The music and sexual perversion warning by Jesus Christ. The rule of women and effeminate males.

In Ephesians 5: 19 Paul commands that we SPEAK the inspired text and in Romans 15 that we should speak "that which is written with one mind and one mouth."  However, Paul speaks of both singing and making melody IN the human heart.  However, as late as the year 1878 those who were causing sectarian division in many protestant groups grasped the word which is translated "melody" to justify their abandonment of historic Christian worship.

After Israel's fall into musical idolatry God turned them over to worship the starry host. Therefore, the sacrificial system of the temple was not an approved PATTERNISM for the church of Christ.  It was being abandoned to the common Gentile system because they rejected The Book of The Covenant of Grace.  God ordained the Qahal, synagogue or church in the wilderness: the synagogue at the time of Jesus had the same task of being "a school of the Bible."  Both vocal and instrumental rejoicing were outlawed because this would make hearing the Word impossible and would thereby do the work of Satan.

Psalm 41 promised that Judas would not triumph over or mock Jesus and the Judas Bag was always attached to a FLUTE CASE which is the meaning of ALARM.  However, in the Dead Sea Version it would be the Levitical Warrior musicians who would MOCK Jesus right up to the cross. Strange, that the only clear meaning of the scepter in the hands of Jesus was probably a FLUTE made out of hemlock.

We know that the "Judas Bag" was for carrying the mouthpieces of wind instruments: it was always attached to a flute case.  Therefore, we are aware that the SOPE

Matt. 27:29 And when they had platted a crown of thorns, they put it upon his head,
        and a reed in his right hand: and they bowed the knee before him,
        and mocked him, saying, Hail, King of the Jews!

In this image you can see both the reed and the flute by which they would try to "triumph over" or "alarm" Jesus.

Calamus , i, m., = kalamos2.A reed-pipe, reed

Catullus 63 defines the Mother Goddess or Great Mother in Greece. John defines her in Revelation 17 and in Revelation 18 she uses rhetoricians, singers and musicians as SORCERERS.  She is called ZOE as a major feminist symbol (cymbal)

The especial worship of Cybele was conducted by emasculated priests called Galli (or, as in vv. 12 and 34, with reference to their physical condition, GallŠ).

(Deut 23:1 No one who has been emasculated by crushing or cutting may enter the assembly of the LORD).

Their name was derived by the ancients from that of the river Gallus, a tributary of the Sangarius,
by drinking from which men became inspired with
frenzy (cf. Ov. Fast. 4.361ff.).

The worship was orgiastic in the extreme, and was accompanied by the sound of such frenzy-producing instruments as the tympana, cymbala, tibiŠ, and cornu,and culminated in scourging, self-mutilation, syncope from excitement. and even death from hemorrhage or heart-failure

cymbalum': cymbala were hollow hemispheres of metal a few inches in diameter, held one in each hand by the aid of small rings or thongs attached to the center of their convex surfaces. Struck together, they gave a sharp, clanging sound that fitted well with that of the tympana and tibiŠ; cf. Catul. 64.262 ``tereti tenuis tinnitus Šre ciebant''; Ov. Fast. 4.184 ``Šra tinnitus Šre repulsa dabunt''; Ov. Fast. 4.189 ``sonus Šris acuti''; Aus. Epist. 24.23 ``tinnitus atinnitus aŰni.eumlaut;ni.'' 

Galli or Click Here

singular GALLUS, priests, often temple attendants or wandering mendicants, of the ancient Asiatic deity, the Great Mother of the Gods, known as Cybele, or Agdistis, in Greek and Latin literature. The galli were eunuchs attired in female garb, with long hair fragrant with ointment.

Together with priestesses, they celebrated the Great Mother's rites with wild music and dancing until their frenzied excitement found its culmination in self-scourging, self-laceration, or exhaustion. Self-emasculation by candidates for the priesthood sometimes accompanied this delirium of worship.

