David was clothed with a robe of fine linen, and all the Levites that bare the ark, and the singers, and Chenaniah the master of the song (h4853) with the singers: David also had upon him an ephod of linen. 1Chr.15:27
Thus all Israel brought up the ark of the covenant of the Lord with shouting, and with sound of the cornet, and with trumpets, and with cymbals, making a noise with psalteries and harps. 1 Chr 15:28
This ark moving was a civil-religious affair and had nothing to do with "congregational worship." The "master of song" was:
Sar (h8269) sar; from 8323; a head person (of any rank or class): - captain (that had rule), chief (captain), general, governor, keeper, lord, ([-task-]) master, prince (-ipal), ruler, steward.
David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1 Chr 25:1
Their ministry was related to the "destroyer" because they had rejected God as king and demanded a human king. God warned that the kings would DESTROY them. The word "ministry" is:
And he will appoint him captains over thousands, and captains over fifties; and will set them to ear his ground, and to reap his harvest, and to make his instruments of war, and instruments of his chariots. 1 Samuel 8:12
Abodah (h5656) ab-o-daw'; or abowdah ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought
David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1Chr.25:1NIV
Acaph (h623) aw-sawf'; from 622; collector; Asaph, the name of three Isr., and of the family of the first: - Asaph.
Acaph (h622) aw-saf'; a prim. root; to gather for any purpose; hence to receive, take away, i. e. remove (destroy, leave behind, put up, restore, etc.): - assemble, bring, consume, destroy...
Jeduthun is the Hebrew
Yduwthuwn (h3038) yed-oo-thoon'; or yÿduthuwn yed-oo-thoon'; or yÿdytuwn yed-ee-thoon'; prob. from 3034; laudatory; Jeduthun, an Isr.: - Jeduthun
Yadah (h3034) yaw-daw'; a prim. root; used only as denom. from 3027; lit. to use (i. e. hold out) the hand; phys. to throw (a stone, an arrow) at or away; espec. to revere or worship (with extended hands); intens. to bemoan (by wringing the hands)
h3027 is the OPEN HAND exercising POWER.
1 Chr 25:1 MOREOVER David and the captains of the host separated to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was:
Shoutings:
Teruwah (h8643) ter-oo-aw'; from 7321; clamor, i. e. acclamation of joy or a battle-cry; espec. clangor of trumpets, as an alarum: - alarm, blow (-ing) (of, the) (trumpets), joy, jubile, loud noise, rejoicing, shout (-ing), (high, joyful) sound (-ing).
Abedah (h9) ab-ay-daw'; from 6; concr. something lost; abstr. destruction, i. e. Hades: - lost. Comp. 10.
Because Ephraim hath made many altars to sin, altars shall be unto him to sin. Ho.8:11
Abaddown (h11) ab-ad-done'; intens. from 6; abstr. a perishing; concr. Hades: - destruction.
Hell and destruction are before the Lord: how much more then the hearts of the children of men? Pr.15:11Abad (h6) aw-bad'; a prim. root; prop. to wander away, i. e. lose oneself; by impl. to perish (caus. destroy): - break, destroy (- uction), / not escape, fail, lose, (cause to, make) perish, spend, * and surely, take, be undone, * utterly, be void of, have no way to flee.
Mine enemies speak evil of me, When shall he die, and his name perish? Ps.41:5
Therefore once more I will astound these people with wonder upon wonder; the wisdom of the wise will perish, the intelligence of the intelligent will vanish." Isa 29:14
Triumph over in Greek is:
Thriambeuo (h2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - cause to triumph over.
This choral dance would prove that Jesus might be a pagan god and therefore gender-confused:
"We know the Gnostics used sexual practices
........... to bind the flesh and the divine together (Rev. 2:20)."In most ancient pagan religions the act of procreation was a mystery; they thought fornication and in some instances homosexuality
linked them to the world of the gods. Apparently, this sexual aspect of Gnosticism was incorporated with Jezebel's teaching which Jesus condemned (Rev. 3:20). The apostle Peter was aware of this problem." (Trombley, Who Says Women Cannot Teach, p. 176).
Of course, this would have disqualifed Jesus as the Incarnate God of the universe and made Him at least be dionysus whom they had worshipped in the temple. When they triumphed over it would involve singing the lament and dancing in the chorus as the children played their pipes or wind instruments. This would mark Jesus as just one of the "girls."
DeCorona, Chapter XII.
But I first say a word also about the crown itself. This laurel one is sacred to Apollo or Bacchus (Dionysus)-to the former as the god of archery, to the latter as the god of triumphs
........... Apollo is: Apolluon (g623) ap-ol-loo'-ohn; act. part. of 622; a destroyer (i.e. Satan): - Apollyon
The Witness of the Dead Sea Scrolls. If you have come to this point from some other Article Click Here for the separate DSS material on Psalm 41.
The Judas Bag or Box and the Musical Triumph Over Connection
It is a little-known mystery that the Judas bag (he was a thief) was for "carrying the mouthpieces of wind instruments." Judas would be classed along with the clergy who "piped" for Jesus to frighten or panic Him into rising up like a warrior to go into battle against the Romans. Or they would force Him to dance the Dionysos, choral dance which would mark Him as effeminate. Science now knows that music creates the "fight or flight" syndrome and both have a sexual relationship. It didn't work of Jesus.
It was prophesied of Jesus that:
All that hate me whisper together against me: against me do they devise my hurt. Ps.41:7
Whisper is like speaking in tongues and is related to Nachash or the serpent in the garden of Eden
"The serpent-charmers usual instrument is the flute. Those who professed the art of taming serpents were called by the Hebrews menachashim, while the art itself was called lachash , (Jer 8:17; Ecc 10:11)" Smith's Dictionary, Serpent.
Lachash (h3908) lakh'-ash; from 3907; prop. a whisper, i. e. by impl. (in a good sense) a private prayer, (in a bad one) an incantation; concr. an amulet: - charmed, earring, enchantment, orator, prayer.
Baal-lashon is lord of The Tongue
"Never was Satan's wisdom so craftily used as when he secured universal acceptance of this traditional belief:
for it has succeeded in fixing the attention of mankind on the letter