HERESY or SECTARIANIZING is what Jesus outlawed as laded burdens along with the burden laders: these were forms of songs intended to shock and awe.  Paul used a word connected to HERESY when he outlawed SELF-pleasing in the churches. These were all forms ot performing arts used by the demagogue to appease the masses and to do HERESY meaning "to carry them away for his own uses." It is also what the priests did when the Levitical musicans made the sheep dumb before knife or the shearer.

God left the INSTRUMENT as a MARK which the godly can HEAR and flee from Babylon and never look back.

First, HERESY derives from the sacrificial priests who "lifted up the lamb to cut its throat."

Second, a PARASITE is defined in the literature as the musician who made loud noise in order to make the lamb DUMB before the slaughter priest.

In both cases, the heretic-parasite pair silenced the victim to make cutting its throat easier and they did it for their own uses and the word KLEPTOMA is included in the formula.


You may click here on Terry Rush for a summary proving the curse of the sacrificial system  The prophets who spoke TRUTH through the Spirit OF Christ understood that God had given them the lands as an inheritance and the king-priest system which had been abandoned at Mount Sinai because of musical idolatry stole it as God had promised through Samuel.  Nehemiah sums it up:

Neither have our kings, our princes, our priests, nor our fathers, kept thy law, nor hearkened unto thy commandments and thy testimonies, wherewith thou didst testify against them. Neh 9:34

For they have not served thee in their kingdom, and in thy great goodness that thou gavest them, and in the large and fat land which thou gavest before them, neither turned they from their wicked works. Neh 9:35

Behold, we are servants this day, [and so are you]
        and for the land that thou gavest unto our fathers to eat the fruit thereof and the good thereof,
        behold, we are servants in it: Neh 9:36

And it yieldeth 
        much increase unto the kings whom thou hast set over us 
        because of our sins:
        also they have dominion over our bodies, and over our cattle,
        at their pleasure
        and we are in great distress. Neh 9:37

        They have sown wheat, but shall reap thorns
        they have put themselves to pain, but shall not profit: 
        and they shall be ashamed of your revenues 
        because of the fierce anger of the Lord. Je.12:13


Jesus said that truth had been hidden from the sectarian clergy in parables from the foundation of the world. That was to limit the priestly-sacrificial system TO inside of the walled city while the civilans were quarantined or locked out and attended synagogue or church in the wilderness which never ended. When Manasseh took the priests and musicians OUTSIDE of Jerusalem God put a great plague on the temple, city and nation of Judah.  This taught the hostility of all sacrificial systems and the non-violence of Jesus Christ and all victims of the CROOKED RACE marked by mad music. While this is perfectly clear and stated often by the Prophets through the Spirit OF Christ, here are some interesting comments.
Girardian Lectionary:

Therefore, from beginning to end, the biblical story is a story of humanity's sinful descension into violence, and of God's planned action of salvation from our violence.
Both the cross and baptism speak of COOLING DOWN the animal passions:

Stauros, metaph. of voluntary suffering, crucify it, destroy its power, figuratively exposure to death, that is, self denial;

Ab-luo abluere sibi umbras, to remove darkness (by bringing a light), Of the washing away of earth by a shower, Varr. R. R. 1, 35.--In eccl. Lat., of baptism: munere divinitatis abluti,
II. Trop., of calming the passions: omnis ejusmodi perturbatio animi placatione abluatur, be removed (fig. derived from the religious rite of washing in expiation of sin),

Those who STIR UP the animal passion use music as violence. To crucify again is:

Anastatoo (g387) an-as-tat-o'-o; from a der. of 450 (in the sense of removal); prop. to drive out of home, i.e. (by impl.) to disturb (lit. or fig.): - trouble, turn upside down, make an uproar, to stir up, excite, unsettle to excite tumults and seditions in the state to upset, unsettle, minds by disseminating religious error.

PSALLO I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara:
psallere saltare elegantius,
[meaning: carry away 1. to convey away (from the family) by bequest, to bequeath away,]

5.4.2 Behind the anthropological predilections against the victim's perspective, there is a very practical, quasi-historical reason: namely, the victim is shunned and often killed. In the ancient world, the role of music during ritual sacrifice was often to drown out any cries from the victim. (45) It is crucial that the victim not be heard. The practical mechanics of making victims means that it is unusual for the victim's perspective to survive. In the world of ancient ritual it was probably impossible.

