Zechariah 13

Saturn's (Sabbath) number in Chaldee is 666. He has unleashed the musical PROPHESIERS or MUSES who don't hesitate to accept worship and claims of being inspired: so much that they can stand in the Holy Place and lead you into the presence of God. MUSIC as the MARK of (zoe) on the forehead or MIND and hand or WORKS has many, many SIGNS to point it out.

When Israel rose up in musical idolatry at Mount Sinai God "turned them over to worship the starry hosts" (Acts 7, etc., etc.). When the elders fired God and demanded a "Dominant Pastor" God warned that the kings would take their money, youth and carry out the captivity and death penalty.  The fact that the kings would build a larger "MEGA CHURCH" is part of the MARK that a people are lost and beyond redemption; that is why it is Jesus CHRIST who takes the name of CHRIST off the building since He has already removed the candlesticks of the "seven spirits of God." Why not? John in Revelation 17 identifies them as having been sold into Captivity to the Mother of Harlots and her "rhetoricians, singers and musicians" are the SORCERERS who deceived the whole world and are the STRONG DELUSION to keep up believing a lye and being damned--with no redemption.

This is a quick post of Zechariah 13 in response to comments about previous documents.  False preachers should know that lots of people have found you out and are escaping the GROUP MENTALITY promoted by the changeling-hirelings.

WHAT SIN IS WORTHY OF THE DEATH PENALTY?
The Prophets of Baal and of Asherah sang, danced, played instuments, wounded themselves and fell into a fit of madness. These were the PROPHESIERS who cried Lord Lord but God doesn't know their name.
When Messiah came anyone who remained as a charismatic musical prophesier should be put to death by their parents. All charismatic prophesiers were Galli or homosexual priests serving Jezebel or some other person;

In that day there shall be a fountain opened to the house of David and to the inhabitants of Jerusalem for sin and for uncleanness. Zech 13:1
Maqowr (h4726) maw-kore'; or maqor maw-kore'; from 6979 [to trench]; prop. something dug, i. e. a (gen.) source (of water, even when naturally flowing.  A walled up with masonery, a wall.

Fons

ablūtĭo , ōnis, f. abluo, I. a washing, cleansing, Macr. S. 3, 7.—Of baptism, cf. abluo, I. fin. (eccl. Lat.; in Plin. 13, 12, 23, ž 74, the correct reading is adulatione;
ab-lŭo , ŭi, ūtum, 3, v. a.,
I. to wash off or away, to wash, cleanse, purify.
I. Lit.: pulverem lymphis, Pac. ap. Gell. 2, 26, 13 (Trag. Rel. p. 108 Rib.): “Ulixi pedes abluens,Cic. Tusc. 5, 16, 46: “donec me flumine vivo abluero,Verg. A. 2, 719: “abluendo cruori balneas petit,Tac. H. 3, 32.—Poet.: “abluere sitim,to quench, Lucr. 4, 876; and: abluere sibi umbras, to remove darkness (by bringing a light), id. 4, 378.—Of the washing away of earth by a shower, Varr. R. R. 1, 35.—In eccl. Lat., of baptism: munere divinitatis abluti, Cod. Th. 19, 6, 4.—
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), Cic. Tusc. 4, 28, 60: “maculam veteris industriae laudabili otio,to wash out, Plin. Ep. 3, 7, 3: “perjuria, 
Ezek XVIIIWEB. The word of Yahweh came to me again, saying, [2] What do you mean, that you use this proverb concerning the land of Israel, saying, The fathers have eaten sour grapes, and the children's teeth are set on edge? [3] As I live, says the Lord Yahweh, you shall not have [occasion] any more to use this proverb in Israel. [4] Behold, all souls are mine; as the soul of the father, so also the soul of the son is mine: the soul who sins, he shall die. [5] But if a man is just, and does that which is lawful and right, [6] and has not eaten on the mountains, neither has lifted up his eyes to the idols of the house of Israel, neither has defiled his neighbor's wife, neither has come near to a woman in her impurity,
Menstruo
1. Neutr., to have a monthly term, to be men struant (post-class.): “mulier menstruans,Pall. 1, 35, 3.—
II. Act., to pollute; trop.: “pannus menstruatae justitiae nostrae,polluted, Vulg. Isa. 64, 6; cf. id. Ezech. 18, 6.
Is. 64:4 For since the beginning of the world men have not heard,
        nor perceived by the ear, neither hath the eye seen,
        O God, beside thee, what he hath prepared for him that waiteth for him.
Is. 64:5 Thou meetest him that rejoiceth and worketh righteousness,
        those that remember thee in thy ways:
        behold, thou art wroth; for we have sinned:
        in those is continuance, and we shall be saved.
Is. 64:6 But we are all as an unclean thing,
        and all our righteousnesses are as filthy rags;
        and we all do fade as a leaf;
        and our iniquities,
        like the wind, have taken us away.

[6] et facti sumus ut inmundus omnes nos quasi pannus menstruatae universae iustitiae nostrae etcecidimus quasi folium universi et iniquitates nostrae quasi ventus abstulerunt nos

Ventus Wind B. Plur., personified as deities, the winds: te, Apollo sancte, fer opem; teque, omnipotens Neptune, invoco; Vosque adeo, Venti! Turpil. ap. Cic. Tusc. 4, 34, 73 (Com. Rel. v. 119 Rib.); Lucr. 5, 1230 (1228); cf. Ov. H. 17

Is. 64:7 And there is none that calleth upon thy name, that stirreth up himself to take hold of thee: for thou hast hid thy face from us, and hast consumed us, because of our iniquities.

MENSTRUAL UNCLEANNESS REMOVED

See a Summary on the Agapae

Based on the origins of the Agapae and the Marzeah we know that menstrual blood was worshipped and must be a part of the worship of the goddesses.  Uncleanness therefore had a broader meaning than simple impurity.

"Almost every part of the female genitals eventually became personified as a Goddess, as did the fluids associated with them. The hymen was no exception, ruled by an eponymous Goddess later considered an emanation of Aphrodite.

She carried a torch in one hand, a flute in the other, and wore a crown of flowers, symbol of sexual self-knowledge and maturity. Hymen is the Greek word for veil, the same one that 'no man draws asunder' among the Amazon Goddesses Athena, Medusa, and Neith.

"Menstrual blood was the original blood shed on the honeymoon, once a literal month. The connection between bees, fertility, and sexuality begins here. In Greek bees are called 'hymenoptera' veil winged. At Eryx in Sicily, Aphrodite was represented by a honeycomb, and the priestesses were called Mellisae.

They presided over sexual and funerary rites, using honey and wax for embalming prior to burial in catacombs and beehive shaped mounds.

"The power and sanctity of menstrual blood 'Moon honey' was enshrined even in Olympian myths, for all oaths were sworn by the Goddess Styx, ruler and personification of the stream of Gaea's menstrual blood. Ambrosia and nectar were originally a mixture of honey and menstrual fluid provided by Aphrodite and/or Hera. Long after Hymen was masculinized in a piece or profoundly ridiculous revision, the Goddess was invoked by calling 'O Hymen, Hymenie!' exclusively by women. Source

The Ophites (from the Greek word ophis

Specific Article

"serpent") reinterpreted the mythological theme of the Fall of Man in Genesis. According to the Ophite view, the serpent of the Garden of Eden wanted Adam and Eve, the first man and woman, to eat from the tree of knowledge (gnosis) so that they would know their true identities and "be like God" (Genesis 3:5). The serpent, thus, is interpreted as a messenger of the spiritual god, and the one who wanted to prevent Adam and Eve from eating the fruit of the tree of knowledge is viewed as the Demiurge. In their rejection of the God of the Old Testament, who gave the Ten Commandments, the Ophites flaunted their sexual freedom from the law and conventionality by extreme sexual license, a trait common to other Gnostic groups as well.

The Phibionites in Alexandria were a Gnostic sect described by Epiphanius. They gathered at banquets that became ecstatic orgies. Married couples changed partners for dramatic sexual performances. Sperm and menstrual blood were gathered and offered as a gift to God before being consumed as the Body and Blood of Christ. By such erotic communions they sought to regather the elements of the world-soul (psyche) from the material forms into which it had been dispersed through a cosmic tragedy at the beginning of time. The regathering amounted to salvation, for all things would be gathered up into the one glorious body of Christ.

On Menstrual Blood:

"Another name for the agape was synesaktism, "the Way of Shaktism," meaning Tantric yoni-worship. Synesaktism was declared a heresy before the 7th centuryA.D.53 Subsequently the "love-feast" disappeared,

and women were forbidden direct participation in Christian worship, according to St. Paul's rule (1 Timothy 2:11-12).

Epiphanius described the agape practiced by Ophite Christians, while making it clear that these heretical sexual activities filled him with horror:

"Their women they share in common; and when anyone arrives who might be alien to their doctrine, the men and women have a sign by which they make themselves known to each other. When they extend their hands, apparently in greeting, they tickle the other's palm in a certain way and so discover whether the new arrival belongs to their cult. Husbands separate from their wives, and a man will say to his own spouse,

"Arise and celebrate the love feast (agape) with thy brother."

