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Musical Pomp of Lucifer to Triumph Over

Jacob warned against the tribe of Levi and warned us not to attend their assemblies or covenant with them. 

Gen. 49:3 Reuben, thou art my firstborn, my might, and the beginning of my strength, the excellency of dignity, and the excellency of power:
Gen. 49:4 Unstable as water, thou shalt not excel; because thou wentest up to thy father’s bed; then defiledst thou it: he went up to my couch.
Genesis 49.5 Symeon et Levi fratres vasa iniquitatis bellantia

Gen. 49:5 Simeon and Levi are brethren;
        instruments (weapon, psaltery)
        of cruelty are in their habitations.
                 (stabbing, dig through furnace, for burning
                 Bellor fight,  carry on war,
Verg. A. 11.660 The maids of Thrace
ride thus along Thermodon's frozen flood,
and fight with blazoned Amazonian arms
around Hippolyta; or when returns
Penthesilea in triumphal car
'mid acclamations shrill, and all her host
of women clash in air the moon-shaped shield.

Ululo (Halal) Howl, make to ring, resound,
Gallus castrated priests of Cybele.A. Galli , ōrum, m., the priests of Cybele, so called because of their raving, . Quint. 7, 9, 2: “resupinati cessantia tympana Galli,” —And satirically
(on account of their emasculated condition), in the fem.: Gallae , ārum, Cat. 63, 12, and 34.—

Tumultus of thunder, a  sudden or impending war, civil war, insurrection, pertubatio

Exsulto B.  In partic., to exult, rejoice exceedingly; to run riot, to revel; to vaunt, boast:
1. Boastful, vain-glorious: “turbati aut exsultantis animi motus,Tac. H. 1, 17.—
2.  Of an orator or an oration, diffuse, prolix: “fiunt pro grandibus tumidi ... laetis corrupti, compositis exsultantes,

The Levites--an old Egyprian infant burning sect--were under the KING and commanders of the Army.

Verg. A. 11.660 
Swift through the midmost slaughter proudly strides
the quiver-girt Camilla, with one breast
thrust naked to the fight, like Amazon.
Oft from her hand her pliant shafts she rains,
or whirls with indefatigable arm
a doughty battle-axe; her shoulder bears
Diana's sounding [sŏno] arms and golden bow.
Sometimes retreating and to flight compelled,
the maiden with a rearward-pointing bow
shoots arrows as she flies. Around her move
her chosen peers, Larina, virgin brave,
Tarpeia, brandishing an axe of bronze,
and Tulla, virgins out of Italy
whom the divine Camilla chose to be
her glory, each a faithful servitress
in days of peace or war. The maids of Thrace
ride thus along Thermodon's frozen flood,
and fight with blazoned Amazonian arms
around Hippolyta; or when returns
Penthesilea in triumphal car
'mid acclamations shrill, [Ulŭlo halal] and all her host
of women clash in air the moon-shaped shield.

Fēmĭnĕus , II. Transf., with an accessory notion of contempt, womanish, effeminate, unmanly

exsulto (exult- ),to run riot, to revel;
2. Of an orator or an oration, diffuse, prolix: “fiunt pro grandibus tumidi ... laetis corrupti, compositis exsultantes,
Gen. 49:6 O my soul,
        come not thou into their secret;
        unto their assembly,
        mine honour,
        be not thou united:
                for in their anger they slew a man,
                and in their selfwill they digged down a wall.