45. The Greek verb myo means to close the mouth or shut the eyes. There is debate about whether myo plays a crucial role in the etymology of other significant words such as myth, mystery, and even music. These etymologies make sense within the Girardian hypotheses.
          Myth means to close ourselves to the victim and tell the tale according to the perpetrator's perspective;
          mystery cults are based on the silence of the victims; music derives from drowning out
          the voice of the victim

5.5 In general, then, the survival of the victim's perspective is highly unusual as a historical phenomenon -- until more recent history, that is, when the victim's perspective has finally established a beachhead in Western culture, namely, the cultures most often in closest contact with the Gospel (more on this below). (And it must be emphasized that the close contact is in the category of being an accident of history and not by any meritorious claims for Western culture. In short, the perspective of the victim has established a place in Western culture not because of any inherent merit in Western culture but because of the historical accident of being in close proximity to the Gospel over a long period of time.)

Puthiaz˘ , to be inspired by Apollo, prophesy, St.Byz. s.v. Puth˘.
Puth˘ Pytho, older name of that part of Phocis at the foot of Parnassus, in which lay the city of Delphi

Used With:

Theiaz˘ , (theios A) to be inspired, frenzied, hoposoi autous theiasantes epŕlpisan as many as made them hope by divinations, Th.8.1; th. kai theophoreitai is divinely inspired, Ph.1.479; hoposoi teletais etheiazon obtained inspiration through ritual, Philostr.Her.5.3.

Mysta or mystes , ae, m., = mustŕs, I.a priest of the secret rites of divine worship, a priest of the mysteries, Mustes is the name of Dionysus or of Apollo. Epotes, A.overseer, watcher, esp. of a god, Puth˘nosPi.N.9.5

Pindar, Nemean 9 [1] Muses, we will go in victory [Nike] procession from Apollo's shrine in Sicyon to newly-founded Aetna, where the doors flung open wide are overwhelmed by guests, at the prosperous home of Chromius. Make a sweet song of verses! For, mounting his chariot of victorious horses, he gives the word to sing for the mother and her twin children [5] who jointly watch over steep Pytho. [6] There is a saying among men: a noble deed when it is accomplished should not be buried silently in the ground; and divine song is suited to boasting. But we will wake the shouting lyre and the flute

Theiaz˘ 2. prophesy
II. worship as divine, Id.59.27; Puthagoran kai Plat˘na Dam.Isid.36 :--Pass., Max.Tyr.8.9

Poets and song writers were never permitted to write about factual events: they were to write myths telling only what it SHOULD have been if they had been Jesus or Moses.

Strabo writing about Music

[941b] if convicted. Theft of property is uncivilized, open robbery is shameless: neither of these has any of the sons of Zeus practiced, through delight in fraud or force. Let no man, therefore, be deluded concerning this or persuaded either by poets or by any perverse myth-mongers into the belief that, when he thieves or forcibly robs, he is doing nothing shameful, but just what the gods themselves do. 1 That is both unlikely and untrue; and whoever acts thus unlawfully is neither a god at all nor a child of gods; 

1 Cp.Plat. Rep 378 ff., Plat. Rep. 388 ff. Hermes [Hermeneutics] is specially in mind, as notorious for his thefts and frauds; cp. Homer Iliad 5. 390; 24. 395, etc.

In [10.3.7] Strabo continues, "The accounts which are more remotely related, however, to the present subject, but are wrongly, on account of the identity of the names, brought into the same connection by the historians--I mean those accounts which, although they are called "Curetan History" and "History of the Curetes," just as if they were the history of those Curetes who lived in Aetolia and Acarnania, not only are different from that history, but are more like the accounts of the Satyri, Sileni, Bacchae, and Tityri;

for the Curetes (homosexual clergy or priests), like these, are called genii or ministers of gods by those who have handed down to us the Cretan and the Phrygian traditions, which are interwoven with certain sacred rites, some mystical, the others connected in part with the rearing of the child Zeus in Crete and inpart with the orgies in honor of the mother of the gods which are celebrated in Phrygia and in the region of the Trojan Ida.

