Sowing Discord Among The Brethren
CLICK BELOW FOR SOME HISTORICAL EXAMPLES OF THE USE OF MUSIC TO SOW DISCORD.
The Church established as the Qahal or Synagogue in the wilderness has the singular purpose of PREACHING the word of God by READING it. That did not change when Jesus died to destroy the "worship of the starry host" because of musical idolatry at Mount Sinai. God commanded that the Jacob-Cursed tribe of Levi to guard the curse of the sacrificial system until God carried out the captivity and death sentence.
The eternal battle has been between SOPHIA-Zoe as matriarchal mother and daughter opposed to Jehovah and His SON which is defined as the WORD or that which is SPOKEN as opposed to the deception of music.
The Catholic as Mother and most protestants as Daughters are founded on the Sacrificial System. It reproduces the Civil (a king or pastor set over us), kingdom (small feifdoms with collected serfs to support the parasites), Temple (Church "plant"), Sacrifices (Eucharist), Levites (preachers, singers and instrument players, sacrificers).
Therefore, history is absolute from the "singing and harp playing prostitute in the garden of Eden, to the Babylon Mother of Harlots (Revelation 17), using lusted after fruits (Revelation 18) as singers, players and craftsmen: John calls them sorcerers who HAD deceived the whole world. Therefore, even today, most religious groups are deliberately discord and divided by the invasion of professional actors, singers, instrument players and financial planners.
Proverbs 6 is just one passage warning about the evil people who sow discord by taking people captive as serfs.
Proverbs 6:11 So shall thy poverty come as one that travelleth, and thy want as an armed man
Proverbs 6:12 A naughty person, a wicked man, walketh with a froward mouth.
Greek: H1100 belı̂ya‛al bel-e-yah'-al From H1097 and H3276 ; without profit, worthlessness; by extension destruction, wickedness (often in connection with H376 , H802 , H1121 , etc.):—Belial, evil, naughty, ungodly (men), wicked.
Latin -apostato, v. n., = apostateo,
I. tto forsake one's religion, to apostatize (eccl. Lat.): “apostatare a Deo,” Vulg. Eccli. 10, 14: “apostatare faciunt sapientes,”
A. To overthrow, subvert; to destroy, ruin, undo, corrupt: “cito homo pervorti potest,” Plaut. Poen. 4, 2, 52: “labefactare atque pervertere amicitiam aut justitiam,” Cic. Fin. 3, 21, 70: “
Deut 32:20] He said, I will hide my face from them, I will see what their end shall be: For they are a very perverse generation, Children in whom is no faithfulness.Ecclesiastes 10:11 Surely the serpent will bite without enchantment;H1100 belıya‛al bel-e-yah'-al From H1097 and H3276 ; without profit, worthlessness; by extension destruction, wickedness (often in connection with H376 , H802 , H1121 , etc.):--Belial, evil, naughty, ungodly (men), wicked.
and a babbler is no better.
Ecclesiastes 10:12 The words of a wise man’s mouth are gracious;
but the lips of a fool will swallow up himself.
Ecclesiastes 10:13 The beginning of the words of his mouth is foolishness:
and the end of his talk is mischievous madness.
Ecclesiastes 10:14 A fool also is full of words:
a man cannot tell what shall be;
and what shall be after him, who can tell him?
Ecclesiastes 10:15 The labour of the foolish wearieth every one of them, because he knoweth not how to go to the city.
Sapio good to tast, vulgar, B., like sophos, well acquainted with the true value of things, wise; and subst., a wise man, a sage. To suggest being inspired, proud, sensible, B.
Sophos , A.skilled in any handicraft or art, clever, mantisId.Th.382 ; in this sense mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kitharai s. E.IT1238 (lyr.), cf. Ar.Ra.896 (lyr.), etc.; têntechnên -ôteros ib.766; peritiPl.Lg.696c ; glôssêi s. S.Fr.88.10; sophoshopollaeidôsphuai, mathontesdelabroiPi.O.2.86 .
