They Sat Down To Eat and Rose Up To Play

God turned the Israelites over to worship the starry host and sentened them to captivity and death. They never achieved REST in Canaan and the land and spiritual Book of The Covenant was revoked because of transgression.  They were laded with The Book of The Law to help lead them into captivity from which only a tiny remnant returned and accepted Christ as the meaning of the Covenant God in Christ made to Abraham.

The promises God made to Abraham and his small band was conditioned on them keeping the commandments of God.  If God had given a land belonging to others by showing partiality then the Jews would never have left the land.  The Abrahamic Covenant as The Book of the Covenant was violated at Mount Sinai: God gave them The Book of the Law of Moses and sentenced them to RETURN to Babylon. The Land promise was null and void.  

Exodus 32 They Sat Down to Eat and rose up to play: they repudiated The Book of The Covenant of Grace given by Christ to Abraham to ALL NATIONS.
Deuteronomy 32 They Rose Up To Play

1 Corinthians 10 They sat Down to Eat and Rose Up To Play  God gave Israel The Book of The Covenant of Grace as that made by Christ to Abraham.  The Israelites engaged in musical idolatry of the Egyptian trinity. God gave them The Book of The Law and Moses coultd not atone for them. The Angle (Christ) led them but God said nevertheless in the day when I visit I will visit their sin upon them.

Christ came to give REST to those who were baptized into Christ: [Gal 3]. There can be no racial distinction in the body of Christ who rescued Jews along with the Abrahamic Gens
who were not so burdened.

Land and Spiritual Covenant deliberately forfeited.
The Book of The Covenant was given to Abraham by God in Christ. The Israelites now religiously Egyptians rejected DISCIPLINE and demanded the "gods" of Egypt which let them "run wild and naked."

The Gospel Promise: I Will Give you rest. Jesus also that the kingdom of God does not come with "ovservation." That word means "Religious Observations." Christ defined the Church of Christ in the Wilderness to give the godly people REST from the normal pagan seventh-day religious efforts to get their god's attention. The command was to READ the Word and Rehearse or discuss the Word as it was delivered to small group elders of 50s etc. 

The Levites Almost all Messianic Jewish and Christian "worship" and money is devoted to the belief that God commanded instrumental worship in the sacrificial system.  They claim that "Since He has not changed His mind, what Christ ordained as A School of His Word has been turned into "theaters for holy entertainment."

The Kingdom of God does not come with Religious Observations or Services

Don't pay for people to force you to violate that Gospel promise.

Joe Shulam: First Century Jewish Identity as a Model  Joseph claims that Jesus and the first churches were 100% based on the Torah.

Joseph Shulam: First Century Jewish Identity as a Model Part Two  We have added a bit of "Old Testament" which the later Jews seemed to have missed as they came to be the oppressors of the Gentiles with whom Christ made the Abrahamic Covenant which never ceased.

Joe Shulam: The Way of the Lord is not Jewish  Genesis 18:19 For I know him, that he will command his children and his household after him, and they shall keep the way of the LORD, to do justice and judgmentTHAT the LORD may bring upon Abraham that which he hath spoken of him. Acts 10:35 But in every nation he that feareth him, and worketh righteousness, is accepted with him.

Joseph Shulam: was Jesus and the church "Torah" observant and worshipped at the temple.

Messianic and musical christians insist that: Jesus Came Not to Destroy the Law but to Fulfil it.  The prophecies are defined by Jesus as "CONCERNING ME." Fulfil is the prophecy that A NEW NATION WOULD BE BORN IN ONE DAY. This purpose would be neither Jewish nor Gentile in a racist sense but that ALL people be one.

Jesus Christ died to give power to the Abrahamic Land and Spiritual Covenant made to Abraham and forfeited by profaning the Sabbath at Mount Sinai.  By looking at all of the definitions of PLAY it is clear that it was idolatry facilitated by all of the musical crafts which the Bible and other literature identifies as Soothsaying or Sorcery. REST excludes trying to make thekingdom come with religious observations.