But the variation in these accounts is so small that, whereas some represent the Corybantes, the Cabeiri, the Idaean Dactyli, and the Telchines as identical with the Curetes, others represent them as all kinsmen of one another and differentiate only certain small matters in which they differ in respect to one another;

but, roughly speaking and in general, they represent them, one and all, as a kind of inspired people and as subject to Bacchic frenzy, and, in the guise of ministers , as inspiring terror at the celebration of the sacred rites by means of war-dances,   accompanied by uproar and noise and cymbals and drums and arms, and also by flute and outcry;


Pro-airesis , e˘s, hŕ, choosing one thing before another, wrongs done from malice prepense, contrary to one's purpose, 3. in political language, deliberate course of action, 5. political party, b. sect or school of music, philosophy

Hairesis  I. a taking especially, esp. of a town, a taking for oneself,
4. a sect, school, etc.: esp. a religious sect, such as the Sadducees and Pharisees, NTest.5. a heresy,
Pharisaios 1 a Pharisee, Separatist (from pharash, to distinguish), one of a sect who separated themselves from other Jews as affecting superior holiness.
         Phrik-˘dŕs , es, attended with shivering, b. inspiring religious awe

Jesus identified them as HYPOCRITES by pointing to speakers, singers and instrument players. And the audience who would be attracted just for the entertainment. A musical instrument is defined as "a machine for inducing the shock and awe in battle or in RELIGION.
A. Act., take with the hand, grasp, seize, having taken up [the song], Od.8.500.
Homer, Odyssey The muses were taught by Apollo

So he spoke, and the minstrel, moved by the god, began, and let his song be heard, [500] taking up the tale where the Argives had embarked on their benched ships and were sailing away, after casting fire on their huts, while those others led by glorious Odysseus were now sitting in the place of assembly of the Trojans, hidden in the horse; for the Trojans had themselves dragged it to the citadel.

The assembly is the Agora or marketplace where Jesus consigned the pipers, singers and dancers along with all of the selling of goods and bodies. When they foolish drag the marketplace stuff into their CITADEL you know that they intend to "infiltrate and divert."

Minstrels moved by the god Apollo (Apollyon) and the Muses (Musicians Re 18:22) or dirty adulteresses were never allowed into the ekklesia or church. 


2. take away II. take, get into one's poweroverpower, kill, of passions,
catch, take, z˘on [ZOE: take away life] helein Il.21.102 ; take in huntingget into one's power, entrap, 

Hes.Sc.302 Hesiod, Shield of Heracles

[280] and the girls led on the lovely dance to the sound of lyres. Then again on the other side was a rout of young men revelling, with flutes playing; some frolicking with dance and song, and others were going forward in time with a flute player and laughing. The whole town was filled with mirth and dance and festivity.

Beside them was a row of vines [New Winskinners] [297] in gold, the splendid work of cunning Hephaestus [Tubal-Cain]: [299] it had shivering leaves and stakes of silver [300] and was laden with grapes which turned black. And there were men treading out the grapes and others drawing off the liquor. Also there were men boxing and wrestling, and huntsmen chasing swift hares with a leash of sharp-toothed dogs before them, they eager to catch the hares, and the hares eager to escape.

Ku˘n Dogs

II. as a word of reproach, freq. in Hom. of women, to denote shamelessness or audacity; also of offensive persons, compared to yapping dogs, 2. at Athens a nickname of the Cynics, ministers of the godspaiderastai 3. areskei [from the markets Rom 14 outlawed in Rom 15] of the Cynics, PARASITES

Ezek 22:27 Her princes in the midst thereof are like wolves [YELLOW] ravening the prey,
        to shed blood, and to
destroy souls, to get dishonest gain.
Ezek 22:28 And her prophets have
        daubed them with untempered [Taphel, Tabret, frivolity] morter,
        seeing vanity, and divining lies [magical songs] unto them, saying,
        Thus saith the Lord God, when the Lord hath not spoken.
Latin: Vānus Ghost, emptiness, nothingness, naught, of persons, show, false, lying, deceptive, delusive, untrustworth, vainglorious, ostentatious, boastful, vain, weak, wavering. Vanitas I.Lit., emptiness, nothingness, nullity, want of reality:

B. Esp., falsity, falsehood, deception, untruth, untrustworthiness, fickleness, magice I. the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam [p. 1097] dico magicenqu.
Included Vanitas:
tŭmultus  an uproar, bustle, violent commotion, disturbance, thunder, sound of war, insurrection.
Included Tumultus pulso to push, strike, beat, Of military engines, Of musical instruments: chordas digitis et pectine eburno,to strike, play upon, 

Epictetus, Works XLIII.