Mantis diviner, seer, prophet, Apollo, Pythian priestess, Dionysus,
Per-verto (pervorto ) A. To overthrow, subvert; to destroy, ruin, undo, corrupt.
perversely, wrongly, badly, interpretor translate. A. To overthrow, subvert; to destroy, ruin, undo, corrupt:
Proverbs 6:13 He winketh with his eyes, [flatter, make promises]
he speaketh with his feet, [rub to pieces]
he teacheth with his fingers;
Proverbs 6:14 Frowardness is in his heart, [crookedness]
he deviseth [māchĭnor to contrive artfully]
Malus I. Comp.: pejor, pejus.--Sup.: pessimus, a, um, bad, in the widest sense of the word (opp. bonus), evil, wicked, injurious, destructive, mischievous, hurtful; (a). Punishment; hurt, harm, severity, injury, (g). As a term of abuse, plague, mischief, tormentm
Carmen, i. e. an incantation,
I would rather you should be unfortunate than effeminate
he soweth discord.Jurgĭum , quarrel, strife, dispute, altercation, contention
concertātĭo a love of disputation (the eristikē of the sophists) Cic. Part. 23.81religionem superstitio oratoriam vim inanis quaedam profluentia loquendi.
Proverbs 6:15 Therefore shall his calamity come suddenly;
suddenly shall he be broken without remedy.Perdĭtĭo , Vulg. Matt. 7, 13 et saep.; cf. perditio, apōleia,
Matt 7:13 Enter ye in at the strait gate: for wide is the gate, and broad is the way, that leadeth to destruction, and many there be which go in thereat:
Destruction is derived from Apollo or Abbadon or Apollyon who destroys using his MUSES in the end times. In Revelation 18 the Whore is marked by music and instruments as SIGNS.
Apoleia (g684) ap-o'-li-a; from a presumed der. of 622; ruin or loss (phys., spiritual or eternal): - damnable (-nation), destruction, die, perdition, * perish, pernicious ways, waste.
2. perdition, Ep.Rom.9.22, 2 Ep.Thess.2.3.3. thing lost, LXXLe.6.3（5.22).
2Thessalonians 2:2 That ye be not soon shaken in mind, or be troubled, neither by spirit, nor by word, nor by letter as from us, as that the day of Christ is at hand.
2Thessalonians 2:3 Let no man deceive you by any means: for that day shall not come, except there come a falling away first, and that man of sin be revealed, the son of perdition;
2Thessalonians 2:4 Who opposeth and exalteth himself above all that is called God, or that is worshipped; so that he as God sitteth in the temple of God, shewing himself that he is God.
Re.17:8 The beast that thou sawest was, and is not; and shall ascend out of the bottomless pit, and go into perdition: and they that dwell on the earth shall wonder, whose names were not written in the book of life from the foundation of the world, when they behold the beast that was, and is not, and yet is.
Proverbs 6:16 These six things doth the LORD hate: yea, seven are an abomination unto him:
Proverbs 6:17 A proud look, a lying tongue, and hands that shed innocent blood,
H7311 rum room A primitive root; to be high actively to rise or raise (in various applications, literally or figuratively):--bring up, exalt (self), extol, give, go up, haughty, heave (up), (be, lift up on, make on, set up on, too) high (-er, one), hold up, levy, lift (-er) up, (be) lofty, (X a-) loud, mount up, offer (up), + presumptuously, (be) promote (-ion), proud, set up, tall (-er), take (away, off, up), breed worms.
H8267 sheqer sheh'-ker From H8266 ; an untruth; by implication a sham (often adverbially):--without a cause, deceit (-ful), false (-hood, -ly), feignedly, liar, + lie, lying, vain (thing), wrongfully.
H8266 shaqar shaw-kar' A primitive root; to cheat, that is, be untrue (usually in words):--fail, deal falsely, l
Proverbs 6:18 An heart that deviseth wicked imaginations, feet that be swift in running to mischief,
Cōgĭtātĭo Whatever man can imagine
Forbidden: Cogitatio a thinking, considering, deliberating; thought, reflection, meditation (in good prose, and very freq.).