And it shall come to pass in that day, saith the Lord of hosts,

        that I will cut off the names of the idols out of the land,
        and they shall no more be remembered:
        and also I will cause the PROPHETS and the unclean
[impurity] SPIRIT
        to pass out of the land. Zechariah 13:2


Zechariah 13.2
et erit in die illa dicit Dominus exercituum disperdam nomina idolorum de terra et non memorabuntur ultra et prophetas et spiritum inmundum auferam de terra

Idol:
something fabricated by the hands of man.
False prophesying included singing, clapping, dancing, music and the result was self-wounding of the "prophet."

PAUL'S WARNING AGAINST NON-SEDENTARY WOMEN WAS A GUARANTEE THAT PAGAN WOMEN COULD NOT CONTAMINATE THE ASSEMBLY.  The same was to guard againt the Mad Women who were the primary promoters of charismatic rituals with music.  Men were to "turn up" holy palms and women would automatical wave unholy arms. Males praying WITHOUT WRATH prevented the ORGY which audible and visable "performing" women brings on the most Godly male.

MIRIAM WAS A SOOTHSAYER:
Prŏphēta and prŏphētes , ae, m., = prophētēs,
I. a foreteller, soothsayer, prophet (post-class.; cf. “vates): prophetas in Adrasto Julius nominat antistites fanorum oraculorumque interpretes,Fest. p. 229 MŘll. (Trag. Rel. p. 194 Rib.): “prophetae quidam, deorum majestate completi, effantur ceteris, quae divino beneficio soli vident, App. de Mundo, p. 56, 29: sacerdotes Aegyptiorum, quos prophetas vocant,Macr. S. 7, 13, 9: “Aegyptius, propheta primarius,App. M. 2, p. 127, 3.—Of the Jewish prophets, Lact. 1, 4, 1; 4, 11, 1; 7, 24, 9; Vulg. Luc. 1, 70.
Prīmārĭus , a, um, adj. id.,
I. one of the first, of the first rank, chief, principal, excellent, remarkable (class.): “primarius parasitus,Plaut. Mil. 3, 1, 73: “quoad primarius vir dicat,the first speaker, he who has a right to be heard, id. Rud. 4, 4, 29: “primarius vir populi,Cic. Sen. 17, 61: “femina,Cic. Verr. 2, 1, 58, ž 153: “bellator,Plin. 7, 43, 45, ž “139.—Of things: condicio,Plaut. Stich. 1, 2, 81: “non ea, quae primario loco sunt, sed ea, quae secundum locum obtinent,Cic. Fin. 3, 16, 52 dub. (B. and K. priore loco; Madvig. conj.: primo ordine; “v. Madvig. ad loc.): lapis,Vulg. Zach. 4, 7.

Parasitus —Hence, parasitus Phoebi, a player, actor,
II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite (syn. scurra): “nos parasiti planius ... Quasi mures semper edimus alienum cibum, etc.,Plaut. Capt. 1, 1, 7; cf. id. Pers. 1, 3, 3; id. Stich. 2, 1, 42: “parasitorum in comoediis assentatio,Cic. Lael. 26, 98: “edaces parasiti,Hor. Ep. 2, 1, 173; Juv. 1, 139. —Comically, of a whip: ne ulmos parasitos faciat, that he will make his elm-twigs stick to me like parasites, i. e. give me a sound flogging, Plaut. Ep. 2, 3, 5.—The tutelar deity of parasites was Hercules, Plaut. Curc. 2, 3, 79.
Immundus I.  unclean, impure, dirty, filthy, foul (syn.: spurcus, obscenus, impurus). Canis, Harpyiae, homo
Homo b. In a bad sense, a man, as a weak, mortal being, subject to error, of low condition (rare): “fateor me saepe peccasse, nam et homo sum et adhuc juvenis,Petr. 130: cf. “homines sumus, non dei,id. 75: “(Demosthenes, Homerus) summi sunt, homines tamen,Quint. 10, 1, 25.—
Cano orig. v. n., to produce melodious sounds, whether of men or animals; later, with a designation of the subject-matter of the melody, as v. a., to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc.
I. Neutr., to utter melodious notes, to sing, sound, play.
II. Act., to make something or some person the subject of one's singing or playing.
A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite
C. Since the responses of oracles were given in verse, to prophesy, foretell, predict.
a. In poetry: “tibia canentum, Sibylla, Abdita quae senis fata canit pedibus,
Give the sound to begin a civil war
Rev. 8:13 And I beheld, and heard an angel flying through the midst of heaven, saying with a loud voice, Woe, woe, woe, to the inhabiters of the earth by reason of the other voices of the trumpet of the three angels, which are yet to sound!

Sibylla female sooothsayer, prophetess.  terrae vis Pythiam Delphis incitabat: naturae Sibyllam. Cic. Div. 1, 36, 79; cf. id. ib. 1, 18, 34.—In Roman mythology, the most celebrated is the Sibyl at Cumae, in the service of Apollo;

Her "ministers" were the castrated or Canis or dogs or homosexual singers/ musicians.
This was the mark of the
Canis Dogs
1. As a term of reproach, to denote,
a. A shameless, vile person, Plaut. Most. 1, 1, 40; Ter. Eun. 4, 7, 33 Donat. ad loc.; Hor. Epod. 6, 1; cf. id. S. 2, 2, 56; Petr. 74, 9; Suet. Vesp. 13. —
2. As the regular designation of the hangers-on or parasites of an eminent or rich Roman; a follower, dog, creature

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.
Aufero I. to take or bear off or away, to carry off, withdraw, remove (very freq. in prose and poetry; syn.: tollo, fero, rapio, eripio, diripio, adimo, averto) but more frequently in a bad sense, to take by force, to remove, withdraw, take away violently, rob, steal, etc
 
LOOK AGAIN AT THE FOULS SPIRITS WHICH HAVE INFILTRATED OUR CHURCHES:

Akathar-tos , on, ( [kathair˘] )
A. uncleansed, foul, aŕr Hp. AŰr.6; of the body, Arist.Pr.883b27; helkos Hp.Fract. 27 ; of a woman, quae menstrua non habet, Demad.Fr.4, Luc.Lex.19; of ceremonial impurity, LXX Le.12.2, al., IG3.74.3.
helkos , eos, to,
A. wound, Il.4.190, al. (never in Od.), Pi.P.2.91, E.Tr. 1232 (pl.), etc.
2. festering wound, sore, ulcer, he. hudrou the
festering bite of a serpent, Il.2.723;

Hom. Il. 2.695 And they that dwelt in Methone and Thaumacia, and that held Meliboea and rugged Olizon, these with their seven ships were led by Philoctetes, well-skilled in archery, [720] and on each ship embarked fifty oarsmen well skilled to fight amain with the bow. But Philoctetes lay suffering grievous pains in an island, even in sacred Lemnos, where the sons of the Achaeans had left him in anguish with an evil wound from a deadly water-snake. There he lay suffering;
of a woman, quae menstrua non habet,

Speak unto the children of Israel, saying, If a woman have
conceived seed, and born a man child, then she shall be unclean seven days; according to the days of the separation for her infirmity shall she be unclean. Lev 12:2
Acts 10:14 But Peter said, Not so, Lord; for I have never eaten any thing that is common or unclean.
Acts 10:15 And the voice spake unto him again the second time,

        What God hath cleansed, that call not thou common.

Acts 10:16 This was done thrice: and the vessel was received up again into heaven.

b. unpurified, Pl.Lg.866a, 868a.
2.
morally unclean, impure, Pl.Phd.81b, D.19.199, etc.; akatharte thou beast! Bato5 ; = mani˘dŕs, Achae.30; a. pneuma LXX  LXX Za.13.2, Ev.Matt.12.43, cf. PMag.Par.1.1238. Adv. akathart˘s, echein Pl.Ti.92b .

Dem. 19 199  With all this on his conscience the unclean scoundrel will dare to look you in the face, and before long he will be declaiming in sonorous accents about his blameless life. It makes me choke with rage. As if the jury did not know all about you: first the acolyte, reading the service-books [biblous] while your mother performed her hocus-pocus, reeling and tumbling, child as you were, with bacchanals and tipsy worshippers;
Lampros (the Lucifer concept) 4. of sound or voice, clear, distinct
Phone of
the human voice, an actor, the notes of the voice, flutes, foice of the actor
Thiasos Bachic revel, rout, 2. religious guild, confraternity, II.  generally, company, troop, used by Trag. in lyr., “KentaurōnE.IA1059; SaturikoshēlikōnId.IT1146; “MousōnAr.Th.41

Eur. IA 1058 Chorus
The revel-rout of Centaurs came too, mounted on horses, to the feast of the gods and the mixing-bowl of Bacchus, [1060] leaning on fir-trees, with wreaths of green foliage round their heads; and Chiron cried loudly: “Daughter of Nereus, you shall bear a son, a dazzling light to Thessaly;” and the prophet, [1065] skilled in arts inspired by Phoebus, [Apollo, Abaddon, Apollyon]  gave his name; ”for he shall come with an army of Myrmidon spearmen to the famous land of Priam, [1070] to set it in a blaze, his body cased in a suit of golden mail forged by Hephaestus, a gift from his goddess-mother, from Thetis who bore him.” [1075] Then the gods shed a blessing on the marriage of the high-born bride, who was first of Nereus' daughters, and on the wedding of Peleus.