The name galli may be Phrygian, from the two streams called Gallus, both tributaries of the Sangarius (now Sakarya) River, the waters of which were said to inspire religious frenzy.

Does not the very nature of things teach you that if a man has long hair, it is a disgrace to him, 1 Co.11:14

but that if a woman has long hair, it is her glory? For long hair is given to her as a covering. 1 Cor 11:15

"Haste you together, she-priests, to Cybele's dense woods, together haste, you vagrant herd of the dame Dindymene, you who inclining towards strange places as exiles, following in my footsteps, led by me, comrades, you who have faced the ravening sea and truculent main, and have castrated your bodies in your utmost hate of Venus, make glad our mistress speedily with your minds' mad wanderings.

Let dull delay depart from your thoughts, together haste you, follow to the Phrygian home of Cybele, to the Phrygian woods of the Goddess, where sounds the cymbal's voice, where the tambour resounds, where the Phrygian flutist pipes deep notes on the curved reed, where the ivy-clad Maenades furiously toss their heads, where they enact their sacred orgies with shrill-sounding ululations, where that wandering band of the Goddess flits about: there it is meet to hasten with hurried mystic dance."

When Attis, spurious woman, had thus chanted to her comity, the chorus straightway shrills with trembling tongues, the light tambour booms, the concave cymbals clang, and the troop swiftly hastes with rapid feet to verdurous Ida.

Then raging wildly, breathless, wandering, with brain distraught, hurries Attis with her tambour, their leader through dense woods, like an untamed heifer shunning the burden of the yoke: and the swift Gallae press behind their speedy-footed leader. So when the home of Cybele they reach, wearied out with excess of toil and lack of food they fall in slumber. Sluggish sleep shrouds their eyes drooping with faintness, and raging fury leaves their minds to quiet ease.

If you understand the events around Caesarea Philippi and the promise to build His church on the stones in front of Pan's "mouth" as the Gates of Hell, you will understand that the eternal battle is between the man Jesus of Nazareth speaking the Word and PAN as the BEAST using his pan pipes to build earthly kingdoms.
Vergil Eclogue 2
There you with me
in silvan strains will learn to rival Pan.
Pan first with wax taught reed with reed to join;
for sheep alike and shepherd Pan hath care.
Nor with the reed's edge fear you to make rough
your dainty lip; such arts as these to learn
what did Amyntas do?--what did he not?
A pipe have I, of hemlock-stalks compact
in lessening lengths, Damoetas' dying-gift:
‘Mine once,’ quoth he, ‘now yours, as heir to own.’
See the Harps in Revelation as a WARNING OF JUDGMENT
See Contest between Pan (reeds) and Apollo (strings)

Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?

They GO OUT as Jesus defined the speakers, singers and instruments to here the WORD of the Lord but MUSIC is the mark that they are looking for bad love in the RIGHT places. They HOPED that John wore the SOFT CLOTHING of the Catamite (dog) who sang SOFT MELODIES.

SURE, they send you the SIGNAL that they are going to Navigate the WINDS of change to blow YOU out of your church with music.

Don-e˘, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree kardian to agitate one's mind, hŕmas edonŕsen hŕ mousikŕ, II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humn˘n rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran [lyre] te boai kanachai t' aul˘n [flute] doneontai Id.P.10.39; of bees, Choeril.2; rhoizŕmasin aithŕr doneitai, neur˘des have twitchings in the tendons. Mousike (the Muses as Sorcerers)
Throon humnon: rouse the voice in song.
Pi.N.7.81 Pindar, Nemean Odes 7
[22] since there is a certain solemnity in his lies and winged artfulness,
        and poetic skill deceives, seducing us with stories,
        and the heart of the mass of men is blind.
Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly.
          On this spot it is fitting to sing with a gentle voice of the king of gods.
To plough the same ground three or four times [105] 
is poverty of thought
like babbling "Corinth of Zeus" to children. 
Paul was speaking of the MAD WOMEN in Corinth: when you see WOMEN standing in the holy places this has nothing to do with superiority: it is a MARK or a SIGN God has left you so that you can know when the FRUIT SEASONS come upon you.
When you HEAR the repeating poverty of thought that is the MARK of sorcery or the prophecy Jesus spoke about; REST ASSURED that God does not know your NAME because Jesus does not own you and WILL NOT confess you when YOU refuse to confess Him in songs and sermons. 
Song is HYMNS: Jesus exampled and Paul commanded and the church PRACTICED the word SPEAK until the pagans got on the dole. God says SPEAK because MUSIC is the MARK He has reserved so that we CAN RECOGNIZE the invasion of the musical BODY SNATCHERS.