A. Concr., a thought, opinion, judgment; a resolution, design. plan, project:
phrontides sophōterai): “ista cogitatio de triumpho,” thought as an intellectual power, the ability of thinking, power or faculty of thought, the reasoning power
Forbidden: sophos , ē, on, A. skilled in any handicraft or art, clever Margites Fr.2; but in this sense mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s.
trained in speaking all the resources that I have, wisdom overmuch is no wisdom II. of things, cleverly devised, wise, “nomos” [1449a]  so is the Margites to our comedies.Malus I. Comp.: pejor, pejus.--Sup.: pessimus, a, um, bad, in the widest sense of the word (opp. bonus), evil, wicked, injurious, destructive, mischievous, hurtful; (a). Punishment; hurt, harm, severity, injury, (g). As a term of abuse, plague, mischief, tormentm
Carmen, i. e. an incantation,
I would rather you should be unfortunate than effeminate
Proverbs 6:19a A false witness that speaketh lies,
“ejus (orationis) proferendae arbitrium “artem,” to exhibit publicly
To bring forth, produce, invent, discover, make known, reveal “artem,” to exhibit publicly
ars , . Skill in producing any material form, handicraft, trade, occupation, employment (tekhnē). a profession, art (music, poetry, medicine, etc.) musicam, litterarum cognitionem et poëtarum
“ars grammatica,” grammar, Plin. 7, 39, 40, § 128: “rhetorica,” Quint. 2, 17, 4: “musica,” poetry, Ter. Hec. prol. 23: “musica,” music, Plin. 2, 25, 23, § 93: “magica,” Verg. A. 4, 493, “ars eloquentiae, 4. Artes (personified), the Muses: “artium chorus,” Phaedr. 3, prol. 19.—
fallax , barbari (astrologi)
non erudita artificio simulationis,”
“imitatio simulatioque virtutis,”
and he that soweth discord among brethren.
H4090 medân med-awn' A form of H4066 :--discord, strife.
Discordia,1. The subject of strife: “Idae et Phoebo discordia Eveni filia,” Prop. 1, 2, 17.—
Phoebus Appollo (Abaddon, Apollyon) poetical appellation of Apollo as the god of light: “quae mihi Phoebus Apollo Praedixit,” Verg. A. 3, 251;
C.Phoebas , ădis, f., a priestess of Apollo; hence the inspired one, the prophetess, Ov. Am. 2, 8, 12; id. Tr. 2, 400; Luc. 5, 128; 165.
2. Of inanimate things: “principiorum,” Lucr. 5, 440: “rerum,” id. 6, 366: “ponti,” Luc. 5, 646: “incertae mentis,” Ov. M. 9, 630 et saep.—
Prov. 6:19b and he that soweth discord among brethren.Deviseth Greek: H2790 chârash khaw-rash' A primitive root; to scratch, that is, (by implication) to engrave, plough; hence (from the use of tools) to fabricate (of any material); figuratively to devise (in a bad sense); hence (from the idea of secrecy)
H2791 cheresh kheh'-resh From H2790 ; magical craft; also silence:—cunning, secretly
De.27:15 Cursed be the man that maketh any graven or molten image, an abomination unto the Lord, the work of the hands of the craftsman, and putteth it in a secret place: And all the people shall answer and say, Amen.
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; Re.18:22
techn-ê , hê, ( [tektôn] ) art, skill, cunning of hand, esp. in metalworking, Od.3.433, 6.234, 11.614; also of a shipwright, Il.3.61; of a soothsayer, A.Ag.249 (pl., lyr.), Eu.17, S.OT389, etc.; technai heterôn heterai Pi.N.1.25 ; ôpase t. pasan Id.O.7.50 .2. craft, cunning, in bad sense, doliê t. Od.4.455, Hes.Th.160: pl., arts, wiles, Od.8.327.332, Hes.Th.496,929; doliais technaisi chrêsamenos Pi.N.4.58 ; technais tinos by his arts (or simply by his agency), Id.O.9.52, P.3.11; technên kakên echei he has a bad trick, Hes.Th.770, cf. Pi.I.4(3).35(53), S Ph.88, etc.