God sentenced them to the worshiip of the starry host to engage in the Demon Worship at Sinaia. This was identical to Dionysus etal and therfore we have lots of evidence in the Greek and Latin texts.
Josephus says that the Levites were Bramin:

Serpent-Bull Worship Wak, Staniland Thus also the Kinibri "adored their principal God under the form of a brazen bull; " as the ancient Colchians worshipped brazen-footed bulls which were said to emit fire from their nostrils, which has reference to the sacrifices with which they were propitiated. [infant inside: the Jews worshipped Molech]

Dr. Faber says as to the Great Phoenician God, called by the Greek translator of Sanchoniatho Agruerus, from the circumstance of his being  an agricultural God, that he " was worshipped by the Syrians and their neighbours the Canaanites, under the titles of Baal and Moloch ; and, as his shrine was drawn by oxen, so he himself was represented by the figure of a man having the head of a bull, and sometimes probably by the simple figure of a bull alone.

The Persian Mithra is also represented as a bull-god, and it is highly suggestive that in one of the carved grottos near the Campus Marjorum he is figured under the symbol of the phallus. Hebrews themselves the golden calf was, under the authority of Aaron, used as an object of worship, a form of idolatry which was re-established by Jeroboam, if it had ever been abandoned.
See Amos 5
Dr. Faber, indeed, thinks that the calves worshipped at Samaria were copies of the kerubimJerusalem. If we turn to peoples kindred to the Hebrews, we find that the Phoenician Adonis was sometimes represented as a horned deity, as were also Dionysos Bacchus, who were, in fact, merely the names under which Adonis was worshipped in Thrace and Greece. Plutarch says that " the women of Elis were accustomed to invite Bacchus to his temple on the seashore, under the name of ' the heifer- footed divinity,' the illustrious bull, the bull worthy of the highest veneration."

Hence in the ceremonies, during the celebration of the mysteries of Bacchus and Dionysos, the bull always took a prominent place, as it did also during the festivals of the allied deity of Egypt — the bull Apis being worshipped as an incarnation of Osiris. In India the bull is still held sacred by the Brahmans, and in Hindu mythology it is connected with botli Siva and Menu. 1 A superstitious veneration for this animal is in fact entertained by all pastoral or agricultural peoples who possess it bodies. 1 The bull, like the goat, must have been a sacred animal in Egypt before it was declared to be an embodiment of the sun-god Osiris. In some sense, indeed, the bull and the serpent, although both of them became associated with the solar deities, were antagonistic. The serpent was symbolical of the personal male element,or rather had especial reference to the man, 2 while the bull had relation to nature as a whole, and was symbolical of the general idea of fecundity. This antagonism was brought to an issue in the struggle between Osiris and Seti (Seth), which ended in the triumph of the god of nature, although it was renewed even during the Exodus, when the golden calf of Osiris or Horus was set up in the Hebrew camp.

The reference made to the serpent, to the tree of wisdom, and to the bull, in the legend of the " fall," sufficiently proves its Phallic character, which was, indeed, recognised in the early Christian church. 3 Judging from the facts above referred to, however, we can hardly doubt that the legend was derived from a foreign source. That it could not be original to the Hebrews may, I think, be proved by several considerations. The position occupied in the legend by the serpent Like Satan himself even, surmounted by the head of a bull. Even among then in the Temple and is quite inconsistent with the use of this animal symbol by Moses. 4

1 Cor. 10:7 Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play.
Barnes etc And rose up to play - (paizein). The Hebrew word used in Exodus 32:6 (tsaachaq) means "to laugh, to sport, to jest, to mock, to insult" Genesis 21:9; and then to engage in dances accompanied with music, in honor of an idol. This was often practiced, as the worship of idols was celebrated with songs and dances. This is particularly affirmed of this instance of idol worship Exodus 32:19; and this was common among ancient idolaters; and this mode of worship was even adopted by David before the ark of the Lord; 2 Samuel 6:5; 1 Chronicles 13:8; 1 Chronicles 15:29. All that the word "to play" here necessarily implies is, that of choral songs and dances, accompanied with revelry in honor of the idol.

1Chr. 13:8 And David and all Israel played before God with all their might, and with singing, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets.

1Chr. 13:9 And when they came unto the threshingfloor of Chidon, Uzza put forth his hand to hold the ark; for the oxen stumbled.

1Chr. 13:10 And the anger of the LORD was kindled against Uzza, and he smote him, because he put his hand to the ark: and there he died before God.

1 Chr 15:29 And it came to pass, as the ark of the covenant of the LORD came to the city of David, 
         that Michal the daughter of Saul looking out at a window
         saw king David dancing and playing: and she despised him in her heart.