Eur. IT 1123
Chorus And you, lady, the Argive penteconter will bear you home; [1125] the wax-bound reed of the mountain god Pan, piping, will shout to the oars,
        and Phoebus the prophet, with the ring of his seven-stringed lyre,
 [1130] singing, will guide you well to the gleaming land of the Athenians. Leaving me here, you will go with splashing oars. In the breeze, the forestays of the ship that carries you swiftly [1135] will spread out over the front beyond the prow

[
1138 ] Chorus
May I come to the bright race-course, where the sun's fire goes; [1140] over the chambers of my home,
        may I cease to flutter the wings on my back.
        May I take my stand in the dances of glorious marriages,
        where I stood as a maiden,
[1145] twirling about in the dancing bands of other girls, away from my dear mother; rushing on to the contest of charms, the luxuriant strife of hair, I covered my cheeks with the multi-colored veil [1150] and shadowed them with the locks of my hair.

Aristoph. Thes. 41
Servant of Agathon
Standing on the threshold; solemnly
Silence! oh, people! [40] keep your mouths sedately shut! The chorus of the Muses is moulding songs at my master's hearth. Let the winds hold their breath in the silent Aether! Let the azure waves cease murmuring on the shore!

Mousa II. mousa, as Appellat., music, song, “m. stugeraA.Eu.308 (anap.); “euphamosId.Supp.695 (lyr.); “kanakhan . . theias antiluron mousasS.Tr.643 (lyr.); “Aiakō moisan phereinPi.N.3.28; tis hēde mousa; what strain is this

The Muses were known as "filthy shepherds" adulteresses: John calls the speakers, singers and instrument players sorcerers in Revelation 18: They work for the mother goddess as "lusted after fruits."

Plat. Rep. 3.411a “Now when a man abandons himself to music to play upon him and pour into his soul as it were through the funnel of his ears those sweet, soft, and dirge-like airs of which we were just now speaking, and gives his entire time to the warblings and blandishments of song, the first result is that the principle of high spirit, if he had it,
Cf. 398 D-E, where the thrēnōdeis harmoniai are rejected altogether, while here they are used to illustrate the softening effect of music on a hard temperament. It is misspent ingenuity to harp on such “contradictions.”
[411b] is softened like iron and is made useful instead of useless and brittle. But when he continues the practice without remission and is spellbound, the effect begins to be that he melts and liquefies till he completely dissolves away his spirit, cuts out as it were the very sinews of his soul and makes of himself a 'feeble warrior.'” “Assuredly,” he said. “And if,” said I, “he has to begin with a spiritless nature he reaches this result quickly, but if high-spirited, by weakening the spirit he makes it unstable,

[411c] quickly irritated by slight stimuli, and as quickly quelled. The outcome is that such men are choleric and irascible instead of high-spirited, and are peevish and discontented.” “Precisely so.” “On the other hand, if a man toils hard at gymnastics and eats right lustily and holds no truck with music and philosophy, does he not at first get very fit and full of pride and high spirit and become more brave and bold than he was?” “He does indeed.” “But what if he does nothing but this and has no contact with the Muse in any way,

Of the "muse" of rational discussion

[411d] is not the result that even if there was some principle of the love of knowledge in his soul, since it tastes of no instruction nor of any inquiry and does not participate in any discussion or any other form of culture, it becomes feeble, deaf, and blind, because it is not aroused or fed nor are its perceptions purified and quickened?” “That is so,” he said. “And so such a man, I take it, becomes a misologist1 and stranger to the Muses. He no longer makes any use of persuasion by speech but achieves all his ends

1 A hater of rational discussion, as explained in Laches 188 C, and the beautiful passage in the Phaedo 89 D ff. Cf. Minucius Felix, Octavius 14. 6 “Igitur nobis providendum est ne odio identidem sermonum laboremus.” John Morley describes obscurantists as “sombre hierophants of misology.

Plat. Lach. 188d [188d] I take the speaker and his speech together, and observe how they sort and harmonize with each other. Such a man is exactly what I understand by “musical,”—he has tuned himself with the fairest harmony, not that of a lyre or other entertaining instrument, but has made a true concord of his own life between his words and his deeds, not in the Ionian, no, nor in the Phrygian nor in the Lydian, but simply in the Dorian mode, which is the sole Hellenic harmony. Such a man makes me rejoice

[200] then the junior clerk, doing the dirty work of public offices for a few shillings a month: and at last, not so long ago, the parasite of the greenrooms, eking out by sponging what you earned as a player of trumpery parts! What is the life you will claim, and where have you lived it, when such is too clearly the sort of life you really have lived? And then the assurance of the man! Bringing another man before this court on a charge of unnatural crime! However, I will let that go for the present. First read these depositions.“Depositions

Paratrepho  Parasite, of men and animals, feed at another's expense, D.19.200,

Khorego leading the cholrus, a minister, “kh. paisin DionusiaD.21.64; “eis ApollōniaIG11(2).106.1 (Delos, iii B. C.); “andrasi kh. es DionusiaLys. 21.2; kh. kōmōdois, purrikhistais, ib.4; “tragōdoisIs.6.60; “kōmōdoisIG22.3090 (less freq. with the Art. added, “kh. ta Dionusia tois tragōdois

Prophet  I. a foreteller, soothsayer, prophet

3. of things, not purged away, unpurged, S.OT256, Pl.Lg.854b.
b. unpruned, Thphr.CP1.15.1.

c.
ceremonially unclean, of food, LXX Le.5.2, al., Act.Ap.10.14.
d. not sifted, containing impurities, PPetr.2p.8 (iii B. C.).
II. Act.,
not fit for cleansing, [pharmaka] helke˘n akathartotera Aret.CD1.8 .

Plato, Euthyphro, Apology, Crito, Phaedo Speaking of the soul at death.

[80d] some parts of it, such as the bones and sinews and all that, are, so to speak, indestructible. Is not that true?"

"Yes.

"But the soul, the invisible, which departs into another place which is, like itself, noble and pure and invisible, to the realm of the god of the other world in truth, to the good and wise god, whither, if God will, my soul is soon to go,--is this soul, which has such qualities and such a nature, straightway scattered and destroyed when it departs from the body, as most men say?

Pl.Phd.81b [81b] if when it departs from the body it is defiled and impure, because it was always with the body and cared for it and loved it and was fascinated by it and its desires and pleasures, so that it thought nothing was true except the corporeal, which one can touch and see and drink and eat and employ in the pleasures of love, and if it is accustomed to hate and fear and avoid that which is shadowy and invisible to the eyes but is intelligible and tangible to philosophy--do you think a soul in this condition [81c] will depart pure and uncontaminated?”

“By no means,” said he.
“But it will be interpenetrated, I suppose, with the corporeal which intercourse and communion with the body have made a part of its nature because the body has been its constant companion and the object of its care?”

“Certainly.”
“And, my friend, we must believe that the corporeal is burdensome and heavy and earthly and visible. And such a soul is weighed down by this and is dragged back into the visible world, through fear of the invisible and of the other world, and so,

MUSICAL UNCLEANNESS REMOVED

See MUSIC MADNESS IN EURIPIDES

Mani˘dŕs mani˘dŕs , es,

A. like madness, noseumata Hp. AŰr.7, cf. Coac.475.
2. like a
madman, crazy, huposchesis Th.4.39 ; kai to m. mantikŕn pollŕn echei E.Ba.299 ; m. panta tanthr˘p˘n hol˘s

E.Ba.266 Euripides, Bacchae
And do you laugh at him, because he was sewn up in Zeus' thigh? I will teach you that this is well: when Zeus snatched him out of the lighting-flame, and led the child as a god to Olympus, [290] Hera wished to banish him from the sky, but Zeus, as a god, had a counter-contrivance. Having broken a part of the air which surrounds the earth, he gave this to Hera as a pledge [serve as a hostage] 1 Dionysus from her hostility. But in time, [295] mortals say that he was nourished in the thigh of Zeus, changing the word, because a god he had served as a hostage for the goddess Hera, and composing the story.

E.Ba.299 But this god is a prophet--for Bacchic revelry and madness have in them much prophetic skill. [300] For whenever the god enters a body in full force, he makes them frantic to foretell the future. He also possesses a share of Ares' nature. For terror sometimes flutters an army under arms and in its ranks before it even touches a spear.