Consilior to take counsel, to consult,
h5475 Sod h3245session, deliberaton, secret.
h3519  Kabod theglory  or darkness of the temple
Coitus come A.  Abstr., a coming or meeting together, an assembling: A. A uniting, joining together, combination
Gen. 49:7 Cursed be their anger, for it was fierce; and their wrath, for it was cruel:
        I will divide them in Jacob, and scatter them in Israel.
Divido I. To force asunder, part, separate, divide (very freq. and class.; cf.: distribuo, dispertio; findo, scindo, dirimo, divello, separo, sejungo, segrego, secerno).
Gen. 49:8 Judah, thou art he whom thy brethren shall praise:
        thy hand shall be in the neck of thine enemies; thy father’s children shall bow down before thee.
Gen. 49:9 Judah is a lion’s whelp: from the prey, my son,
        thou art gone up: he stooped down, he couched as a lion,
        and as an old lion; who shall rouse him up?
Gen. 49:10 The sceptre shall not depart from Judah, nor a lawgiver from between his feet, until Shiloh come; and unto him shall the gathering of the people be.
Gen. 49:11 Binding his foal unto the vine, and his ass’s colt unto the choice vine; he washed his garments in wine, and his clothes in the blood of grapes:
Gen. 49:12 His eyes shall be red with wine, and his teeth white with milk.
THAT SHOULD WARN ANY DISCIPLE THAT THE CURSE OF THE MONARCHY BY WHICH GOD RETURNED THE HEBREWS TO THEIR ROOTS SHOULD NEVER BE A PATTERN TO REPLACE the assembly or synagogue of Christ. This synagogue was defined in the wilderness and never went beyond teaching any law or skill necessary for people to live in righteousness and practice social justice: the Law hangs on these.


See Exodus Chapter 32 to prove that the Godly people were separated from the cursed tribe of Levi abandoned to worship Lucifer and the other starry hosts.

The worship of the Astrial deities was practiced later at Mount Sinai. The Levites agreed to execute 3,000 of the members who had participated.  Moses then commanded that the Levites carry the burden of the Tabernacle and carry the burden of their own transgression. They were to stand as armed guards and execute any godly citizen who came near any holy thing or into any holy place: that applied to any  of the tribe of Levi unless they were on assigned duty.  Nadab and Abihu were executed for coming near the altar in the Most Holy place.

Later, King David assigned the Levites under the king and commanders of the army to "stand in ranks" and guard any of the sacrificial system from the eyes and ears of any godly person.
In Hezekiah's plague stopping animal slaughter:

The Levites stood in ranks with their instruments under the command of the king: if you wish to say that they stood in ranks by the command of God their prophesying with instruments was called soothsaying with instruments and their task was to execute those not already abandoned to worship the starry host.

It was only during the burnt offering made to Israel which had left after a civil war that the Levites made "noise" during the burnt offering. Again, this was not musical worship but a warning that the "holocaust" was taking place and they would be executed.

Christ Who spoke only through the Prophets and Apostles denies that God commanded any sacrifices or burnt offerings.  How obscene to think that God who is Holy or Wholly Spirit could be appeased by what Christ in the prophets identifies as MURDER of God's creatures.

Looking Backward the Spirit of Christ makes sertain that we understand that this was not Godly worship but that of the Astrial Deities.  Lucifer is called the Son of the Dawn and is therefore the planet Venus.

Amos condemned Israel for going up to the high places (idol altars) of Samaria. They believed that wine, women, song and instrumental instruments had abiding value. God told them that it was just fleeting pleasure. Verse 6:5 in the Septuagint (LXX) version:

Lucifer also dwelled in the Garden before he sinned according to Ezekiel 28:13-15.

Therefore, Lucifer actually SHARED the garden with Adam and Eve BEFORE his sin!

His sin would have to have been after Adam was created.

From the same verses we know that his "tabrets" (tambourines) and his "pipes" (flute-like instruments) were prepared for him the day he was created.

Satan was a tambourine and flute player, apparently while in the Garden of Eden, probably even a musician in the presence of Adam and Eve!

Isaiah 14:13 plainly documents Satan's sin. "For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north: 14 I will ascend above the heights of the clouds; I will be like the most High." These remarks tell us at least five facts about Lucifer:

Ezekiel 28:13 Thou hast been in Eden the garden of God;
        every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper,
        the sapphire, the emerald, and the carbuncle, and gold:
        the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. [cast down]

As a definition of the Babylonian Whore

Isaiah 14:9 Hell from beneath is moved for thee to meet thee at thy coming:
        it stirreth up the dead for thee, even all the chief ones of the earth;
        it hath raised up from their thrones all the kings of the nations.
Isaiah 14:10 All they shall speak and say unto thee,
         Art thou also become weak as we? art thou become like unto us?

As a definition of the king of Tyre where the Jewish temple worship began.