Saltatio   Dancing was originally closely connected with religion: Plato (Legg. vii. pp. 798, 799) thought that all dancing should be based on religion, as it was, he says, among the Egyptians. The dances of the Chorus at Sparta and in other Doric states were intimately connected with the worship of Apollo, as has been shown at length elsewhere [CHORUS; HYPORCHEMA]; and in all the public festivals, which were so numerous among the Greeks, dancing formed a very prominent part. All the religious dances, with the exception of the Bacchic and the Corybantian, were very simple, and consisted of gentle movements of the body with various turnings and windings around the altar: such a dance was the geranos, which Theseus is said to have performed at Delos on his return from Crete (Plut. Thes. 21). The Dionysiac or Bacchic and the Corybantian were of a very different nature. In the former the life and adventures of the god were represented by mimetic dancing [DIONYSIA]; the dance called Bakkhikē by Lucian (de Salt. 79) was a Satyric dance, and chiefly prevailed in Ionia and Pontus. The most illustrious men in the state danced in it, representing Titans, Corybantians, Satyrs, and husbandmen; and the spectators were so delighted with the exhibition, that they remained sitting the whole day to witness it, forgetful of everything else. The Corybantian was of a very wild character: it was chiefly danced in Phrygia and in Crete; the dancers were armed, struck their swords against their shields, and displayed the most extravagant fury; it was accompanied chiefly by the flute. (Lucian, ib. 8; Strab. x. p.473; Plat. Crit. p. 54 D.)

Clark: Neither be ye idolaters - The apostle considers partaking of the idolatrous feasts as being real acts of idolatry; because those who offered the flesh to their gods considered them as feeding invisibly with them on the flesh thus offered, and that every one that partook of the feast was a real participator with the god to whom the flesh or animal had been offered in sacrifice. See 1 Corinthians 10:21.
Many of the blue links may not work: I am working to correct many bad links in the lexicon.

See how John Mark Hicks in Come to the Table believes that the Lord's Supper is such a feast where God eats with us.

Greek 1 Corinthians 10.7
mēde eidōlolatrai ginesthe, kathōs tines autōn: hōsper gegraptaiEkathisen ho laos phagein kai pein, kai anestēsan paizein.”

kathizō , Ion. kat- , impf.
I. causal, make to sit down, seat, “allous men kathison TrōasIl.3.68;
4. cause an assembly, court, etc., to take their seats, convene,

anistēmi , II. rouse to action, stir up, III. make people rise, break up an assembly by force, Il.1.191; but ekklēsian anastēsai adjourn it, X.HG2.4.42. raise up against another, toutō de promon allon anastēsousin ib.7.116 (v. infr. B. 1.5): rouse to arms, raise troops, Th.2.68,96; “a. polemon epi tinaPlu.Cor.21; anastēsas ēge straton he called up his troops and marched them, Th.4.93, cf. 112, etc.

paizō,  Dor. paisdō Theoc.15.42: Lacon. pres. part. gen. pl. fem. paiddōhan Ar. Lys.1313 (lyr.): fut. paixoumai Syrac. in X.Smp. 9.2,
Aristoph. Lys. 1313
Leaving again lovely lofty Taygetus
Hither O Spartan Muse, hither to greet us,
And wi' our choric voice to raise
To Amyclean Apollo praise, [Abaddon, Apollyon]
And Tyndareus' gallant sons whose days
Alang Eurotas' banks merrily pass,
An' Athene o' the House o' Brass.
Now the dance begin;
Dance, making swirl your fringe o' woolly skin,
While we join voices
To hymn dear Sparta that rejoices
I' a beautifu' sang,
An' loves to see
Dancers tangled beautifully;
For the girls i' tumbled ranks
Alang Eurotas' banks
Like wanton fillies thrang,
Frolicking there
An' like Bacchantes shaking the wild air
To comb a giddy laughter through the hair,
Bacchantes that clench thyrsi as they sweep
To the ecstatic leap.
An' Helen, Child o' Leda, come
Thou holy, nimble, gracefu' Queen,
Lead thou the dance, gather thy joyous tresses up i' bands
An' play like a fawn. To madden them, clap thy hands,
And sing praise to the warrior goddess templed i' our lands,
Her o' the House o' Brass.
Xen. Sym. 9.2 After he had withdrawn, a chair of state, first of all, was set down in the room, and then the Syracusan came in with the announcement: “Gentlemen, Ariadne will now enter the chamber set apart for her and Dionysus; after that, Dionysus, a little flushed with wine drunk at a banquet of the gods, will come to join her; and then they will disport themselves together.”