III.an art or craft, i.e. a set of rules, system or method of making or doing, whether of the useful arts, or of the fine arts, poetry, art of rhetoric,Deviseth Latin Machinor I. v. dep. a. [machina], to contrive skilfully, to devise, design, frame, invent (class).
Organon 3.musical instrument, Simon.31, f.l. in A.Fr.57.1 ; homendi'organônekêleianthrôpous, of Marsyas, Pl.Smp.215c ; aneuorganônpsiloislogois ibid., cf. Plt.268b ; o. poluchordaId.R.399c , al.; met'ôidêskaitinônorganôn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2.
I. In gen.: incredibile est, quantā operā machinata natura sit, Cic. N. D. 2, 59, 149 : qui haec machinatus est, id. Univ. 3 : haec duo musici machinati ad voluptatem sunt, versum atque cantum, id. de Or. 3, 44, 174 : quod machiner inveniamque, Lucr. 3, 944 ; cf. Vitr. 1, 6 med.-- Plaut. Bacch. 2, 2, 54Plautus Bacchides 178Musicus A.Adj.:
CHRYSALUS No, not the subject
5 , but the actor offends my feelings with his tediousness. Even "Epidicus," a play that I love quite as much as my own self, were Pollio to act it
6 , no play would I see so reluctantly. But, does Bacchis seem handsome, as well, to you?
(16) leges musicae,the rules of music,
Cithara I.the cithara, cithern, guitar, or lute, II. Meton., the music of the cithara, or, in gen., of a stringed instrument, the art of playing on the cithara, barbitos , Barbite, carmen, I. Meton., the song played upon the lute: non facit ad lacrimas barbitos,Voluptas
Verto turn backward, revolt, make profitable, making a matter of religious scruple, , Liv. 5, 14, 2
Voluptas a-tis (gen. plur. voluptatum and -tium), f. [Gr. elpô, to hope; root Welp-; cf. volo] , satisfaction, enjoyment, pleasure, delight (whether sensual or spiritual; syn. oblectamentum).
- B. Voluptates, sports, shows, spectacles, given to the people, Cic. Mur. 35, 74: ne minimo quidem temporis voluptates intermissae, Tac. H. 3, 83 ; Vop. Aur. 34; id. Prob. 19; Treb. Gall. 9 al. --
C. The desire for pleasure, bent, passion: suam voluptatem explere, Ter. Hec. 1, 1, 12 ; cf. Plaut. Am. prol. 19; cf. Gell. praef. § 14.--
D. The male semen
e. In partic., like our to turn upside down, i. e. to overturn, overthrow, subvert, destroy, to put to flight,
Proverbs 6:20 My son, keep thy father’s commandment,
and forsake not the law of thy mother:
Proverbs 6:21 Bind them continually upon thine heart, and tie them about thy neck.
Proverbs 6:22 When thou goest, it shall lead thee; when thou sleepest,
it shall keep thee; and when thou awakest, it shall talk with thee.
Proverbs 6:23 For the commandment is a lamp; and the law is light;
and reproofs of instruction are the way of life:
Proverbs 6:24 To keep thee from the evil woman, from the flattery of the tongue of a strange woman.
H2513 chelqah khel-kaw' Feminine of H2506 ; properly smoothness; figuratively flattery; also an allotment:--field, flattering (-ry), ground, parcel, part, piece of land ([ground]), plat, portion, slippery place, smooth (thing).
H2506 cheleq khay'-lek From H2505 ; properly smoothness (of the tongue); also an allotment:--flattery, inheritance, part, X partake, portion.H5237 nokrıy nok-ree' From H5235 (second form); strange, in a variety of degrees and applications (foreign, non-relative, adulterous, different, wonderful):--alien, foreigner, outlandish, strange (-r, woman).
Proverbs 6:25 Lust not after her beauty in thine heart;
neither let her take thee with her eyelids.