XLII. Instead of herds of oxen, endeavor to assemble flocks of friends about your house.
XLIII As a wolf resembles a dog, so much does a flatterer, an adulterer, a parasite, resemble a friend. Take heed, therefore, that instead of guardian dogs, you do not inadvertently admit ravening wolves.

II. Kunikos Cynic, as the followers of the philosopher Antisthenes were called, from the gymnasium ( [Kunosarges] ) where he taught, D.L.6.13; or from their resemblance to dogs in several respect 

kolax  A. flatterer, fawner
A. one who eats at the table of another, and repays him with flattery and buffoonery, parasite,
II. of priests who had their meals at the public expense

See where Tom Burgess etal get their urge to pluck musical instruments.

[5] Therefore it was a fine saying of Antisthenes, when he heard that Ismenias was an excellent piper: "But he's a worthless man," said he, "otherwise he wouldn't be so good a piper."

Euripides Bacchae dogs are always quite mad homosexual singers and musicians LOOKING TO THE HILLS

Go to the mountain, go, fleet hounds of Madness, where the daughters of Kadmos hold their company, and drive them raving [980]  against the mad spy on the Maenads, the one dressed in women's attire, Let manifest justice go forth, let it go with sword in hand, slaying through the throat [995]  this godless, lawless, unjust, earth-born offspring of Echion. [clanging brass[

Mani˘dŕs [Mad in 1 Cor 14]
A. like
madness, noseumata Hp. AŰr.7, cf. Coac.475.
2. like a
 madman, crazy, Kunas,    
II. causing madness, Dsc. 1.68, 4.68; himasthlŕ Panos Nonn.D.10.4 .Pan is horn footed the goat singer-musician

Kunas: Ku˘n II. as a word of reproach, freq. in Hom. of women, to denote shamelessness or audacity; applied by Helen to herself rhaps˘idos of the Bakchai, Lussas k. E.Ba.977  Lussao rave, be mad, erotic. also of offensive persons, compared to yapping dogs

Another version:

[977] To the hills! to the hills! fleet hounds of madness, where the daughters of Cadmus hold their revels

goad them into wild fury
against the man disguised in woman's dress, a frenzied spy upon the Maenads.
Rhapsoidos stitching songs together. Reciter of poems, of Aoide
Used with "hypokrites" 5. = eppsdŕ, spell, incantation

3. of the Cynics, areskei toutois kun˘n metamphiennusthai bion. Catamites. [Areskos or self-pleasure is singing, playing instruments or any drama or theater. Included in Romans 14, excluded in Romans 15]

Phil 3:2 Beware of dogs, beware of evil workers, beware of the concision.
Phil. 3:3 For we are the circumcision, 
        which worship God in the spirit, 
        and rejoice in Christ Jesus, 
        and have no confidence in the flesh.

Ep˘idos  A. singing to or over, using songs or charms to heal wounds, ep˘idoi muthoi
b. Subst.,
enchanter, e. kai goŕs E.Hipp. 1038 (but goŕs e. Ba.234): c. gen., a charm for or against,
c. c. dat.,
assisting, profitable,

2. Pass., sung to music, ph˘nai Plu.2.622d ; fit for singing, poiŕtikŕn e
 ep˘idos, ho, verse or passage returning at intervals, in Alcaics and Sapphics;
chorus, burden,

That is why SPEAK outlaws poetry and music and why the MUSICAL groups were always the SECTARIANS

By definition, by IMPOSING instruments in churches which had NEVER used such machines, THAT is the meaning of a HERETIC or SECTARIAN.



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