Xen. Sym. 9.3 Then, to start proceedings, in came Ariadne, apparelled as a bride, and took her seat in the chair. Dionysus being still invisible, there was heard the Bacchic music played on a flute. Then it was that the assemblage was filled with admiration of the dancing master. For as soon as Ariadne heard the strain, her action was such that every one might have perceived her joy at the sound; and although she did not go to meet Dionysus, nor even rise, yet it was clear that she kept her composure with difficulty
Paizo: A2. esp. dance, “paisate Od.8.251; “dōma peristenakhizeto possin andrōn paizontōn 23.147, cf. Hes.Sc.277; “p. te kai khoreuein Ar.Ra.409, cf. 390; “enoplia khalkōtheis epaizenPi.O.13.86:—Pass., alla pepaistai metriōs hēmin, of the chorus, Ar. Th.1227.

Music is usually defined to mean dance: both the voice and bodies move together in harmony.
Hom. Od. 8.250 But come now, all ye that are the best dancers of the Phaeacians, make sport, that the stranger may tell his friends on reaching home how far we surpass others in seamanship and in fleetness of foot, and in the dance and in song. And let one go straightway [255] and fetch for Demodocus the clear-toned lyre which lies somewhere in our halls.” So spoke Alcinous the godlike, and the herald rose to fetch the hollow lyre from the palace of the king.

Hom. Od. 23.129
First they bathed and put on their tunics, and the women arrayed themselves, and the divine minstrel took the hollow lyre and aroused in them the desire [145] of sweet song and goodly dance. So the great hall resounded all about with the tread of dancing men and of fair-girdled women; and thus would one speak who heard the noise from without the house: “Aye, verily some one has wedded the queen wooed of many.

Hes. Sh. 277 The men were making merry with festivities and dances; some were bringing home a bride to her husband on a well-wheeled car, while the bridalsong swelled high, [275] and the glow of blazing torches held by handmaidens rolled in waves afar. And these maidens went before, delighting in the festival; and after them came frolicsome choirs, the youths singing soft-mouthed to the sound of shrill pipes, while the echo was shivered around them,

Aristoph. Frogs 396 Chorus
Now then
Summon the god of the hour with your songs
the partner of this dance of ours.
Aristoph. Frogs 399 Chorus
Iacchus, honored by all, deviser of our festal song
        melos  [Musical melody: Psallo NEVER means melody as tuneful]
most sweet, follow us here
to the goddess and show us how
you travel a long road with ease.
Iacchus, [Dionysus] lover of the dance, lead me onward,
Aristoph. Frogs 405 Chorus
for as a joke and to save money you split my sandal
and rags, and found a way for us to sport and dance scot-free.
Iacchus, lover of the dance, lead me onward,

Aristoph. Frogs 386 Chorus
Demeter, mistress of our holy rites, [orgiōn]
be present now
and preserve your song and dance. [ khoreusai]
And grant that I may sport [paisai] and dance the livelong day in safety.
orgi-a , iōn,
A. secret rites, secret worship, practised by the initiated, a post-Hom. word ; used of the worship of Demeter at Eleusis, h.Cer.273,476. Ar.Ra.386, Th.948 ; of the rites of the Cabeiri and Demeter Achaia, Hdt.2.51,5.61; of Orpheus, Id.2.81; of Eumolpus, App.Anth.1.318 ; of Cybele, E.Ba.78 (lyr.): most freq. of the rites of Dionysus, Hdt.2.81, E.Ba.34, al., Theoc.26.13.
Hdt. 2.51 These customs, then, and others besides, which I shall indicate, were taken by the Greeks from the Egyptians. It was not so with the ithyphallic images of Hermes; the production of these came from the Pelasgians, from whom the Athenians were the first Greeks to take it, and then handed it on to others. [2] For the Athenians were then already counted as Greeks when the Pelasgians came to live in the land with them and thereby began to be considered as Greeks. Whoever has been initiated into the rites of the Cabeiri, which the Samothracians learned from the Pelasgians and now practice, understands what my meaning is. [3] Samothrace was formerly inhabited by those Pelasgians who came to live among the Athenians, and it is from them that the Samothracians take their rites. [4] The Athenians, then, were the first Greeks to make ithyphallic images of Hermes, and they did this because the Pelasgians taught them. The Pelasgians told a certain sacred tale about this, which is set forth in the Samothracian mysteries.