O ye who left Tmolus, the bulwark of Lydia, ye women, my revel rout! whom I brought

from your foreign homes to be ever by my side and bear me company, uplift the cymbals native to your Phrygian home, that were by me and the great mother Rhea first devised, and march around the royal halls of Pentheus smiting them, that the city of Cadmus may see you;  while I will seek Cithaeron's glens, there with my Bacchanals to join the dance.

[198] Maddened by these indignities, she jumped to her feet, upset the table, and fell at the knees of Iatrocles. If he had not rescued her, she would have perished, the victim of a drunken orgy, for the drunkenness of this blackguard is something terrible. The story of this girl was told even in Arcadia, at a meeting of the Ten Thousand1 ; it was related by Diophantus at Athens in a report which I will compel him to repeat in evidence; and it was common talk in Thessaly and everywhere.

Dem. 19 199 [199] With all this on his conscience the unclean scoundrel will dare to look you in the face, and before long he will be declaiming in sonorous accents about his blameless life. It makes me choke with rage. As if the jury did not know all about you: 

first the acolyte, reading the service-books [biblos]
while your mother performed her hocus-pocus, reeling and tumbling,
child as you were, with
bacchanals and tipsy [methuo]

Conscience is Sunoida we are BAPTIZED into Christ for the remission of sins: this gives us A holy spirit or A good conscience.

Kalindeomai roll aboutr, wallow plaguestricken. to be continually busy with, pass one's time with
[200] then the junior clerk, doing the dirty work of public offices for a few shillings a month: and at last, not so long ago, the parasite of the greenrooms, eking out by sponging what you earned as a player of trumpery parts!  [Chorego] What is the life you will claim, and where have you lived it, when such is too clearly the sort of life you really have lived? And then the assurance of the man! Bringing another man before this court on a charge of unnatural crime! However, I will let that go for the present. First read these depositions.Depositions

A generation of vipers was prophesied of Messiah:

Ps.41:7 All that hate me whisper together against me: against me do they devise my hurt.

Then went the Pharisees, and took counsel how they might
entangle him in his talk. Psa 22:15

Lachash (h3907) law-khash'; a prim. root; to whisper; by impl. to mumble a spell (as a magician): - charmer, whisper (together).

In Psalm 41:5, the enemy (Judas) was Oyeb (h341) or the hating adversary or "Ophis" in greek (g3789) for the serpent. This Ophis is the same serpent which beguiled Eve. Jesus called Judas "Satan." In reality, he is incarnated in the sOPHISts who were enchanters for pay.

In Genesis, the "serpent" is not a snake. Rather, he is a musical enchanter who "hisses" and whispers:

Nachash (h5175) naw-khawsh'; from 5172; a snake (from its hiss): - serpent

Nachash (h5172) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe.

When the New Testament identifies a GENERATION OF VIPERS we understand that they are pointing to well-known legends.

Ev.Matt.12.43, Matt 12: [34] You offspring of vipers, how can you, being evil, speak good things? For out of the abundance of the heart, the mouth speaks. [35] The good man out of his good treasure brings out good things, and the evil man out of his evil treasure brings out evil things. [36] I tell you that every idle word that men speak, they will give account of it in the day of judgment. [37] For by your words you will be justified, and by your words you will be condemned."

Echidn-
A. viper, Hdt.3.108, S.Tr.771, Pl.Smp.218a, etc.; prob. of a constrictor snake, Act.Ap.28.3: metaph., of a treacherous wife or friend, A.Ch.249, S.Ant.531; himatismenŕ e., of woman, Secund.Sent.8; gennŕmata echidn˘n brood of vipers, term of reproach, in Ev.Matt.3.7.
II. pr. n. of a monster, Hes.Th.297, S.Tr. 1099.

Hesiod, Theogony 1: From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring and the altar of the almighty son of Cronos, [5] and, when they have washed their tender bodies in Permessus or in the Horse's Spring or Olmeius, make their fair, lovely dances upon highest Helicon and move with vigorous feet. Thence they arise and go abroad by night, [10] veiled in thick mist, and utter their song with lovely voice, praising Zeus the aegis-holder, and queenly Hera of Argos who walks on golden sandals, and the daughter of Zeus the aegis-holder bright-eyed Athena, and Phoebus Apollo, and Artemis who delights in arrows.......

Hes. Th. 297 Him mighty Heracles slew [290] in sea-girt Erythea by his shambling oxen on that day when he drove the wide-browed oxen to holy Tiryns, and had crossed the ford of Ocean and killed Orthus and Eurytion the herdsman in the dim stead out beyond glorious Ocean. [300] And in a hollow cave she bore another monster, irresistible, in no wise like either to mortal men or to the undying gods, even the goddess fierce Echidna who is half a nymph with glancing eyes and fair cheeks, and half again a huge snake, great and awful, with speckled skin, eating raw flesh beneath the secret parts of the holy earth. And there she has a cave deep down under a hollow rock far from the deathless gods and mortal men. There, then, did the gods appoint her a glorious house to dwell in: and she keeps guard in Arima beneath the earth, grim Echidna, [305] a nymph who dies not nor grows old all her days.
It is evident that Zechariah is speaking of the musical prophesiers of Baal and of Asherah.  I have some notes on this to prove that it was musical.

Mani˘dŕs , FURTHER: 2. like a madman, crazy 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 k

3. of the Cynics, areskei toutois kun˘n metamphiennusthai bion. Catamites.

Areskos is the SELF pleasing Paul forbids in the synagogue in Romans 15.  This is connected to music and the "reproaches" prophesied about Jesus which means to MAKE HIM NAKED.

Jesus provided and Paul commanded worship in the PLACE of the human spirit because "outside" there be dogs and concision: the WOLVES of Acts 20 who bring in the religious musicians who were always perverted: the Muses under Apollyon in Revelation are identified as vile whores.  Anyone who sells their BODIES in any way when Jesus has paid it all is an adulterer: one who corrupts the word or sells learning at retail.

II. causing madness, Dsc. 1.68, 4.68; himasthlŕ Panos Nonn.D.10.4 .Pan is horn footed

Rhaps˘id-os , ho,
A. reciter of Epic poems, sts. applied to the bard who recited his own poem, as to Hesiod, Nicocl. ap. Sch.Pi.N.2.2 (v. infr.); but usu., professional reciters, esp. of the poems of Homer, Hdt.5.67, Pl.Ion 530c, etc.: also rh. ku˘n, ironically, of the Sphinx who chanted her riddle, S.OT391. (Prob. from rhapt˘, aoidŕ; Hes.Fr. 265 speaks of himself and Homer as en nearois humnois rhapsantes aoidŕn, and Pi.N.2.2 calls Epic poets rhapt˘n epe˘n aoidoi: not from rhabdos (cf. rhabdos 1.6 ) as if rhabd˘idos (Eust.6.24, rhabd˘idia ib.16).)

Pindar Ode 2
[1] Just as the Homeridae, the singers [rhapton] of woven verses [epos], most often begin with Zeus as their prelude, so this man has received a first down-payment of victory [nike] in the sacred games by winning [5] in the grove of Nemean Zeus, which is celebrated in many hymns.

Whipping Panic or Madness.

Ecclesiazusae Old Women are Graus B

Young Man

I am not going with her, but am being dragged by force. Oh! whoever you are, may heaven bless you for having had pity on me in my dire misfortune. Turns round and sees the Third Old Woman. Oh Heracles! oh Pan! oh Corybantes! oh Dioscuri! [1070] Why, she is still more awful! Oh! what a monster! great gods! Are you an ape plastered with white lead, or the ghost of some old hag returned from the dark borderlands of death?

Joel prophesied that they young children and old men would prophesy or dream dreams: this was a MARK or proof that Messiah had come.  Philip's daughters "prophesied" in the musical sense but God sent a PROPHET to warn Paul.  When these SIGNS had been witnessed it would then let anyone who STILL PROPHESIED musically as of the Seed of the Serpent.

That is the message of the next verses:

And it shall come to pass, that when any shall yet prophesy,
H5197 nÔṭaph naw-taf' A primitive root; to ooze, that is, distil gradually; by implication to fall in drops; figuratively to speak by inspiration:—drop (-ping), prophesy (-et).

"raved, lost consciousness and rational ability, chanted, mutilated themselves and exhibited all kinds of abnormal behavior... these Nebhiim are to be identified with the prophets of Baal who exhibited such frenzied conduct on Mount Carmel (1 Sam. 10), the schools of the prophets under Elijah and Elisha (2 Ki. 2-6), and the band of four hundred prophets who were attached to King Ahab's court (1 Ki. 22)."

"All these texts point, explicitly or implicitly, to the fact that the dance had a musical accompaniment. Even though the Bible makes no mention of it we must assume that the movements of the prophets of Baal on Mount Carmel were made with an accompaniment on certain musical instruments... (de Vaux, p. 242).

"There is an obvious satirical intent in the biblical story and we could find no better illustration of a similar attitude than a rather curious bas-relief in the Museo delle Terme in Rome which derides a ceremony of Isis. "In front of a row of images of the gods, men and women are dancing with grotesque contortions; their knees are all bent their heads thrown back and their arms upraised; they are holding castanets or the double flute. An aged choirmaster and a group of spectators mark time by clapping their hands." (de Vaux, p. 242).