Isaiah 14:11 Thy pomp is brought down to the grave,
        and the noise of thy viols: the worm is spread under thee,
        and the worms cover thee.
Isaiah 14:12 How art thou fallen from heaven, O Lucifer, son of the morning!
        how art thou cut down to the ground, which didst weaken the nations!
Isaiah 14:13 For thou hast said in thine heart, I will ascend into heaven,
        I will exalt my throne above the stars of God:
         I will sit also upon the mount of the congregation, in the sides of the north:
Isaiah 14:14 I will ascend above the heights of the clouds; I will be like the most High.
Isaiah 14:15 Yet thou shalt be brought down to hell, to the sides of the pit.
Amos shows how this especially applies first to Israel and then to Judah.  The Israelites had been abandoned  to worship the starry host because that was the musical idolatry at Mount Sinai.
Amos 5:23 Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols.
Amos 5:24 But let judgment run down as waters, and righteousness as a mighty stream.
Amos 5:25 Have ye offered unto me sacrifices and offerings in the wilderness forty years, O house of Israel?
Amos 5:26 But ye have borne the tabernacle of your Moloch and Chiun your images, the star of YOUR god, which ye made to yourselves.
Amos 5:27 Therefore will I cause you to go into captivity beyond Damascus, saith the LORD, whose name is The God of hosts.

Or: who excel (marginal "applaud") in the sound of musical instruments; they have regarded them as abiding, not as fleeting pleasure." Amos 6:5 LXX (Jesus did read this version).

Pepys, ravished (raped) by the sound of wind music in the theatre, was reminded of the time when he was in love with his wife.

"For some people this is the height of enjoyment, provided the music presents no problems. But it is neither a substantial nor a lasting pleasure, and it is limited by the endowments of individual performers."

What is the universal connection between music AS worship and Serpent Worship?

How does music AS worship connect to the Devil? Jesus said that children of the Devil "speak on their own."


Acts 7:41 And they made a calf in those days,
        and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands.

Euphrainō , Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3
Pind. I. 6 Just as we mix the second bowl of wine when the men's symposium is flourishing, here is the second song of the Muses for Lampon's children and their athletic victories: first in Nemea, Zeus, in your honor they received the choicest of garlands,

Pind. I. 7   In which of the local glories of the past, divinely blessed Thebe, did you most delight your spirit? Was it when you raised to eminence the one seated beside Demeter of the clashing bronze cymbals, flowing-haired [5] Dionysus? Or when you received, as a snow-shower of gold in the middle of the night, the greatest of the gods, when he stood in the doorway of Amphitryon, and then went in to the wife to beget Heracles?

But since ancient grace sleeps, and mortals are forgetful of whatever does not reach the highest bloom of skillful song, joined to glorious streams of words, [20] then begin the victory procession with a sweet-singing hymn for Strepsiades;

The Egyptian Opis (Apis) and others which Israel worshipped at Mount Sinal were worshipped throughout the area. "In preference to all other hymns these choirs generally sang the so-called epiphany hymns,which were intended to invite the gods to appear. Plutarch wrote:

Why do the women of Elis call upon God in song to approach them with the bull's foot? Their song is the following:
Come, Dionysus, Hero,
into the holy temple of Elis,
together with the Graces
come violently into the temple with the bull's foot!
Then they sang twice at the end: "Sacred Bull!" (Johannes Quasten, Music & Worship in Pagan and Christian Antiquity, p. 76)
"For nonliterate peoples, music often serves purposes other than entertainment or aesthetic enjoyment. Certain wind instrumentare closely associated with the supernatural, and their sounds connote powerful magic. Australian Aborigines, for instance, identify the sound of a bull-roarer with thevoices of supernatural beings; for the Plains Indians, the same sound signifies an awesome natural phenomenon, such as thunder. Wind instruments are often among a group's most important ritual objects, and in some cultures they are specially venerated. The Kamairua Indians of the Amazon rain forest keep their giant flutes (three to four feet long), wherein spirits are believed to dwell, in a special shrine where they are worshiped. The flutes and drums of New Guinea are similarly housed and worshiped.
"Wind instruments in primitive cultures also serve nonreligious functions. In New Guinea, bamboo trumpets were once played
to frighten an enemyduring battle and
alert a village that the victorious warriors were coming home with the corpses of the foes.
"Conch-shell trumpets are used for signaling in the Pacific coastal regions of Columbia and in the Ecuadoran highlands. 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.