Hdt. 2.81
They wear linen tunics with fringes hanging about the legs, called “calasiris,” and loose white woolen mantles over these. But nothing woolen is brought into temples, or buried with them: that is impious. [2] They agree in this with practices called Orphic and Bacchic, but in fact Egyptian and Pythagorean: for it is impious, too, for one partaking of these rites to be buried in woolen wrappings. There is a sacred legend about this.

Euripiides Bacchae

[73] O happy he! who to his joy is initiated in heavenly mysteries and leads a holy life, joining heart and soul in Bacchic revelry upon the hills,
purified from every sin; observing the rites of Cybele, the mighty mother, and brandishing the thyrsus, [shaken reed] with ivy-wreathed head [hiding a spear], he worships Dionysus.

Go forth, go forth, ye Bacchanals, bring home the Bromian god Dionysus, child of a god, from the mountains of Phrygia to the spacious streets of Hellas, bring home the Bromian god!

[88] whom on a day his mother in her sore travail brought forth untimely, yielding up her life beneath the lightning stroke of Zeus' winged bolt; but forthwith Zeus, the son of Cronos, found for him another womb wherein to rest, for he hid him in his thigh and fastened it with golden pins to conceal him from Hera. And when the

Fates had fully formed the horned god, he brought him forth and crowned him with a coronal of snakes, whence it is the thyrsus-bearing Maenads hunt the snake to twine about their hair.

[105] O Thebes, nurse of Semele! crown thyself with ivy;
burst forth, burst forth with blossoms fair of green convolvulus, and with the boughs of oak and pine join in the Bacchic revelry; don thy coat of dappled fawn-skin, decking it with tufts of silvered hair; with reverent hand the sportive wand now wield.
II.  generally, rites, sacrifices, SIG57.4 (Milet., v B. C.), A.Th.179 (lyr.), S.Tr.765, Ant.1013 ; orgia MousōnAr.Ra.356.
2. metaph., mysteries, without reference to religion, “epistēmēsHp.Lex5 ; “tois tēs Aphroditēs o. eilēmmenonAr.Lys.832, cf. Ach.Tat.4.1; “ta Epikourou theophanta o.Metrod.38.—The sg. orgion is rare, Jahresh.13Beibl.29 No.3 (Erythrae, iv B. C.), Luc.Syr.D.16, Orph.H.52.5. (Prob. cogn. with erdō, rhezō, cf. ergon, orgeōn.

Aristoph. Frogs 356
Bacchic mysteries of beef-eating Cratinus (Romans 15)
As Thorycion did, that wretched collector of taxes
Sending pads and sails and pitch to Epidauros,
Or persuades anyone to send supplies to the enemies' ships,
Or defiles Hecate's shrine, while singing dithyrambs,
Or any politician who bites off the pay of the poets
For being ridiculed in the ancestral rites of Dionysus.
All these I warn, and twice I warn, and thrice I warn again,
stand aside from our mystical dances; but as for you: arouse the song
and the night-long dances, that belong to our festival here.
Pind. O. 13 The seer told him to obey the dream with all speed; [80] and, when he sacrificed a strong-footed bull to the widely powerful holder of the earth, straightaway to dedicate an altar to Athena, goddess of horses. The power of the gods accomplishes as a light achievement what is contrary to oaths and expectations. And so mighty Bellerophon eagerly [85] stretched the gentle charmed bridle around its jaws and caught the winged horse. Mounted on its back and armored in bronze, at once he began to play with weapons. And with Pegasus, from the chilly bosom of the lonely air, he once attacked the Amazons, the female army of archers,
Paizo A3 play a game like draughts.
A4. play on a musical instrumen
t, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōnAr.Ra.230; dance and sing, Pi. O.1.16.