1 Sam 10:5 After that thou shalt come to the hill of God, where is the garrison of the Philistines: and it shall come to pass, when thou art come thither to the city, that thou shalt meet a company of prophets coming down from the high place with a psaltery, and a tabret, and a pipe, and a harp, before them; and they shall prophesy:

"This is the first mention in the OT of a band of prophets. These were men who went about in companies and were able by means of music and dancing to work themselves up into a convulsive and ecstatic frenzy (2 Ki. 3:1-10).

Their abnormality was believed to be caused by the invasive influence of the spirit of god.

The word prophesied here does not mean either foretelling the future or preaching after the manner of the later prophets,

but engaging in the ritual dance of the prophetic guild (19:18-24). Their behavior was commonly regarded as a form of madness (2 Ki. 9:11; Jer. 29:26)" (The Int. Bible Ency., I Sam. p. 932).

then his father and his mother that begat him shall say unto him,

Thou shalt not live;

for thou speakest lies in the name of the Lord:

and his father and his mother that begat him shall
thrust him through when he prophesieth. Zechariah 13:3

What is the WAGES due to a man who blatantly lies TO GOD and lies ABOUT GOD.  If they claim that the "spirit person" TOLD them to sow discord and violate the whole history of music as polluting then that man is MARKED as worthy of death and no doubt, he is DEAD WHILE HE STILL LIVETH because there can be no redemption for such a person. Again:

Mainas , ados, hŕ, ( [mainomai to be mad with wine]  ) A. raving, frantic, lussa v. l. in S.Fr.941.4; bakchŕ E.Ba.915 .2. as Subst., mad woman, esp. Bacchante, Maenad, mainadi of the Furies, A.Eu.500 (lyr.); of Cassandra,  3. = pornŕ

Bakchŕ , hŕ, A. Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, Bakchŕ Haidou frantic handmaid of Hades, E.Hec.1077; b. neku˘n Id.Ph.1489 (lyr.).

Mania
II.
enthusiasm, inspired frenzy, m. Dionusou para E.Ba.305 ; apo Mous˘n katok˘chŕ te kai m. Pl.Phdr. 245a ; theia m., opposite s˘phrosunŕ anthr˘pinŕ, ib.256b, cf. Prt.323b, X. Mem.1.1.16; tŕs philosophou m. te kai bakcheias Pl.Smp.218b .

The Muses along with the instrument players and all religious functionaries work for Apollo or Abaddon. In Revelation 17 Paul identifies the ALL-times Mother of Harlot religion where the are called SORCERERS intending to deceive the whole world:

Mous˘n katok˘chŕ

Mousa 1 [*ma˘] I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts, Hom.: the names of the nine were Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia or Polyhymnia, Urania, and Calliope, Hes., II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.:--in pl. arts, accomplishments, Ar., Plat.
Mel˘id-ia , hŕ, singing, chanting, E.Rh.923, etc.
II. chant,
choral song, mel˘idias poiŕtŕs Pl.Lg.935e , cf. 812d; lullaby, ib.790e: generally, music, Phld.Mus.p.12 K.

Katok˘chŕ 1 [attic for katochŕ] a being possessed, possession (i. e. inspiration), Plat.

OPPOSITE: s˘phrosunŕ anthr˘pinŕ [mankind] a SOUND MIND

"In the environment in which Christianity arose was surcharged with such phenomena (raving prophecy). In the Greek oracles messages were uttered by priests or priestesses in a state of ecstasy, consciousness being in abeyance, and it was necessary to interpret them to the laity, as both Plutarch and Heraclitus testify... In the orgies of the cult of Dionysus music, dancing, drink, and other means were employed to supereninduce the ecstatic state, in which the devotees ate raw flesh, disported themselves with frenzied enthusiasm in the forests, and indulged in wild phallic excesses.

The ecstatic person was 'in the divinity' and out of normal consciousness. Cicero makes prophecy and madness practically synonymous." (Clark, Elmer T., The Small Sects in America, p. 86, Abingdon)

The religious ecstasy induced by music expressed itself either in an outburst of emotions,
thus giving rise to religious
catharsis,
or in a
transfer to the state of prophecy.

In this way music became an important factor in divination.
In the mysteries of the
Magna Mater [ZOE]
this relationship between music and divination is particularly clear.

Through the din of tambourines, cymbals and flutes
the ecstatic worshiper of the goddess
prophesied the future to those present.

As part of the Abomination of Desolation still existing in Jerusalem, the expected Messiah of the Kenites or Cainites (Arabs) in charge was to be Dionysus. They tried to "initiate" Jesus as they would have all of the Jews into his worship by PIPING and expecting you to sing and dance. The "song" was the lament OUTCHY song cried out by those receiving INITIATION.

The Mother of the Wimber or Vineyard movement claims that music is to INDUCE a sexual-like climax with the Spirit -- just before "giving of substance." The New Wineskin movement intends to enthuse or enrapture (from rape) you in exhilarating worship to "move you into the presence of God."  Sexuality and homosexuality was the MARK of the Abomination of Desolation and prophesied of the end time. Making the Spirit come is less overt but is there and the music teams often go to greater "worship experiences" with the devil.

IF YOU DON'T LIKE THE PICTURE THEN QUIT DOING IT IN FRONT OF A HOLY GOD! He is carrying the Wineskin.


And it shall come to pass in that day, that the prophets shall be ashamed every one of his vision,
when he hath prophesied;  neither shall they wear a rough garment to deceive: Zechariah 13:4

Now, we can see that John was a TRAP to separate out the generation of VIPERS: Jesus asked if they went out to see John dressed in SOFT clothes which were of the Catamite or male prostitute which MARKED those who claimed falsely to be prophets.  John wasnt involved in "putting on of apparel" and they were unhappy that John was instead morose: no fun at all.  The similar situation in Ezekiel 33 is used by Jesus to identify the rhetoricians, singers and musicians as the sectarian hypocrites.  They performed for money and the people listened to be entertained: the instruments as always were a mark of those who told God to "shut your face."

Matthew 7:22 Many will say to me in that day, Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works?

"Singing served as a means of inducing ecstatic prophecy (speaking in tongues).

Thus the essential relationship between music and prophecy can be clearly seen.
This relationship also explains why the expression for "
making music" and "prophesying"
was often identical in the ancient tongues. origen contra celsum 8.67.

The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

Matthew 7:23 And then will I profess unto them, I never knew you: depart from me, ye that work iniquity.

"In the environment in which Christianity arose was surcharged with such phenomena (raving prophecy). In the Greek oracles messages were uttered by priests or priestesses in a state of ecstasy, consciousness being in abeyance, and it was necessary to interpret them to the laity, as both Plutarch and Heraclitus testify...

In the orgies of the cult of Dionysus music, dancing, drink, and other means were employed to supereninduce the ecstatic state, in which the devotees ate raw flesh, disported themselves with frenzied enthusiasm in the forests, and indulged in wild phallic excesses.

The ecstatic person was 'in the divinity' and out of normal consciousness. Cicero makes prophecy and madness practically synonymous." (Clark, Elmer T., The Small Sects in America, p. 86, Abingdon)

"The religious ecstasy induced by music expressed itself either in an outburst of emotions, thus giving rise to religious catharsis,

or in a transfer to the state of PROPHECY.

"In this way MUSIC became an important factor in divination. In the mysteries of the MAGNA MATER this relationship between MUSIC and DIVINATION is particularly clear. [The Serpent in the garden was a Musical Enchanter or Diviner: now, SHE has moved in]

"Through the din of tambourines, cymbals (locusts) and flutes the ecstatic worshiper of the GODDESS prophesied the future to those present.  "This relationship also explains why the expression for "making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67. (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

Matthew 7:24 Therefore whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man, which built his house upon a rock:

Matthew 7:25 And the rain descended, and the floods came, and the winds blew, and beat upon that house; and it fell not: for it was founded upon a rock.

But he shall say, I am no prophet, I am an husbandman; for man taught me to keep cattle from my youth. Zechariah 13:5

And one shall say unto him, What are these wounds in thine hands? Then he shall answer, Those with which I was wounded in the house of my friends. Zechariah 13:6

"Among these pupils is found to much greater extent than among the teachers a certain ecstatic feature. They arouse their feelings through music and induce a frantic condition which also affects others in the same way, in which state they 'prophesy' and, throwing off their garments, fall to the ground. In later times too we find traces of such ecstatic phenomena. Thus e.g. in Zech 13:6; 1 Ki. 20:37-38, the 'wounds' on the breast or on the forehead recall the self-mutilation of the priests of Baal (1 Ki. 18:28). The deeds, suggestive of what the dervishes of our own day do, probably were phenomena quite similar to the action of the prophets of the surrounding tribes" (Int Std Bible Ency., Prophecy, p. 2462)

The prophets of Baal performed a noisy form of "prophesying" but they could not "bring their gods into their presence." This "prophesying" was not pretty; it involved singing, music, naked dancing and even cutting themselves. The emotional "high" proved that the god was in them.