Proverbs 6:26 For by means of a whorish woman
a man is brought to a piece of bread:
and the adulteress will hunt for the precious life.
Proverbs 6:27 Can a man take fire in his bosom, and his clothes not be burned?
Pr 6:28 Can one go upon hot coals, and his feet not be burned?Pr 6:29 So he that goeth in to his neighbour’s wife; whosoever toucheth her shall not be innocent.
H5060 naga‛ naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.):--beat, (X be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.
Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing..SOME HISTORICAL EXAMPLES OF THE USE OF MUSIC TO SOW DISCORD.
> Ea, the patron god of music, got drunk and let the female Inanna or Ishtar steal the ME: the supernatural power of mind control including "the authority of the eldership, the power of song and instrumental music and the power of licking the phallus."
Ishtar/Tammuz were worshiped in the temple at Jerusalem and in your congregation. "As the goddess of war and strife, she (Inanna/Ishtar) held the title Ninkur-ra-igi-ga, "the queen who eyes the highland" meaning that other lands feared her. Battle was called the "dance of Inanna, and she was at the very heart of it. She was "the star of the battle-cry, who can make brothers who have lived together in harmony fight each other".
She is known for causing the fall of the city of Agade." See The Curse of Agade and the Musical Connection.
> (r) Genun the Canaanite, son of Lamech the Blind, living in the Land of the Slime Pits,
Most superstitious people did and still believe that the "gods" or "demons" live inside of musical instruments. These are the homes of the demons and their "mouth." The evidence (elsewhere) is that the "serpent" is related to a musician and instruments but not to a snake.
Genun would assemble companies of musicians, who inflamed one another with music until their lust burned bright like fire, and they lay together promiscuously. He also brewed beer, gathered great crowds in taverns, gave them to drink and taught them to forge iron swords and spear-points, with which to do murder at random when they were drunk. was ruled by Azael from his earliest youth, and invented all sorts of musical instruments. When he played these, Azael entered into them too, so that they gave forth seductive tunes entrancing the hearts of all listeners.See The Book of Enoch. and see who God and ten thousand of His saints will come to judge.
See how the Grace Centered view believes that "praise" does the work for God on earth even as in heaven.
> To the Pythian Apollo: (Abaddon, Apollyon) 182-206 - Leto"s (mother of Apollo) - all-glorious son goes to rocky Pytho, playing upon his hollow lyre, clad in divine, perfumed garments;
and at the touch of the golden key his lyre sings sweet. [outlawed by the word psallo]
Thence, swift as thought, he speeds from earth to Olympus, to the house of Zeus,
to join the gathering of the other gods:
then straightway the undying gods think only of the lyre and song,
and all the Muses together, voice sweetly answering voice,
hymn the unending gifts the gods enjoy and the sufferings of men,
all that they endure at the hands of the deathless gods,
and how they live witless and helpless
and cannot find healing for death or defence against old age.
See how the FRUITS (same as in Revelation 18) where emasculated males performed as females.
Amos 8:11 Behold, the days come, saith the Lord GOD,Now Proclus (Crat., see Taylor, Myst. Hymns, p. 201) quotes a verse of Orpheus which says that Core bore to Zeus 'nine azure-eyed flower-weaving daughters'. These are most probably the Muses, for whom I must refer the reader to Chapter VI, 'The Gods and their Shaktis'. It is interesting to remark that there was a feast in honour of Core-Proserpine, the Anthesphoria, for Proserpine was carried off while 'plucking flowers',
that I will send a famine in the land, not a famine of bread, nor a thirst for water,
but of hearing the words of the LORD:
Amos 8:12 And they shall wander from sea to sea, and from the north even to the east,
they shall run to and fro to seek the word of the LORD, and shall not find it.
Amos 8:13 In that day shall the fair virgins and young men faint for thirst.
Amos 8:14 They that swear by the sin of Samaria, and say,
Thy god, O Dan, liveth; and, The manner of Beersheba liveth;
even they shall fall, and never rise up again.
that is to say was distracted from her work by the attraction of the senses.