The Ghebers of Hebron 2 Hoaea, xii. 4 derives the name Inracl from Sarah to contend, to fight, and El = God of Fire. — Gen. xxxii. '28. Asarians, Asriel, Israel, a name of the War god {Exodus, xiii. 21, 22, xiv. 25), Saturn and the Sun. The Fire-god Azar was the God of war, and M'irs was the Sun. — Macrob. I. xvii. OS

But these fire-worshippers carried with them the arks of Moloch and Khiun (Life-god), their Adon, and they had, like the other peoples of the Delta, their Mysteries, which the priests instituted. They took with them from Phoenicia, probably, a certain knowledge of fixed vocal signs; and it would not be safe to deny to Syria the possession of some sort of (Syrian) hieroglyphs

Acts 7:42 Then God turned,
        and gave them up to worship the host of heaven;
        as it is written in the book of the prophets,
        O ye house of Israel, have ye offered to me slain beasts
        and sacrifices by the space of forty years in the wilderness?

Then said I unto them, Cast ye away every man the abominations of his eyes, and defile not yourselves with the idols of Egypt: I am the Lord your God. Ezekiel 20: 7

But they rebelled against me, and would not hearken unto me: they did not every man cast away the abominations of their eyes, neither did they forsake the idols of Egypt:
........... then I said, I will pour out my fury upon them,
........... to accomplish my anger against them
........... in the midst of the land of Egypt. Ezekiel 20: 8

But I wrought for my names sake, that it should not be polluted before the heathen, among whom they were,
in whose sight I made myself known unto them, in bringing them forth out of the land of Egypt. Ezekiel 20: 9
........... Wherefore I caused them to go forth out of the land of Egypt,
........... and brought them into the wilderness. Ezekiel 20:10

The pomp of Lucifer was a boasting musical praise (halal) . It involved "standing over" you or "overseeing" you. He "mounted up" to the high places prepared to be seen. He (often a she) puffed out the breast, was ornamented, swelled up and just blew hot air from an old billy goat skin:

Gaown (h1347) gaw-ohn'; from 1342; the same as 1346: - arrogancy, excellency (-lent), majesty, pomp, pride, proud, swelling.
Gaah (h1342) gaw-aw'; a prim. root; to mount up; hence in gen. to rise, (fig.) be majestic: - gloriously, grow up, increase, be risen, triumph.
Gaavah (h1346) gah-av-aw'; from 1342; arrogance or majesty; by impl. (concr.) ornament: - excellency, haughtiness, highness, pride, proudly, swelling.

This was outlawed by God but He was always put in the background by loud rejoicing forms of worship.

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7

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.

This was acceptable at the Jubilee because Jubilee was not an assembly called for instruction. When Israel was called into assembly for instruction it was illegal and destructive to have the musical children tooting their little horns (literally and figuratively). Judas, whose bag was for "carrying the mouthpieces of wind instruments," as Satan or Lucifer's agent, tried to defeat Jesus, perhaps by panicking Him into premature action, but he would not triumph over Him:

By this I know that thou favourest me, because mine enemy doth not triumph over me. Ps.41:11

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.  

Asherah: Queen of Heaven, Ashtoreth, Athirat, Astarte, and Ishtar. Her "male" priestesses were known as kelabim, the faithful "dogs" of the Goddess, who practiced divinatory arts, danced in processions, and served as hierodules, qedeshim, in the company of other priestesses. Goddess worship were largely erased in a cultural purge c. 630 BCE by King Josiah.

Because of conquering Greeks and Romans, Bacchus was worshiped right in the old temple. His were the fertility rituals at the perverted Feast of Tabernacle as the "walls" were let down and everyone was allowed in. They were literally practicing a "new wine" gospel.

"A fourth-century BC hymn in honor of Dionysos contains the invocation: 'Come to us, King Dithyramb, Bacchus, god of the holy chant.'" Dithurambos, Dithyramb "comes to be used of a Dionysiac song which possessed some infectious quality that led his votaries to take it up as a ritual chant. Later it became the subject for competition at Dionysiac festivals, and with its formalization it lost any spontaneity it may have possessed originally." "At the beginning of the fifth century BC tragedy formed part of the Great Dionysia, the Spring festival of Dionysos Eluethereus. Three poets completed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross.