HH 3 206 And among them sings one, not mean nor puny, but tall to look upon and enviable in mien, Artemis who delights in arrows, sister of Apollo.[Abaddon, Apollyon] [200] Among them sport Ares and the keen-eyed Slayer of Argus, while Apollo plays his lyre stepping high and featly and a radiance shines around him, the gleaming of his feet and close-woven vest. And they, [205] even gold-tressed Leto and wise Zeus, rejoice in their great hearts as they watch their dear son playing among the undying gods. How then shall I sing of you —though in all ways you are a worthy theme for song?

Aristoph. Frogs 230  Frogs
Rightly so, you busybody.
the Muses of the fine lyre love us
And so does horn-crested Pan, playing his reed pipe.
And the harpist Apollo delights in us as well,
On account of the reed, which as a bridge for his lyre
I nourish in the water of the pond.
Brekekekex koax koax.
Pind. O. 13 From there glorious song enfolds the wisdom of poets, so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts
ka^la^mo-phthoggos , on,
A. played on a reed, of tunes, Ar.Ra.230 (lyr.).
5. play amorously, “pros allēlousX.Smp.9.2; “meta tinosLXX Ge.26.8; of mares, Arist.HA572a30.
Paizo A.II Jest, sport, make fun with a person, lay with a thing, of words played with.

1 Corinthians 10.7 neque idolorum cultores efficiamini sicut quidam ex ipsis quemadmodum scriptum est sedit populus manducare et bibere et surrexerunt ludere

The Latin
Lūdo I.  Lit., to play, play at a game of some kind
B. To play, sport, frisk, frolic: “dum se exornat, nos volo Ludere inter nos,have some fun,
A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing
Esp., to play on an instrument of music, to make or compose music or song:ludere quae vellem calamo permisit agresti,Verg. E. 1, 10: “quod tenerae cantent, lusit tua musa, puellae,id. Am. 3, 1, 27: “coloni Versibus incomptis ludunt,Verg. G. 2, 386: “carmina pastorum,
B.  To sport, dally, wanton (cf. "amorous play,"
C.  Ludere aliquem or aliquid, to play, mock, imitate, mimic a person or thing (only in mockery; cf.: partes agere, etc to imitate work, make believe work,
y with ad: “caput aselli, ad quod lascivi ludebant ruris alumni,Juv. 11, 98.—
G. To delude, deceive: “auditis, an me ludit amabilis Insania?Hor. C. 3, 4, 5; Ov. A. A. 3, 332: custodes, Tib. 1, 6, 9; 3, 4, 7.—Comp.: “hoc civili bello, quam multa (haruspicum responsa) luserunt,” i. e. gave wanton, deceptive responses, Cic. Div. 2, 24, 53. Exodus 32:7

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589). 

That needs no proving: performing musicians say "WATCH JESUS" but they know and all fools know that they are saying "WATCH ME perform my idolatry of talent."

"We know that all of the Israelites brought Egyptian gods and practices with them and it is not far-fetched to think that Miriam, who had not yet been exposed to the Covenant, was part of the consciousness-altering rhythms and which was part of a priestly myth-play brought to destructive consummation at Mount Sinai as the golden calf was called back into action. 

This "rising up to play" involved eating, drinking, nakedness and musical worship. The goddess, Hathor, is the best candidate for the Mother Goddess of the Mount Sinai idolatry. Here priestesses or prophetesses were highly trained with musical instruments, cultic songs and be able to join in the religious dance.

"Music and drugs were co-consiprators in religious ecstasy. They may have used some product of the sycamore fig which both intoxicated and induced an altered state of consciousness. The ergo of barley was well known. Anton Marks
"Rising up to Play" was playing instruments in a ritual drama and was mocking Jehovah God as they rejected Him and worshiped Apis. Elsewhere we see that this was seduction, the theme of all ancient worship with music:
"They sat down to eat and drink and rose up to play. They practiced rites in which they made themselves naked, perhaps similar to those which were carried out by naked Babylonian priests." (Woodrow, p. 158)
"In the New Testament there is nowhere any emphasis laid on the musical form of the hymns; and in particular none on instrumental accompaniment whereas this is significantly paganism." (Delling, Gerhard, Worship in the New Testament, trans. Percy Scott Phil. Westminster press, 1962, p. 86). 

The MARK is that baptized believers having received A holy spirit can read the word SPEAK and not have Satan translate it as SANG. Isn't that the wildest exactly reproduction of the FALL FROM GRACE at the Red Sea and at Mount Sinai?

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