Thus the Muses, her daughters, are said to be flower-weaving, for, as shown above,
they are the higher side of psychic sensation and emotion, whereas the Sirens are the lower.
Perhaps this may with advantage be compared with a phrase of the Fragment from the Book of the Golden Precepts, called 'The Voice of the Silence,' rendered into English by H. P. Blavatsky, who in referring to these realms graphically portrays this 'pleasure ground of sense' as filled with blossoms and 'under every flower a serpent coiled'.
> Origen Book VI, Chapter XLI.> Boethius in Consolation of Philosophy notes the battle between the Nine Dancing Ladies who were the nine muses to which prominent leaders must dance:
In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysius, an Egyptian musician,
the latter told him, with respect to magic arts, that it was only over the uneducated and men of corrupt morals that they had any power,
while on philosophers they were unable to produce any effect, because they were careful to observe a healthy manner of life."
"Muses of poetry with lyre never support those in sorrow by any healing remedies,
but rather do ever foster the sorrow by poisonous sweets.
These are they who stifle the fruit-bearing harvest of reason
with the barren briars of the passions:
they free not the minds of men from disease, but accustom them thereto."
> To the Greeks, Apollo (Abbadon, Apollyon, Satan, Beast) was the GOD OF EXTERNAL HARMONY because he was the Far Shooter "making melody" by twanging his bowstring and sending "singing" arrows to kill the foe. He used his lyre to shoot love arrows.
Socrates, Plato Cratylus So the meaning of the name Apollo will be "moving together," whether in the poles of heaven (home of the beast) as they are called, or in the harmony of song, which is termed concord, because he moves all together by an harmonious power, as astronomers and musicians ingeniously declare. And he 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).> In singing the Psalms which was the only Scriptural resource for Augustine, he noted that if we don't let Christ as Head be the "song leader" and "teacher" then we have delibertely divided the body: severed it from Christ and from one another:
"I commend unto you oftentimes, nor grieve I to repeat, what for you is useful to retain, that our Lord Jesus Christ speaketh often Of Himself, that is, in His own Person, which is our Head; often in the person of His Body, which are we and His Church;
but so that the words sound as from the mouth of one,
that we may understand the Head and the Body to consist together in the unity of integrity,
and not be separated the one from the other; as in that marriage whereof it is said,
"They two shall be one flesh." If then we acknowledge two in one flesh,
let us acknowledge two in one voice.
For whatsoever things were written aforetime were written for our learning, that we through patience and comfort of the scriptures might have hope. Rom. 15:4
Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Rom. 15:5 That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ. 15:6
If we refuse to sing Christ's Words (Spirit Jn 6:63, 1 Pet 1:11) then we deliberately SOW DISCORD BETWEEN us and Christ the Head of the body.
> Aristotle, Rhetoric" Melody Deceives The form of diction should be neither metrical nor without rhythm. If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence. Of the different rhythms the heroic is dignified, but lacking the harmony of ordinary conversation; the iambic is the language of the many, wherefore of all meters it is most used in common speech; but speech should be dignified and calculated to rouse the hearer.
> From the Pope's Eunuch and Orphic Music
This work [Thalia] was written by Arius [d. 336] subsequently to his excommunication by the Alexandrian Synod of A.D. 321, according to some authorities. Philostorgius [c. 368 - c. 439] says, he wrote also a collection of songs for sailors, millers, and pilgrims,--
an old expedient for spreading religious opinions among the common people,
as Neander [Johann August Wilhelm Neander 1789 -1850] observes.