Rev. 2:6 But this thou hast, that thou hatest the deeds of the Nicolaitans, which I also hate.
Rev. 2:15 So hast thou also them that hold the doctrine of the Nicolaitans, which thing I hate.
Perhaps just in time, a sectarian movement arose for the first time in recorded history and tried to justify a society to collect "all of Christendon says J. H. Garrison much later."  Lacking nothing but divisiveness they claimed that PSALLO was a direct authorization or even a command to use musical instruments to AID the worship (whatever that be).  Remembering the "shaking in the wind" they began by claiming the Church of Christ as their prey, we will look at themeaning of the NICOLAITANS. 
Don-e˘"blowing the winds of change which is MARKED by "Er˘s, the god of love, IV. The purpose of the CLERGY for the goddess of love is the same role of the Israelite clergy AFTER God "turned them over to worship the starry host."
klŕros [Levites, ClergyDeut 18:1 They shall have no inheritance: Sacrificial singers and musicians were called parasites. Christian clergy to Lay down. 3. legacy, inheritance, heritable estate, 4. degrees in the zodiac connected with planets and important in a nativity, a sphere of rule.  David was instructed by Gad a Star Gazer and not a true prophet.  The women especially were devoted to the astrial deities.  

Plutarch, Symposiacs Book IV: What God is Worshipped by the Jews notes:

Here Symmachus, greatly wondering at what was spoken, says: What, Lamprias, will you permit our tutelar god, called Evius, the inciter of women, famous for the honors he has conferred upon him by madmen, to be inscribed and enrolled in the mysteries of the Jews? ..  Or is there any solid reason that can be given to prove Adonis to be the same with Bacchus? Here Moeragenes interposing, said: Do not be so fierce upon him, for I who am an Athenian answer you, and tell you, in short, that these two are the very same.

Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi.

What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their gods withal.

Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,--either word agrees with Bacchus.

And I suppose that their Sabbaths have some relation to Bacchus; for even now many call the Bacchi by the name of Sabbi, and they make use of that word at the celebration of Bacchus's orgies.

And this may be discovered out of Demosthenes and Menander. Nor would it be out of place, were any one to say that the name Sabbath was given to this feast from the agitation and excitement which the priests of Bacchus display.

The Jews themselves witness no less; for when they keep the Sabbath, they invite one another to drink till they are drunk; or if they chance to be hindered by some more weighty business, it is the fashion at least to taste the wine.

Again, Stephen says that God 'turned them over to worship the starry host because of musical idolatry: why doubt it? 

Sab`bat┤ic a. 1. Of or pertaining to the Sabbath; resembling the Sabbath; enjoying or bringing an intermission of labor. the Eleusinian. Thus "Bacchus was directly called upon," he says. The Sabazian worship was Sabbatic; the names Evius, or Hevius, and Luaios are identical with Hivite and Levite.

45 THE HEBREW KADESHIM. the Eleusinian. Thus "Bacchus was directly called upon," he says. The Sabazian worship was Sabbatic; the names Evius, or Hevius, and Luaios are identical with Hivite and Levite.

Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,--either word agrees with Bacchus. [Bacchae: Dionysus = Bacchus = Evius = Bromius (all different names for the same god]
Eros is the name of the CLERGY of Aphrodite:
Aphroditŕs, Sexual love, a womans form of oath, vehement longing or desire, hedonism, pleasure (outlawed in Romans 15), Chrar, Grace, Aster or Venus or ZOE.  Tormentor to mortals, a spiteful, lazy Goddess. She calls assemblies in the Agora. 
Pindar, Nemean 3 [1] Queenly Muse, our mother! I entreat you, come in the sacred month of Nemea to the much-visited Dorian island of Aegina. For beside the waters of the Asopus young men are waiting, craftsmen of honey-voiced [5] victory-songs, seeking your voice. Various deeds thirst for various things; but victory in the games loves song most of all, the most auspicious attendant of garlands and of excellence. [9] Send an abundance of it, from my wisdom; [10] begin, divine daughter, an acceptable hymn to the ruler of the cloud-filled sky, and I will communicate it by the voices of those singers and by the lyre. The hymn will have a pleasant toil, to be the glory of the land where the ancient Myrmidons lived, whose marketplace, famous long ago, [15] Aristocleides, through your ordinance, did not stain with dishonor by proving himself too weak in the strenuous... [30] And no man should prefer to desire what is alien. Search at home; you have won a suitable adornment for singing something sweet. 
Clergy kun- , A. = kuniz˘, play the Cynic, similar: play the cithara, lura. Used with Haidŕs
Used with Kuon

I. a dog or bitch,  
II. as a word of reproach, to denote shamelessness or audacity in women, rashness, recklessness in men,  

2. at Athens a nickname of the Cynics, Arist., Anth.

III. the Trag. apply the term to the ministers of the gods; the eagle is Dios ptŕnos ku˘n Aesch.; the griffins Zŕnos akrageis kunes id=Aesch.; the Bacchantes Lussŕs 

3. of the Cynics, areskei toutois kun˘n  
Pan is the ku˘n of Cybele, of the planet 

, a, on, poet. for oreinos, epith. of a snake, Il.22.93 ; of wolves and lions, Od.10.212, Hŕphaistou [Lucifer] k., of sparksHarpiesHecate, in Mithraic worship,

Parasitor . āri, v. dep. [id.] , play the parasite, to sponge ventres  B. In partic., as the seat of the stomach, conveying the accessory idea of greediness, gormandizing, the paunch Aresko: Outlawed for the synagogue in Romans 15:1

See LXX 2 Maccabees 6.3;
Note how this connects to "Apollyon" and the "Muses" as sorcerers (Rev 18) under the Mother of Harlots (Rev 17)

sexual love, pleasure; [1] Apolloni [2] Psauein [3] Aphrodites Pi.O.6.35
[1] Apollon is Apollo, Abaddon or Apollyon. Click to see Homer on Apollo.
Pindar, Olympian 6. If someone were an Olympic victor, [5] and a guardian of the prophetic altar of Zeus at Pisa, and a fellow-founder of renowned Syracuse, what hymn of praise would that man fail to win, by finding fellow-citizens ungrudging in delightful song?
[1]  Psauo Touch helments with their phallus 5. reach, gain, humn˘n Pi.N.5.42 ; ps. Aphroditas Id.O. 6.35Psallo  
humnos , ho, A.hymn, ode, in praise of gods or heroes. Aoide. a song, spell, incantationmeliz˘ to modulate, sing, warble, Melos, melody
Pinar, Nemean 5. The most beautiful chorus of Muses sang gladly for the Aeacids on Mt. Pelion, and among them Apollo, sweeping the seven-tongued lyre with a golden plectrum, [25][25] led all types of strains. And the Muses began with a prelude to Zeus,... There joyful bands welcome the god with the cry of reed-pipes, and contend with the bold strength of their limbs. [40] The fortune that is born along with a man decides in every deed. And you, Euthymenes from Aegina, have twice fallen into the arms of Victory [NIKE] and attained embroidered hymns [See klŕros [Levites, Clergy]  
Pindar, Olympian 6. And so it is right to open for them the gates of song; and I must go today, in good time, to Pitana, beside the ford of Eurotas. [29] Pitana, who, it is said, lay with Poseidon son of Cronus, [30] and bore a child, violet-haired Evadne. But she hid her unwedded pregnancy in the folds of her robe. And in the appointed month she sent servants, and told them to give the baby to be tended by the hero, Aepytus son of Eilatus, who ruled over the Arcadians at Phaesana, and had his allotted home on the Alpheus, [35] where Evadne was raised, and first touched the sweets of Aphrodite beneath Apollo's embrace.