Bacchus or Dionysus was the "god of wine" which Paul warned against in Ephesians 5 when he demanded that the people fill up with spirit or mind from the Word.  Their mode would not be the noisy chorus but a one-another teaching ministry.  Bacchus is the father of all new wine in new wine skin religions.

The Jewish clergy, defined by Jesus as musical - dramatic children, tried to get Jesus to lament:  

And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt.11:17

Jesus and John refused to wail or dance in the chorus or circular dance. See how it was prophesied that Judas would attempt this and fail. Therefore, it was left for the Levitical Musicians who were WARRIOR panic musicians on call for the priests.

Those who were tortured on a musical instrument frame in Greek were profaned or polluted in Hebrew. A word related to the flute, prostitute, stealing one's property or polluting someone is;

Chalal (h2490) khaw-lal'; to bore, i. e. by implication: to wound, to dissolve; figurative: to profane (a person, place or thing), to break one's word, to begin as if by an "opening wedge"; (from 2485) ;

1. to play (the flute): - defile,
2. eat (as common things), gather the grape thereof,
3. take inheritance,
4. pipe, player on instruments,
5. pollute, (cast as) profane self,
6. prostitute, slay (slain), sorrow, stain, wound.

This is derived from a word meaning "to be rubbed or worn, to grieve, make sick, to stroke in flattering." It is connected to the whirling or circular dance which imitated the writhing of a woman giving birth, or the planets around the Sun. This word also means "to pervert" or "to consume your branches." This is similar to melody which was related to pruning to gather the grapes to take your inheritance. It is also similar to external Greek melody which means to rub to bits or to abrade. The people "polluted" Adonijah by triumphing over him:

And all the people came up after him, and the people piped (2490) with pipes (2485), and rejoiced with great joy, so that the earth rent with the sound of them. 1K.1:40

And Adonijah and all the guests that were with him heard it as they had made an end of eating. And when Joab heard the sound of the trumpet, he said, Wherefore is this noise of the city being in an uproar? 1Ki 1:41


David was the king who was forced to shed all of that blood when God abandoned the nation as the punishment for asking for a king.  Many psalms are warrior panic songs and were used as the army praised or "made themselves vile" as a way to terrorize the enemy.  See from the following image that the Jews were not God's chosen people: the Israelites under the Abrahamic Covenant were and Paul in Galatians leapfrogs the Law period and appeals to the Covenant made with Abraham.  Because the Israelites never abandoned their worship practiced in Egypt it is logical that when God abandoned them for restoring this atMount Sinai that the  "praise words" would connect with the gods represented by the golden calf.


Mount Moriah was already set up for the worship of Lucifer and the other starry host but God had only permitted David a tent on Mount Moriah but had not commanded that Solomon build Him a "house."  Solomon appeal to Hiram of Tyre and melkart was the God defined by Christ as Lucifer.  The Greeks and Egyptians define the story of Lucifer in more concrete terms.


[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

(Salmōneus), a son of Aeolus by Enarete, and a brother of Sisyphus. (Apollod. 1.7.3; Schol. ad Pind. Pyth. 4.252.) He was first married to Alcidice and afterwards to Sidero; by the former wife he was the father of Tyro. (Hom. Od. 11.235; Apollod. 1.9.8 ; Diod. 4.68.) He originally lived in Thessaly, but emigrated to Elis, where he built the town of Salmone. (Strab. viii. p.356.) He there went so far in his presumption and arrogance, that he deemed himself equal to Zeus, and ordered sacrifices to be offered to himself; nay, he even imitated the thunder and lightning of Zeus, but the father of the gods killed the presumptuous man with his thunderbolt, destroyed his town, and punished him in the lower world. (Apollod. 1.9.7; Lucian, Tim. 2; Verg. A. 6.585, &c. ; Hyg. Fab. 60, 61, 250; Claudian, in Rufin. 514.)

Verg. A. 6.585ff.
  This is the Greek version of Lucifer cast as profane out of heaven and as the singing and harp playing prostitute in the garden of Eden.