Milman [Henry Hart Milman 1791 - 1868 (Dean of St. Paul's, etc.)], in Gibbon's Rome, [as editor] notes the fact thus:
"ARIUS APPEARS TO HAVE BEEN THE FIRST, WHO AVAILED HIMSELF OF THIS MEANS [SONGS] OF IMPRESSING HIS DOCTRINES ON THE POPULAR EAR,
BEGUILING THE IGNORANT, as Philostorgius terms it, by the sweetness of his music, into the impiety of his doctrines." According to Sozomen ["early 5th century"], "Arian singers used to parade the streets of Constantinople by night, till Chrysostom [John Chrysostom c. 347 - 407 (St.)] arrayed against them a band of Orthodox choristers." --Soz. B., VIII. chap. 8. > Triumphing over Christ would be with musical warfare. The goal of self-composed hymns (idols) and instruments (homes of the demons) is to remove the name of Christ from the sign and the memory of the church.
Augustine wrote Augustine on Psalm 41: "Mine enemies speak evil of Me, When He shall die, then shall His Name perish" (ver. 5). Mine enemies speak evil of me, When shall he die, and his name perish? Psalm 41:5
Think not this; but that enemy think of, of whom said the Lord, "an enemy hath done this."
For He it is who suggests that for things earthly he be worshipped,
for overthrow the Christian Name this enemy cannot.
For he hath seen himself conquered by the fame and praises of Christ,
he hath seen, whereas he slew Christ's Martyrs,
that they are crowned, he triumphed over.
He hath begun to be unable to persuade men that Christ is nought;
and because by reviling Christ, he now with difficulty deceives,
by lauding Christ, he endeavours to deceive.
"Before this what said he? Whom worship ye? A Jew, dead, crucified, a man of no moment, who could not even from himself drive away death. When after His Name he saw running the whole human race, saw that in the Name of the Crucified temples are thrown down, idols are broken, sacrifices abolished; and that all these things predicted in the Prophets are considered by men, by men with wonder astonished, and closing now their hearts against the reviling of Christ; he clothes himself with praise of Christ, and begins to deter from the faith in another manner. Great is the law of Christ, powerful is that law, divine, ineffable! but who fulfilleth it? In the name of our Saviour, "tread upon the lion and the dragon."
By reviling openly roared the lion; by lauding craftily lurks the dragon. But when? Haply in heaven, haply in the life eternal, that so it remain to worship the devil for earthly needs, for the necessities of this life.> Hislop on the Two Systems asks:
"Now if this was the case in Job's day, much more must it have been the case at the earlier period when the Mysteries were instituted. It was a matter, therefore, of necessity, if idolatry were to be brought in, and especially such foul idolatry as the Babylonian system contained in its bosom, that it should be done stealthily and in secret. ** It will be seen by-and-by what cogent reason there was, in point of fact, for the profoundest secrecy in the matter. See Chapter II Even though introduced by the hand of power,
it might have produced a revulsion,
and violent attempts might have been made by the uncorrupted portion of mankind
to put it down; and at all events,
if it had appeared at once in all its hideousness, it would have alarmed the consciences of men, and defeated the very object in view. Alexander Hislop also notes:
That object was to bind all mankind in blind and absolute submission to a hierarchy entirely dependent on the sovereigns of Babylon.In the carrying out of this scheme, all knowledge, sacred and profane, came to be monopolised by the priesthood, who dealt it out to those who were initiated in the "Mysteries" exactly as they saw fit, according as the interests of the grand system of spiritual despotism they had to administer might seem to require. Thus the people, wherever the Babylonian system spread, were bound neck and heel to the priests. The priests were the only depositaries of religious knowledge; they only had the true tradition by which the writs and symbols of the public religion could be interpreted; and without blind and implicit submission to them, what was necessary for salvation could not be known. Click for Hermes - Mercury the "New Hermeneutics"
THE MYSTERY OF INIQUITY DOTH ALREADY WORK" (2 Thess 2:7). That system of iniquity which then began it was divinely foretold was to issue in a portentous apostacy, that in due time would be awfully "revealed," and would continueuntil it should be destroyed "by the breath of the Lord's mouth (The Word), and consumed by the brightness of His coming." But at its First introduction into the Church, it came in secretly and by stealth, with "all DECEIVABLENESS of unrighteousness."
It wrought "mysteriously" under fair but false pretences,
leading men away from the simplicity of the truth as it is in Jesus.