"All these texts point, explicitly or implicitly, to the fact that the dance had a musical accompaniment. Even though the Bible makes no mention of it we must assume that the movements of the prophets of Baal on Mount Carmel were made with an accompaniment on certain musical instruments... There is an obvious satirical intent in the biblical story and we could find no better illustration of a similar attitude than a rather curious bas-relief in the Museo delle Terme in Rome which

derides a ceremony of Isis. In front of a row of images of the gods, men and women are dancing with grotesque contortions; their knees are all bent their heads thrown back and their arms upraised; they are holding castanets or the double flute.

An aged choirmaster and a group of spectators mark time by clapping their hands." ( de Vaux, Roland, The Bible and the Ancient Near East, Doubleday, p. 242).

This is what brought on the Musical Idolatry and fall from Gract at Mount Sinai. As a result, Moses looks down through the ages and speaks of Jesus:

Deut 18:18 I will raise them up a Prophet from among their brethren, like unto thee, and will put my words in his mouth; and he shall speak unto them all that I shall command him.

Deut 18:19 And it shall come to pass, that whosoever will not hearken unto my words which he shall speak in my name, I will require it of him.

Deut 18:20 But the prophet, which shall presume to speak a word in my name,
which I have not commanded him to speak, or that shall speak in the name of other gods, even that prophet shall die.

18:21 And if thou say in thine heart, How shall we know the word which the Lord hath not spoken?

18:22 When a prophet speaketh in the name of the Lord, if the thing follow not, nor come to pass, that is the thing which the Lord hath not spoken, but the prophet hath spoken it presumptuously: thou shalt not be afraid of him.
People who do music and BOAST that they can lead you into the presence of God does two things: As a Pharisee he / she / it claims spiritual superiority to write his own songs and sermons SO THAT you don't have to listen to the free word of God: for that you must pay him denying that "Jesus paid it all. Secondly, by claiming to be THE mediatory they intend to make you afraid of both God and the "mediator." The "god handlers" always claimed that the gods were dangerous and YOU needed someone who know how to do it. 
Awake, O sword, against my shepherd, and against the man that is my fellow, saith the Lord of hosts: smite the shepherd, and the sheep shall be scattered: and I will turn mine hand upon the little ones. Zechariah 13:7

We know that this happened when the temple was destroyed and the harps and harpists were burned at Tophet which was where God promised that the king of Babylon as Tyre would go to this prepared place with his harps and still-breathing harpists.

And it shall come to pass, that in all the land, saith the Lord, two parts therein shall be cut off and die; but the third shall be left therein. Zechariah 13:8

And I will bring the third part through the fire, and will refine them as silver is refined, and will try them as gold is tried:
they shall call on my name, and I will hear them:

I will say, It is my people: and they shall say, The Lord is my God. Zechariah 13:9

That is: there are MANY Elohim but only ONE Lord Jehovah.  His name is Jesus or Jehovah- Saves.  An EL is one whom you worship: it is probably the preacher or the musician.  Therefore, YOUR Elohim is NOT Jehovah or Jesus Christ who is my "Lord AND God" says Thomas.

 My understanding that the prophecy of Joel for the day of Pentecost set a time mark for people who prophesied as in the musical sense.  Once, these signs had been exercised around the time of Pentecost, anyone in the future who musically claimed to speak for God (beyond the sacred page) could be identified as false prophets.

Peter clearly leaves a memory as a MARK: if a preacher or elder does not 'teach that which has been written' then you know that he is a FALSE TEACHER.  That is a fundamental purpose of Scripture.  If you lie TO God and ABOUT God and to the FLOCK about every musical passage then you are a WOLF and not a shepherd.  Hirelings can easily turn into wolves when all of history knows that charismatic rhetoricians and musicians have always been marked as "drunks or perverts."

Chris Klessens notes: According to psalm 41 Judas is tied to music again because he is the agent used by the enemy to try to "triumph over" Jesus. The phrase 'triumph over' (v.11) in Hebrew is roo-ah which means "to mar, (especially by breaking) figuratively 'to split the ears' (with sound), i.e. shout for alarm or joy, to sound an alarm, make a joyful noise, etc." Musical instruments were always used to sound alarms. This musical attack is part of what caused Jesus to sweat great drops of blood in Gethsemane. The word Gethsemane in Greek means "olive press". It comes from two Chaldean/Hebrew words - gath, and shemane. Shemane means grease,or oily liquid. Gath means "a grape press or a pit for stomping them to extract the juice". I knew this from a study I did years ago. What I didn't see then is the musical connection. One day I decided to look up the root word for Gath that is noted in my concordance. It is naw-gan and I found it means "to thrum i.e. to beat a tune with the fingers; especially to play on a stringed instrument; to make music". 

That is correct: Much of the obscene music was connected with the wine harvest. Dionysus worshipped at the Temple in Jerusalem was the "new wineskin god" perverted and musical.  For instance, Gath is from:

H1660 gath gath Probably from H5059 (in the sense of treading out grapes); a wine press (or vat for holding the grapes in pressing them):(wine-) press (fat).

And this is the image of the normal vintage harvest:


H5059 nÔgan naw-gan' A primitive root; prop to thrum, that is, beat a tune with the fingers; especially to play on a stringed instrument; hence (generally) to make music:player on instruments, sing to the stringed instruments, melody, ministrel, play (-er. -ing).

It is significant that Psallo also demands using the FINGERS and never with a PLECTRUM or pick. Therefore, any authority for instrumental music would specificially EXCLUDE pianos, organs, drums and cymbals.

And this is the word Eve used and we know that the seduction was both MUSICAL and SEXUAL:

H5060 nÔga 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.

And that is connected to the striking or smiting:

H5061 nega neh'-gah From H5060 ; a blow (figuratively infliction); also (by implication) a spot (concretely a leprous person or dress):...plague, sore, stricken, stripe, stroke, wound.

Chris Klessens notes: That is when I saw that music is associated with attacking and striking the righteous all the way back to Cain, whose name is synonymous with striking, either with a lance or a musical note (mentioned in part one of this letter.) Jesus knew this was coming when He quoted Zechariah 13:7 in Matt. 26:31 - "Strike the Shepherd and the sheep will be scattered". (It is interesting that the word for strike here is naw-kaw, and one of the synonyms for Cain's name is kaw-naw) 

Here are the prophesied words for striking or smiting as connected to Cain. Readers will remember that when Jubal "handled" musical instruments the word means WITHOUT AUTHORITY.  All of the descendants of Cain through Lamech have their earlier counterparts in the Babylonian religion. Lamech is identified as EA who was the patron god of the same arts and crafts.

H5221 nÔkÔh naw-kaw' A primitive root; to strike (lightly or severely, literally or figuratively):  beat, cast forth, clap, give [wounds], X go forward, indeed, kill, make [slaughter], murderer, punish, slaughter, slay (-er, -ing), smite (-r, -ing), strike, be stricken, (give) stripes, Xsurely, wound.
H5222  nŕkeh nay-keh' From H5221 ; a smiter, that is, (figuratively) traducer:--abject.

H7014 qayin kah'-yin The same as H7013 (with a play upon the affinity to H7069 ); Kajin, the name of the first child, also of a place in Palestine, and of an Oriental tribe:--Cain,
Kenite

Because Cain was OF that wicked one and Paul said that Eve was wholly seduced as a new bride is seduced, the KENITES survived the Flood because they had Satan as their Father and protector.  It was the Kenites or Cainites who controlled Jerusalem under the Romans and it was they who agreed to be initiated in sodomy and did so in the Holy Places along with STRIKING their musical instruments.

H7013 qayin kah'-yin From H6969 in the original sense of fixity; a lance (as striking fast):--spear.
H6969 qűn koon A primitive root; to strike a musical note, that is, chant or wail (at a funeral):---lament, mourning woman.

There is one word stranslated both as BAG, Weapon or Psaltery.  It is significant that the Judas BAG was for carrying the mouthpieces of wind instruments to fit the prophecy of Psalm 41.  In Greek, the word for CARNAL WEAPON also speaks of the LIFELESS INSTRUMENT because swords and shields were used as INSTRUMENTS.  The word PSALLO specificially EXCLUDES smiting with a plectrum.  Therefore, the Spirit of Christ made sure that Paul did not use a MUSICAL term but a bloody warfare word derived from Apollo or Apollyon the father of musical harmony.

The word ORAGON which includes anything from a poop scoop to a musical instrument is a TOOL for doing hard work to induce shock and awe. It is connected to ERGON which defines playing instruments as a WORK of human hands--who could have deliberately missed that one?

The Lawyers fed the law: All pagan law connected to APOLLO (Apollyon) and the MUSES who are the "locusts" in Revelation 18. He calls all of the religious performers SORCERERS. The MUSIC is the MARK that God has removed the CANDLES. 

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Here are some collected notes for your further research on the MUSIC means SMITING message.