Psa˘ [cf. katapsa˘] I. to touch lightly, rub;
II. intr. to
crumble away, vanish, disappear, 

II. intr., crumble away, vanish, disappear, S.Tr.678 (s. v. l.). (psa˘, psai˘, psau˘, psair˘, psŕch˘, ps˘ch˘, and perh. psi˘, ps˘mos [SOP], 'crush, chew, devour.

I gave my back to the smiters, and my cheeks to them that plucked off the hair: I hid not my face from shame and spitting. Isaiah 50:6

For, lo, the wicked bend their bow, they make ready their arrow upon the string, that they may privily shoot at the upright in heart. Psalm 11:2
Psair˘quiver, flutter, palpitate,
Aphrodites is Aphroditŕs,  Sexual love, a womans form of oath, vehement longing or desire, hedonism, pleasure (outlawed in Romans 15), Chrar, Grace, Aster or Venus or ZOE.  Tormentor to mortals, a spiteful, lazy Goddess. She calls assemblies in the Agora. 
Astŕr,  metaph. of illustrious persons, Mousa˘n asterakai Charit˘n
Charis or Grace is this sense speaks of 4. love-charm, philtre, 2. esp. in erotic sense, of favours granted (v. charizomai 1.3 ), V. daimon˘n charis homage due to them, their worship, majesty, charites aphrodisi˘n er˘t˘n

Sophocles, Antigone

[791] You seize the minds of just men and drag them to injustice, to their ruin. You it is who have incited this conflict of men whose flesh and blood are one. [795] But victory belongs to radiant Desire swelling from the eyes of the sweet-bedded bride. Desire sits enthroned in power beside the mighty laws. [800] For in all this divine Aphrodite plays her irresistible game.

Commentary [800] empaizei, 'wreaks her will' in that contest which nikai implies. We find empaiz˘ with a dat. (1) of the object, as Her. 4.134 empaizontas hŕmin, 'mocking us': (2) of the sphere, as Ar. Th. 975 choroisin empaizei, 'sports in dances.' The en of empaizei here might also be explained as (a) in the imeros, or the blephara, i.e. by their agency: or (b) 'on her victim.' But the interpretation first given appears simpler. (Cp. Vergil's absol. use of illudere, G. 1. 181, Tum variae illudant pestes.)

Assembly  Kaleo  I. call, summon, eis agorŕn kalesanta Od.1.90 Agora: call to the marketplace,
Homer Odyssey 1: But, as for me, I will go to Ithaca, that I may the more arouse his son, and set courage in his heart [90] to call to an assembly the long-haired Achaeans, and speak out his word to all the wooers, who are ever slaying his thronging sheep and his sleek  kine of shambling gait. And I will guide him to Sparta and to sandy Pylos, to seek tidings of the return of his dear father, if haply he may hear of it, [95] that good report may be his among men.” So she spoke, and bound beneath her feet her beautiful sandals, immortal,  golden, which were wont to bear her both over the waters of the sea and over the boundless land swift as the blasts of the wind... Athena says: “Hail, stranger; in our house thou shalt find entertainment and then, when thou hast tasted food, thou shalt tell of what thou hast need.”

Luke 7:25 But what went ye out for to see? A man clothed in soft raiment? Behold, they which are gorgeously apparelled, and live delicately, are in kings courts.