Far, far within the dragon Hydra broods
With half a hundred mouths, gaping and black;
And Tartarus slopes downward to the dark
Twice the whole space that in the realms of light
Th' Olympian heaven above our earth aspires. —
Here Earth's first offspring, the Titanic brood,
Roll lightning-blasted in the gulf profound;
The twin Aloïdae, colossal shades,
Came on my view; their hands made stroke at Heaven
And strove to thrust Jove from his seat on high.
I saw Salmoneus his dread stripes endure,
Who dared to counterfeit Olympian thunder
And Jove's own fire. In chariot of four steeds,
Brandishing torches, he triumphant rode
Through throngs of Greeks, o'er Elis' sacred way,
Demanding worship as a god. 0 fool!
To mock the storm's inimitable flash—
With crash of hoofs and roll of brazen wheel!
But mightiest Jove from rampart of thick cloud
Hurled his own shaft, no flickering, mortal flame,
And in vast whirl of tempest laid him low.
Next unto these, on Tityos I looked,
Child of old Earth, whose womb all creatures bears:
Stretched o'er nine roods he lies; a vulture huge
Tears with hooked beak at his immortal side,
Or deep in entrails ever rife with pain
Gropes for a feast, making his haunt and home
In the great Titan bosom; nor will give
To ever new-born flesh surcease of woe.
Why name Ixion and Pirithous,
The Lapithae, above whose impious brows
A crag of flint hangs quaking to its fall,
As if just toppling down, while couches proud,
Propped upon golden pillars, bid them feast
In royal glory: but beside them lies
The eldest of the Furies, whose dread hands
Thrust from the feast away, and wave aloft
A flashing firebrand, with shrieks of woe.
Here in a prison-house awaiting doom
Are men who hated, long as life endured,
Their brothers, or maltreated their gray sires,
Or tricked a humble friend; the men who grasped
At hoarded riches, with their kith and kin
Not sharing ever—an unnumbered throng;
Here slain adulterers be; and men who dared
To fight in unjust cause, and break all faith
With their own lawful lords. Seek not to know
What forms of woe they feel, what fateful shape
Of retribution hath o'erwhelmed them there.
Some roll huge boulders up; some hang on wheels,
Lashed to the whirling spokes; in his sad seat
Theseus is sitting, nevermore to rise;
Unhappy Phlegyas uplifts his voice
In warning through the darkness, calling loud,
‘0, ere too late, learn justice and fear God!’
Yon traitor sold his country, and for gold
Enchained her to a tyrant, trafficking
In laws, for bribes enacted or made void;
Another did incestuously take
His daughter for a wife in lawless bonds.
All ventured some unclean, prodigious crime;
And what they dared, achieved. I could not tell,
Not with a hundred mouths, a hundred tongues,
Or iron voice, their divers shapes of sin,
Nor call by name the myriad pangs they bear.”

Except for Bathsheba (remember her?) the next king should have been Adonijah. When David died, Adonijah was pronounced king. However, Solomon was chosen by another group and the musical celebration was proof that Adonijah was being rejected as king. Solomon then had Adonijah murdered because he was a threat--perhaps to his inclusion of pagan worship. This began by adding thousands of instruments and men and women singers who were "concubines" or "musical instruments." In Ecc 2:8. These "musical instruments" or "men and women singers" meant:

Shadad or "to be burly, to ravage, to destroy, to oppress, to rob, to spoil, to utterly lay waste."

The musical worship teams were deliberately chosen to oversee or exercise dominion over the wisdom of the elders. They were agents of the ruling class (often self-appointed) and their task was that of violence--weapons and musical instruments are defined by the same Greek and Hebrew word. Paul would not use "carnal weapons or instrument." He choose the revealed Words of Christ.