And it did so secretly, for the very same reason that idolatry was secretly introduced in the ancient Mysteries of Babylon; it was not safe, it was not prudent to do otherwise. The zeal of the true Church, though destitute of civil power, would have aroused itself, to put the false system and all its abettors beyond the pale of Christianity,
if it had appeared openly and all at once in all its grossness;
and this would have arrested its progress
Therefore the prudent shall keep silence in that time; for it is an evil time. Am.5:13 .
> The form of "authority" outlawed by Paul in the "non-sedentary" role was and is sexual authority. It is not possible to have attractive and talented women standing between the "audience" and God claiming power to lead them into God's presence without insulting God and seducing men. See an example.
"But I must now investigate how it comes about that so many names have been used of one and the same thing, and the theological element contained in their history. Now this is common both to the Greeks and to the barbarians,
to perform their sacred rites in connection with the relaxation of a festival,
these rites being performed sometimes with religious frenzy, sometimes without it;
sometimes with music, sometimes not; and sometimes in secret, sometimes openly.
And it is in accordance with the dictates of nature that this should be so, for, in the first place, the relaxation draws the mind away from human occupations and turns the real mind towards that which is divine; and,
secondly, the religious frenzy seems to afford a kind of divine inspiration and to be very like that of the soothsayer; and,
thirdly, the secrecy with which the sacred rites are concealed induces reverence for the divine, since it imitates the nature of the divine, which is to avoid being perceived by our human senses; and,
fourthly, music, which includes dancing as well as rhythm and melody, at the same time, by the delight it affords and by its artistic beauty, brings us in touch with the divine, and this for the following reason;
for although it has been well said that human beings then act most like the gods
when they are doing good to others,
yet one might better say, when they are happy;
and such happiness consists of rejoicing, celebrating festivals,
pursuing philosophy, and engaging in music.
"Ephesus was famous for its shrine of Diana, where thousands of sacred prostitutes believed fornication brought believers into contact with deity in much the same way the Gnostics used authentia (authority) to bind the flesh and the divine together. When these women converted to Christianity they had to unlearn these pagan practices. 'Virtually without exception, female teachers among the Greeks were courtesans, such as Aspasia, who numbered Socrates and Pericles among her students. Active in every major school of philosophy, these hetairai made it evident in the course of their lectures that they were available afterwards for a second occupation. But the Bible teaches that to seduce men in such a manner was indeed to lead them to slaughter and the halls of death (cf. Prov. 2:18; 5:5; 6:27; 9:18). The verb authentein is thus peculiarly apt to describe both the erotic and murderous." (Trombley, Who Says Women Can't Teach, p. 177).
> "Although one finds hints in certain modern lexicons, the erotic sense of authentes is often ignored. The grammarian Phynichus, writing approximately A.D. 180, explained that the word is composed of two parts-autos, "self," and hentos from himi: to "thrust out from oneself" or to "desire."
The word should never, he announced, be used to denote tyranny,
but rather murder by one's own hand, as with a sword.(The sword was considered a phallic symbol in ancient Greece. And a Lifeless Instrument is a Carnal Weapon)Moeris, also in the second century, advised his students to use another word, autodikein, as it was less coarse than authentein. The Byzantine Thomas Magister reiterates the warning against using this objectionable term. The charred fragments of a scroll excavated from the ruins of Herculaneum demonstrate the use of authentein in a parallel position
to "those wounded by the terrible shafts of Eros."
The lines were penned by the rhetorician and obscene epigrammatist, Philodemus, who was nicknamed "Lascivus." Catherine C. Kroeger.> As ridicule of the ancient Seeker Centers of Apollo (Abaddon), Lucian of Alexander notes how and why music is used always because of "seeing godliness as a means of financial gain."
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.
Origen Book VI, Chapter XLI.In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysius, an Egyptian musician, the latter told him, with respect to magic arts, that it was only over the uneducated and men of corrupt morals that they had any power,
The more lauding as ritual you hear the more "Lord, Lords" you pronounced the more it is a MARK that Christ refused to speak to you.