Soft is from the Greek:

Malakos (g3120) mal-ak-os'; of uncert. affin.; soft, i.e. fine (clothing); fig. a catamite (male prostitute): - effeminate, soft. (g3119 means soft or diseased)

Malakos, d. = pathŕtikos e. of music, soft, effeminate, m. harmoniai 

Harmonia  2. generally, music, aut˘i de t˘i rhuthm˘i mimountai ch˘ris

g. of reasoning, weak, loose, logos Isoc.12.4

1 Cor 6:9 Know ye not that the unrighteous shall NOT inherit the kingdom of God? Be not deceived: neither fornicators, nor idolaters, nor adulterers, nor EFFEMINATE [MALAKOS], nor abusers of themselves with mankind,

1 Cor 6:10 Nor thieves, nor covetous, nor drunkards, nor revilers, nor extortioners, shall inherit the kingdom of God.

"Asherah (symbolized by errect poles with fertility symbols pouring out the top): She is the Queen of Heaven, in other languages and ages identified as Ashtoreth, Athirat, Astarte, and Ishtar. Yahweh, the Hebrew God elevated to become the sole deity , was Her consort. 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. Elements of the goddess worship were largely erased in a cultural purge c. 630 BCE by King Yosiah, at the behest of Yahweh's priests, who required supremacy.

"I would argue that in Greek tragedy the cross-dressed actor was crucial, a sign of the conventional nature of the drama. Male playing female is inevitably distanced from the role and makes it clear that the role of the woman is an idealization, not a realization.

In addition the male playing female indicates a possible relevance of the form to dionysus, a god associated with masks and characterized by softness, woman's curls and dress (Bacchae) and worshipped with transvestite ceremonies at the Oschophoria (Seaford; Segal 1982: 10-20, 158- 68, 214).


Rev 17:1 And there came one of the seven angels which had the seven vials, and talked with me, saying unto me, Come hither; I will show unto thee the judgment of the great whore that sitteth upon many waters:

Rev 17:2 With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication.

Rev 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.

Eremos (g2048) er'-ay-mos; of uncert. affin.; lonesome, i.e. (by impl.) waste (usually as a noun, 5561 being implied): - desert, desolate, solitary, wilderness.

Eremosis (g2050) er-ay'-mo-sis; from 2049; despoliation: - desolation

Mount Hermon figures in many of the events of the life of Jesus: it was uninhabited but the site of the events in the book of Enoch.  It was the place of the "gates of hell" upon a "horn" or mountain and the place where Pan was worshipped.  Jesus promised that these gates would not defeat His Church.

Book of Enoch 1 Chapter 2

1 Behold, he comes with ten thousands of his saints, to execute judgment upon them, and destroy the wicked, and reprove all the carnal for everything which the sinful and ungodly have done, and committed against him.

When the agents of Satan intended to cause the fall of man with mixed-sex choirs, musical instruments and sexual attractive garments, they knew that they were fallen from grace and could never repent.  However, they agreed to share the guilt

Book of Enoch 1 Chapter 7

1 It happened after the sons of men had multiplied in those days, that daughters were born to them, elegant and beautiful.

2 And when the angels, (3) the sons of heaven, beheld them, they became enamoured of them, saying to each other,

Come, let us select for ourselves wives from the progeny of men, and let us beget children.

(3) An Aramaic text reads "Watchers" here (J.T. Milik, Aramaic Fragments of Qumran Cave 4 [Oxford: Clarendon Press, 1976], p. 167).

5 But they answered him and said; We all swear;

6 And bind ourselves by mutual execrations, that we will not change our intention, but execute our projected undertaking.

7 Then they swore all together, and all bound themselves by mutual execrations. Their whole number was two hundred, who descended upon Ardis, (4) which is the top of mount Armon. [Hermon]

(4) Upon Ardis. Or, "in the days of Jared" (R.H. Charles, ed. and trans., The Book of Enoch [Oxford: Clarendon Press, 1893], p. 63).

Ardis – The Summit or top of Mount Harmon. Armon, Mount – See Mount Harmon. 