In the temple-state punishment would be with whips and then by scorpions. The musical males took over the female roles and became Solomon's "overseers" with force. However, Zechariah prophesied of Messiah and showed that failure came when the senior males were replaced with "young lions" who oversaw with musical instruments and appeased the flock (meant for slaughter) so well that the shepherds were retired to the sidelines. He wrote:

OPEN thy doors, O Lebanon, that the fire may devour thy cedars. Zec 11:1

Howl, fir tree; for the cedar is fallen; because the mighty are spoiled: howl, O ye oaks of Bashan; for the forest (thicket) of the vintage (pruning the grape vines) is come down. Zec 11:2

There is a voice of the howling (boisterous, wailing tone; just whistling in the cemetery) of the shepherds; for their glory is spoiled: a voice of the roaring of young lions (the young lions cover, condone, or appease the city); for the pride (arrogance, proud swelling) of Jordan is spoiled. 11:3

Thus saith the Lord my God; Feed the flock of the slaughter; Zec 11:4

Their buyers (procurers) slaughter (smite with deadly intent) them and go unpunished. Those who sell (give in marriage or slavery) say, 'Praise the LORD, I am rich!' Their own shepherds do not spare them. Zec 11:5

Lord yes. You can buy and sell the "flock" and make more money than anyone else in the "corral."


Christ in the prophets identifies Lucifer (Zoe, Venus) as the singing and harp-playing prostitute in the garden of Eden.  He / she / it came equipped with wind, string and percussion instruments when he was "created."  Since Lucifer is said to have already existed, bara or created means when Lucifer was CAST AS PROFANE (h2490) out of heaven.

In Isaiah 30 Christ uses the same wind, string and percussion instruments as used when the Jews went in musical procession to Jerusalem intending to burn infants in the worship of Molech.

Then following the pattern of God punishing people by their own practices, the marks in sight and sound of God driving His enemies into "hell" are the same wind, string and percussion instruments. Next, God through Isaiah condemns the Jews by using the practice of some of them of offering children in human sacrifice to the noise of musical instruments to silence the screams of the children which would be interpreted by the priests as "speaking in tongues" in which God would give them a supernatural messate:

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

Isa 30:30 And the Lord shall make his glorious voice to be hearrd
        and the wrath of his arm, to make a display with wrath and of anger and devouring flame:
        he shall lighten terribly, and his wrath shall be as water and vionent hail.

Isa 30:31 For by the voice of the Lord the Assyrians shall be overcome,
        even by the stroke wherewtith he shall smit them.

The Assyrians had controlled Jerusalem during this time

Isa 3032 And is shall happen to him from every side,
        that they from whome their hope of assistance was,    
        in which he trusted, themselves shall war against him in turn with drums and with harp.

 The ritual observances at the Hebrew and at a Canaanite sanctuary were so similar that to the mass of the people Jehovah worship and Baal worship were not separated by any well-marked line...

A sacrifice was a public ceremony of a township or clan... Then the crowds streamed into the sanctuary from all sides, dressed in their gayest attire, marching joyfully to the sound of music, and bearing with them not only the victims appointed for sacrifice, but store of bread and wine set forth the feast... Universal hilarity prevailed." (Gurney, O.R., Some Aspects of Hittite Religion, p. 37, Oxford University Press, 1977)

"Many of the Psalms are expressive of the parade dance, or dance procession, in a way which show it to have been the characteristic form of the festival (Psalms 30:12, 87:7, 149:3, 150:4; Is. 30:29) and that this was where many of the Psalms were used." ( W. O. E. Osterley, The Sacred Dance (Cambridge: N. P., 1923), p. 94)


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

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

Rev. 14:6 And I saw another angel fly in the midst of heaven,
        having the everlasting gospel to preach unto them that dwell on the earth,
        and to every nation, and kindred, and tongue, and people,
Rev. 14:7 Saying with a loud voice, Fear God, and give glory to him;
        for the hour of his judgment is come:
        and worship him that MADE heaven, and earth, and the sea, and the fountains of waters.
Rev. 14:8 And there followed another angel,
        saying, Babylon is fallen, is fallen, that great city,
        because she made all nations drink of the wine of the wrath of her fornication.
In Revelation 17 John warned about the Babylon mother of harlots: in Revelation 18 she uses lusted after "fruits" as speakers, singers and instrument players.  John called them sorcerers and consigns them to the lake of fire.

Rev 18:20 Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her.