MUSIC AND THE LAWS OF SATAN ARE SPREAD WITH MUSIC: Lucifer was the singing and harp-playing prostitute in the garden and incarnating the king of Tyre, Babylon and the end-time Motherof Harlots (ZOE)

Nomos (g3551) nom'-os; to parcel out, especially food or grazing to animals; law through the idea of prescriptive usage, regulation of law or Gospel...

Hŕdonais  ,

Hŕdonŕ , 3. Pl., desires after pleasure, pleasant lusts, X.Mem.1.2.23, Ep.Tit.3.3, al. A. enjoyment, pleasure, first in Simon.71, S.l.c., Hdt.1.24, al.; prop. of sensual pleasures, Charizo 3. in erotic sense, grant favours to a man,

Herodotus 1:24. [4] Abandoned to this extremity, Arion asked that, since they had made up their minds, they would let him stand on the half-deck in all his regalia and sing; and he promised that after he had sung he would do himself in. [5] The men, pleased at the thought of hearing the best singer in the world, drew away toward the waist of the vessel from the stern. Arion, putting on all his regalia and taking his lyre, stood up on the half-deck and sang the "Stirring Song,"2 and when the song was finished he threw himself into the sea, as he was with all his regalia. [6] So the crew sailed away to Corinth; but a dolphin (so the story goes) took Arion on his back and bore him to Taenarus. Landing there, he went to Corinth in his regalia, and when he arrived, he related all that had happened
Note: 2 The orthios nomos was a high-pitched (and apparently very well-known) song or hymn in honor of Apollo.
 
Orthios II. of the voice, high-pitched, shrill, 2. nomos o. a traditional melody of very high pitch

Nomos , ho, ( [nem˘] ) can mean "the Law of God" without respect to MOSES.

A. that which is in habitual practice, use or possession, not in Hom. (cf. J.Ap.2.15), though read by Zenod. in Od.1.3.
I. usage, custom, [
Mousai] melpontai pant˘n te nomous kai ŕthea kedna Hes.Th.66n. archaios aristos

The Words: Mousai melpontai mean

Mousa 1 [*ma˘]

I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts, Hom.: the names of the nine were Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia or Polyhymnia, Urania, and Calliope, Hes.,

II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.:--in pl. arts, accomplishments, Ar., Plat.

And the prophets shall become wind (spirit), and the word is not in them: thus shall it be done unto them Jeremiah 5:13
 
Word is: Daber (h1699) do'-ber; from 1696 (in its original sense); a pasture (from its arrangement of the flock): - fold, manner.
 
Woe unto them that rise up early in the morning, that they may follow strong drink; that continue until night, till wine inflame them Isaiah 5:11
 
And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the Lord, neither consider the operation of his hands. Isaiah 5:12
 
Therefore my people are gone into captivity, because they have no knowledge: and their honourable men are famished, and their multitude dried up with thirst. Isaiah 5:13
 
Therefore hell hath enlarged herself, and opened her mouth without measure: and their glory, and their multitude, and their pomp, and he that rejoiceth, shall descend into it. Isaiah 5:14
 
And the mean man shall be brought down, and the mighty man shall be humbled, and the eyes of the lofty shall be humbled: Isaiah 5:15
 
But the Lord of hosts shall be exalted in judgment, and God that is holy shall be sanctified in righteousness. Isaiah 5:16
 
Then shall the lambs feed after their manner, and the waste places of the fat ones shall strangers eat. Is.5:17

The Words:

Mousai melpontai mean

Melp˘ to sing or CELEBRATE. This "arousal singing" was always associated with Phoibos who was the BRIGHT ONE who is also Lucifer and Zoe. He competed with the Pythian spirit Paul cast out of the little TRAFFICING girl USED by men.

MUSICAL melody does not include PSALLO used by false religionists to really practice the MELODY associated with the Devil.

II. melody, strain, oida d' ornich˘n nom˘s pant˘n Alcm.67 ; n. hippios Pi.O. 1.101 ; Apoll˘n hageito pantoi˘n n. Id.N.5.25 ; n. polemikoi Th.5.69 ; epŕlalaxan Arai ton oxun n. A.Th.952 (lyr.); krektoi n. S.Fr. 463 , cf. AP9.584: metaph., tous Haidou n. S.Fr.861 .

Pindar, Odes 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] led all types of strains. And the Muses began with a prelude to Zeus, then sang first of divine Thetis and of Peleus; how Hippolyte, the opulent daughter of Cretheus, wanted to trap him with deceit

Plŕk-tron ,
A. anything to strike with:
1. instrument for striking the lyre, plectrum, Pi.N.5.24, chruseou hupo p. es lurŕn [Lyre] rhapsai Herod.6.51 ; plŕktr˘i . . plŕg˘n
2. spear-point,; diobolon p., of lightning [hurled by Zeus], a bee's sting,

Sophocles, Tracking Satyrs Silenus
Why are you running away, afraid of a noise? You wretched beasts, with your filthy bodies all smeared with wax, seeing terrors in every shadow, scared of everything! You're gutless, and careless, [150] and servile. You're nothing but body and tongue and voice. You trust to words and flee from actions. Worst of animals, how did you ever come to have a father like me? There are lots of monuments to my courage, when I was young, songs sung at every household's wedding feast. I was never put to flight, never afraid, and I didn't quiver at noises made by animals up on the mountains. Instead, I accomplished great things with my spear. That brilliant spear is now besmirched by you, [160] because some new sound from the shepherds has frightened you, like the babies you are, and you've given up on the golden wealth that Phoebus said he was offering to you, to say nothing of freedom, which he also offered to you and to me. You've put all that away and gone to sleep. Unless you get back to work tracking those cows and their cowherd, wherever they are, you'll be making noises of your own for your cowardice.

4. = pŕdalion, Hdt.1.194, S.Fr.143.
5. goad, E.Rh.766.
6. = gl˘ssa, Poll. 2.104.

Toxeuma arrow, the distance of a bow-shot. missile of any kind, metaphor of songs and words, kardias [heart] toxeumata [arrows]

Pindar, Odes Isthmian Odes Pi.I.5(4).47; My swift tongue has many arrows, to shout the praises of these heroes.

Kardias [heart] toxeumata [arrows] S.Ant.1085 ; Sophocles, Antigon

[1080] All the cities are stirred up in hostility, whose mangled corpses the dogs [Cynics or homosexual priests], or the wild beasts or some winged bird buried,
........ carrying an unholy stench to the city that held each man's hearth.

There, now, are arrows for your heart, since you provoke me, [1085] launched at you, archer-like, in my anger. They fly true--you cannot run from their burning sting.

Sting is akis, barb of an arrow or hook, stings of desire. Pikros pointed, sharp, keen, metaph., gl˘ssŕs pikrois kentroisi of sound, piercing, shrill, phthongos, embittered, angry, relentless, pedantically, harshly, bitterly, vindictively

Kentron, to, ( [kente˘] ) any sharp point, a symbol of sovereignty a. sting of bees and wasps, Ar.V.225, 407 (lyr.), al.; of scorpions,

Kentron (g2759) ken'-tron; from kenteo, (to prick); a point ("centre"), i.e. a sting (fig. poison) or goad (fig. divine impulse): - prick, sting

Of the locusts or MUSICAL PERFORMERS:

And they had tails like unto scorpions, and there were stings in their tails: and their power was to hurt men five months. Re.9:10

Skorpios (g5651) skor-pee'-os; prob. from an obsol. skerpo, (perh. strengthened from the base of 4649 and mean. to pierce); a "scorpion" (from its sting): - scorpion

Skopos (g4649) skop-os' ("scope"); from skeptomai , (to peer about ["skeptic"]; perh. akin to 4626 through the idea of concealment; comp. 4629); a watch (sentry or scout), i.e. (by impl.) a goal: - mark

And he laid hold on the dragon, that old serpent, which is the Devil, and Satan, and bound him a thousand years, Re.20:2

Aeschylus Out, I order you! Go away from this house at once, leave my prophetic sanctuary, [180] so that you may not be struck by a winged glistening snake Note 1 shot forth from a golden bow-string, and painfully release black foam, vomiting the clots of blood you have drained from mortals. [185]

It is not right for you to approach this house; no, your place is where the punishments are beheading, gouging out of eyes, cutting of throats,

........and where young men's virility is ruined by destruction of seed;

where there is mutilation and stoning,
........ and where those who are impaled beneath their spine
........ moan long and piteously. [190]

Do you hear what sort of feast is your delight? You are detested by the gods for it. The whole fashion of your form sets it forth. Creatures like you should live in the den of a blood-drinking lion, and not inflict pollution on all near you in this oracular shrine. [195] Be gone, you goats without a herdsman! No god loves such a flock.

"Enters from the inner sanctuary.

Note 1 The arrow sped from Apollo's gold-wrought string is called a "winged glistening snake" because it stings like a serpent's bite. There is also a latent word-play: ophis "snake" suggests ios "snake's poison" which also means "arrow."