Ten Thousand Saints and Instrumental Music - Jubal
In the Book of Enoch PAN is one of the key meanings of the BEASTS:  the "horns" are also defined as his PIPES and also the MOUNTAINS>

Rev 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:


Rev 18:14 And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all.


Fruits or Opora was a goddess: OPORA The goddess or female personification of the ripe fruit of late summer.  The course of the seasons (or hours) is symbolically described by the dance of the Horae; and, in conjunction with the Charites, Hebe, Harmonia, and Aphrodite, they accompany the songs of the Muses, and Apollo's play on the lyre, with their dancing. (Hom. Hymn. in Apollo)

They praise Aphrodite as she RISES FROM THE SEA

LOOK AGAIN: Rev 17:1 And there came one of the seven angels which had the seven vials, and talked with me, saying unto me, Come hither; I will show unto thee the judgment of the great whore that sitteth upon many waters:

"Yet another version of Aphrodite as Triple Goddess, Agape 'love feast,' Irene 'peace,' and Chione 'snow queen.' Irene was also a Goddess in her own right, and she had an attendant named Opora 'autumn.' The Horae who 'greeted' her on the shores of Kyprus were her three high priestesses who carried her statue through the shallows, clothing it on the beach during Aphrodite's bathing and purification festival. Irene was the Crone, bringer of the peace of death,

"Agape the ruler of sacred sexual rites, and Chione was the new year, born at Winter Solstice, unapproachable and serene. The priestesses who served each avatar were the original angels, who developed calendars and sacred dances. While today their dances are mainly represented by the hora, an imitation of the spinning cycles of time, their work in the field of time keeping remains.

"The Horae were among the mathematici 'learned mothers' who defined the Zodiac and the star movements marking the seasons, one translation of the word 'hora

"The patriarchs became the most incensed over the sacred women of Agape. Among their symbols were the lotus, lily, and dove, all representations of the vulva. Among their mysteries was ritual cunnilingus, which demands respect for female pleasure and the female body. This aspect of the sacred feminine was among the first to be erased. The effort began early. Originally, the land of the 'Lotus Eaters' (a drug) was in the Amazon territories of North Africa, then was moved further away still, to beyond the Southern Sea. Source


Ar.Pax 546 Aristophanes, Peace


[520] Ah! venerated goddess, who givest us our grapes, where am I to find the ten-thousand-gallon words wherewith to greet thee? I have none such at home. Oh! hail to thee, Opora, and thee, Theoria! How beautiful is thy face! [525] How sweet thy breath! What gentle fragrance comes from thy bosom, gentle as freedom from military duty, as the most dainty perfumes! Theoria: a spectator  at the theatre or games, sight, spectacle, of Dianusou, 

Hermes Is it then a smell like a soldier's knapsack?

Trygaeus Oh! hateful soldier! your hideous satchel makes me sick! it stinks like the belching of onions, [530] whereas this lovable deity has the odor of sweet fruits, of festivals, of the Dionysia, of the harmony of flutes, of the tragic poets, of the verses of Sophocles, of the phrases of Euripides-- [545] Do you see that poor crest-maker, tearing at his hair?

Till˘ , 2. with acc. of that from which the hair or feathers are plucked, so of the cuckoo, ib.618a29 (Pass.); as a description of an idle fellow Ar.Pax 546, as a punishment of adulterers, Id.Nu.1083; v. paratill˘, tephra. Also, pluck live sheep, instead of shearing

4. t. melŕ pluck the harp-strings, play harp-tunes, Cratin.256 (lyr.). II. since tearing the hair was a usual expression of sorrow, tillesthai tina tear one's hair in sorrow for any one
III. metaph., pluck, vex, annoy,  MELOS is the word for playing a melody on a harp: it is never used in the Bible

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;

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

Ex-Church of Christ Reviews of false understandings.
Musical Worship Index: no exception to the Satanic-Perverted connection
Home Page


personal injury

Hit Counter