Rev 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying,
        Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all

Rev 18:22 And the voice of harpers, and musicians [Apollyon's muses or locusts] and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, [theater builders and stage managers] of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone [called a pipe, made a wistling sound to attract] shall be heard no more at all in thee;

Craftsmen tekhnit-ēs , ou, ho, II. one who does or handles a thing by the rules of art, skilled workman
also hoi peri tous theous t. persons versed in religious practices, Id.Cyr.8.3.11
hoi Dionusiakoi t. or hoi peri ton Dionuson t., theatrical artists, musicians as well as actors, D. 19.192
Dem. 19 192 To show you, then, that these men are the basest and most depraved of all Philip's visitors, private as well as official,—yes, of all of them,—let me tell you a trifling story that has nothing to do with the embassy. After Philip had taken Olynthus, he was holding Olympian games, and had invited all sorts of artists to the religious celebration and the festival.

Luc. DMort. 13.5 

goēs, ō Diogenes, anthrōpos kai tekhnitēs. plēn alla touto ge apolelauka autou tēs sophias, to lupeisthai hōs epi megistois agathois ekeinois. ha katērithmēsō mikrō ge emprosthen.

Sophia , Ion. -, , prop. A. cleverness or skill in handicraft and art, a of Hephaestus and Athena, in music and singing, poetry, divination
Phthegma , atos, to (written phthengma in late Inscrr., Epigr.Gr.1002, 1003), sound of the voice, voice, a bird, roaring, grinding the mortar, of musical notesrof a person anaides Shameless, greedy
2. of other sounds, as of birds, cries, S.El.18, E.Hel.747; of a bull, roaring, Id.Hipp.1215; brontas ph. Pi.P.4.198 ; thueias ph. the grinding of the mortar, Ar.Pax235; of musical notes, Id.Av.683 (lyr.), Pl.Lg.812d; of the nightingale's song, Ar.Av.204, 223.
Aristoph. Birds 683 Chorus
Lovable golden bird, whom I cherish above all others, you, whom I associate with all my songs, nightingale, [680] you have come, you have come, to show yourself to me and to charm me with your notes. Come, you, who play spring melodies upon the harmonious flute, lead off our anapests.
Aristoph. Peace 235
Enters, carrying a huge mortar.
Oh! mortals, mortals, wretched mortals, how your jaws will snap!

Oh! divine Apollo! [abaddon, Apollyon] what a prodigious big mortar! Oh, what misery the very sight of War causes me! [240] This then is the foe from whom I fly, who is so cruel, so formidable, so stalwart, so solid on his legs!

Mouseios , on, Aeol. Moisaios , a, on, ( [Mousa] ) of or belonging to the Muses, hedra E.Ba.410 (lyr.); Moisaion harma the car of Poesy, Pi.I.8 (7).67; lithos M. a monument of song, Id.N.8.47.  

II. musical, kelados AP9.372 .
melôid-ia , hê, singing, chanting, E.Rh.923, etc.
II. chant, choral song, melôidias poiêtês Pl.Lg.935e , cf. 812d; lullaby, ib.790e: generally, music, Phld.Mus.p.12 K.


Rev 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.

And the sorcerer is:

"Applied to Persian priests or astrologers of Babylon. Pharmakos (g5333) an adjective signifying "devoted to magical arts," is used as a noun, "a sorcerer," especially one who uses drugs, potions, spells, enchantments, Rev 21:8, in the best texts (some have pharmakeus) and 22:15" Vine

pharmakos 1

I. a poisoner, sorcerer, magician, NTest.
II. one who is
sacrificed as an atonement for others, a scape-goat, Ar.; and, since worthless fellows were reserved for this fate, pharmakos became a general name of reproach, id=Ar., Dem.

2 Mendici, mimae, balatrones . The priests of Isis and Cybele were beggars by profession, and under the vail of religion were often guilty of the most criminal excesses. Mimae were players of the most debauched and dissolute kind; and balatrones, in general, signifies all scoundrels, buffoons, and parasites, who had their name, according to the old commentator, from Servilius Balatro. Balatrones hoc genus omne, for omne hoc balatronum genus, is a remarkable sort of construction.

Revelation 20:10 And the devil that deceived them was cast into the lake of fire and brimstone,
        where the beast and the false prophet are, and shall be tormented day and night for ever and ever.
Revelation 21:8 But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters,
        and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.
Revelation 22:15 For without are dogs, and sorcerers, and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie.

For without are dogs, and sorcerers (pharmakos: poison with a magical drug incantation), and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie. Revelation 22:15
Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog.

 Kenneth Sublett

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