Ophis a serpent, snake, Il., Hdt., Trag.:--metaph., ptŕnon ophin, of an arrow, Aesch. [The first syll. is sometimes made long, when it was pronounced (and perh. ought to be written) opphis, v. oche˘.]

See A. Ralph Johnson Review on Instrumental Music.

Homer Hymns to Mercury:

4:[30] “An omen of great luck for me so soon! I do not slight it. Hail, comrade of the feast, lovely in shape, sounding at the dance! With joy I meet you! Where got you that rich gaud for covering, that spangled shell --a tortoise living in the mountains? But I will take and carry you within: you shall help me [35] and I will do you no disgrace, though first of all you must profit me. It is better to be at home: harm may come out of doors. Living, you shall be a spell against mischievous witchcraft1; but if you die, then you shall make sweetest song.”

Thus speaking, he took up the tortoise in both hands [40] and went back into the house carrying his charming toy. Then he cut off its limbs and scooped out the marrow of the mountain-tortoise with a scoop of grey iron.

As a swift thought darts through the heart of a man when thronging cares haunt him, [45] or as bright glances flash from the eye, so glorious Hermes planned both thought and deed at once. He cut stalks of reed to measure and fixed them, fastening their ends across the back and through the shell of the tortoise, and then stretched ox hide all over it by his skill. [50] Also he put in the horns and fitted a cross-piece [Zugon] upon the two of them, and stretched seven strings of sheep-gut. But when he had made it he proved each string in turn with the key, as he held the lovely thing. [55] At the touch of his hand it sounded marvelously; and, as he tried it, the god sang sweet random snatches, even as youths bandy taunts at festivals. He sang of Zeus the son of Cronos and neat-shod Maia, the converse which they had before in the comradeship of love, telling all the glorious tale of his own begetting. [60] He celebrated, too, the handmaids of the nymph, and her bright home, and the tripods all about the house, and the abundant cauldrons.

Pi.N.5.24 Pindar 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, then sang first of divine Thetis and of Peleus; how Hippolyte, the opulent daughter of Cretheus, wanted to trap him with deceit. With elaborate planning she persuaded her husband, the watcher of the Magnesians, to be a partner in her plot, and she forged a false story; [30] that Peleus had made an attempt on her [31] in Acastus' own bed. But the opposite was true; for she often begged him and coaxed him with all her heart, but her reckless words provoked his temper.

Plege A. blow, stroke [Agamemnon Alas! I am struck deep with a mortal blow!] 2. stroke by lightning, Hes.Th.857 (pl.); plagai sidarou strokes of axe or sword, pig-sticking, 6. metaph., blow, stroke of calamity.  of the ten plagues of Egypt, Josephus J.BJ5.9.4.

Euripides, Alcestis
Chorus
Only Phoebus' [Apollo] son, if he still looked upon the light of the sun, [125]  would cause her to leave behind the gloomy realm and the portals of Hades. For he used to raise the dead, until the two-pronged goad of the lightning-fire killed him. [130]  But now what hope can I still embrace that she will live?

2. esp. a type of early melody created by Terpander for the lyre as an accompaniment to Epic texts, n. orthios Hdt.1.24 ; n. Boi˘tios S.Fr.966 ; n. kithar˘idikoi Ar.Ra.1282 , cf. Pl.Lg.700d, Arist.Po.1447b26, Pr.918b13, etc.; also for the flute, n. aul˘idikos Plu.2.1132d ; without sung text, n. aulŕtikos ib.1133d, cf. 138b, Poll.4.79; later, composition including both words and melody, e.g. Tim.Pers.

Rhapso-dus Epic verses were originally sung to musical accompaniment, but after the time of Terpander, as lyric poetry became more independently cultivated, the accompaniment of stringed instruments fell into disuse; and then gradually, instead of a song-like recitation, a simple declamation, in which the rhapsodist held a branch of bay in his hand, came to be generally adopted. This had happened even before the time of Plato and Aristotle (see especially Plato's Ion).

As in earlier times the singers moved from place to place, in order to get a hearing at the courts of princes or before festive gatherings, so the rhapsodists also led an unsettled and wandering life.

At the time of Christ external melody did not include instruments. However, the word had be so defined and Paul defined the MELODY as "striking the heart strings"

 

When John refused to baptize the "generation of vipers" and Jesus refused to preach to them and Peter said to save yourselves FROM that crooked generation the message concerns the Cainites or Kenites who controlled Jerusalem. The true Israelites had fled when Zeus and Dionysus worship forced them into Sodomy along with the musical intrusion into the Holy Places.  Jesus said that they were SONS of the DEVIL and the MARK was that they "spoke on their own." That is still the MARK.

Chris Klessens notes: I don't know if Jesus heard music being played and rejoicing going on in Jerusalem that night, if the throng that came with Judas was playing it, or if it took place in the spirit realm, but Jesus had to listen to this musical rejoicing while He was taking the sin of the world on Himself. According to psalm 41 the goal of all this was to 'roo-ah', to mar and triumph over Jesus by splitting His ears (and thus His mind) with sound. It didn't work. 

Yes, I am certain that it was prophesied and happened: Most of the Israelites had fled Judea when the Greeks took over and forced them to participate in obscene rituals in the Holy places of the Temple.  The people who had been imported were mostly Arabs and were in fact Kenites or Cainites.  John refused to baptize that generation of vipers, Jesus refused to teach them without parables and denied that they were Israelites and Peter said to "save yourselves from this CROOKED generation." That word points directly to the perverted musical performers for Dionysus. Plutarch identifies some of the practices as EXTRA for Dionysus and that the Jews hoped that Dionysus would be their Messiah. When Jesus refused to perform they were ready to murder Him. Therefore, I think the 'Race' of Cain inhabited Jerusalem when Messiah came.

Here are some images of the "Judas Bag" and the betrayal scene: the Shepherd being struck or mocked or TRIUMPHED OVER as prophesied but only for the moment.

The BAG is spoken of only once by Jesus as is the word SOP having a grinding or musical content.  The Judas Bag is shown on many vase paintings older than Jesus.  It is defines as "for carrying the mouthpieces of wind instruments."  And it is always attached to the Flute Case.  These musicians were often perverted and in fact they PIPED, according to Jesus to force people to sing and dance the perverted Dionysus choral.  As part of the Abomination of Desolation the people in Jerusalem would have often seen this scene in and around the Temple.

 

The next image is the way Artists--who seem to be good Bible Scholars--picture the betrayal:


Chris Klessens notes: He was lucid and sane all through His betrayal, trial, and crucifixion to the point of death, and even that triumph of the enemy was short-lived. It is interesting that Gethsemane is on the Mount of Olives and Zechariah prophesied that when Jesus returns to earth He will set His feet on the Mount of Olives and it will be split in two. (Zech. 14:4) Another interesting theme that has to do with music, the splitting of the ears, and being able to hear is the fact that all 4 gospels mention the fact that the high priest's servant had his right ear lopped off and also healed here on the Mount of Olives.

True: Psalm 41 prophesied that Judas WOULD NOT triumph over Him even thought He tried.  At Passover Jesus hand ground some SOP for Judas and the word SOP used only here has the same basic meaning of PSALLO: to triturate or grind into a fine powder.  This was a SIGN for Satan to take control of the failed Judas and he went out and hanged himself.  That is the only honorable thing to do: the Book of Enoch and many other commentaries on the Jubal family prove that when you MUSICALLY MOCK Jesus attempting to TRIUMPH OVER the simple Words of God you have fallen and you will NEVER get up again: why should you?

In the Dead Sea Scrolls  it would be the Levitical Warrior Musicans who would SET AMBUSH and musically mock Jesus to the tomb. The version of Psalm 41 is here.

Ps.41:7 All that hate me whisper together against me: against me do they devise my hurt.
Then went the Pharisees, and took counsel how they might
entangle him in his talk. Psa 22:15

Lachash (h3907) law-khash'; a prim. root; to whisper; by impl. to mumble a spell (as a magician): - charmer, whisper (together).

You will remember that Paul drew a parallel between the "singing" where the words always identify enchantment or sorcery (Rev 18) and the instruments which in 1 Cor 13 point to warfare or witchcraft.

In Psalm 41:5, the enemy (Judas) was Oyeb (h341) or the hating adversary or "Ophis" in greek (g3789) for the serpent. This Ophis is the same serpent which beguiled Eve. Jesus called Judas "Satan." In reality, he is incarnated in the sOPHISts who were enchanters for pay.

In Genesis, the "serpent" is not a snake. Rather, he is a musical enchanter who "hisses" and whispers:

Nachash (h5175) naw-khawsh'; from 5172; a snake (from its hiss): - serpent
Nachash
(h5172) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe.

Even then, as you note, it was short lived after which their Mega-Church was torn down stone by stone, burned, the harps and harpists probably burned and rotted on a bed of maggots and the Jews knew that there could be NO RATIONALE for the loud noise (not music) other than in Jerusalem and OUTSIDE of the temple where they slaughtered types of Jesus Christ with mocking instrumental noise.



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