PRAYER JOURNAL - KING BELSHAZZAR & HIS NOBLES .. BABYLON IS FALLING & LAZARUS IS RISING!!!
King Belshazzar of Babylon and his nobles partying & drinking wine from the cups taken from God's temple while praising pagan gods 👀👀👀
THE WRITING IS ON THE WALL 🔥🔥🔥🔥🔥🔥🔥🔥🔥
The timestamp on the photo I took is 2:55 👉🏻 25:5 👉🏻 MIRROR 5:25
DANIEL 5:25 Now this is the inscription that was written out: ‘MENĒ, MENĒ, TEKĒL, UPHARSIN.’
Meaning: mourning, grief, sorrow
Penthos (Strong’s 3997) appears five times in the Greek New Testament, describing deep, heartfelt mourning. In each context the grief is not a fleeting emotion but an intense reaction to sin, judgment, or loss—often in view of divine action.
James 4:9 and the Call to Repentant Mourning: James exhorts complacent believers: “Grieve, mourn, and weep. Turn your laughter to mourning and your joy to gloom” (James 4:9). The word signals a repentance that moves beyond intellectual assent to a sorrow so profound it alters demeanor and lifestyle. Such godly sorrow (compare 2 Corinthians 7:10) leads to humility before God and thus opens the way to grace (James 4:6).
Revelation 18 and the Lament over Babylon: The seer uses penthos three times in depicting the downfall of the end-time commercial empire:
• “Give her as much torture and grief as the glory and luxury she gave herself” (Revelation 18:7).
• “She will be consumed by fire, for mighty is the Lord God who judges her” (Revelation 18:8).
In these verses mourning is the just recompense for arrogant self-indulgence. Later, kings, merchants, and mariners “weep and mourn” over Babylon’s ruin (context vv. 9-19). Penthos thereby becomes a theological counterweight: worldly opulence that once produced self-congratulation is replaced by anguish under divine judgment.
BELSHAZZAR WAS THE LAST RULER AND CROWN PRINCE OF THE NEO-BABYLONIAN EMPIRE.
Revelation 21 and the End of Mourning: The same term receives its final mention in the promise of the new creation: “He will wipe away every tear from their eyes, and there will be no more death or mourning or crying or pain” (Revelation 21:4). Here penthos is abolished, demonstrating God’s ultimate purpose to reverse the curse introduced in Genesis 3. The eschatological vision turns the mourning of fallen humanity into everlasting comfort for the redeemed.
Moral Dimension: Penthos is most often linked to sin (James 4) or divine retribution (Revelation 18). True mourning recognizes God’s holiness and human culpability.
Prophetic Warning: Like the oracles of Isaiah or Jeremiah, Revelation 18 uses mourning as a prophetic sign that no power, however entrenched, can evade judgment.
Covenant Comfort: Revelation 21 fulfills Old Testament promises such as Isaiah 25:8: “The Lord GOD will wipe away the tears from every face.” Penthos is not eternal for God’s people; it serves a temporary, purifying role.
Contrasting Godly and Worldly Mourning: Godly mourning (James 4:9) is voluntary, Spirit-wrought, and results in repentance and restoration. Worldly mourning (Revelation 18) is forced, self-centered, and leads only to despair because it arises after the opportunity for repentance has closed.
Penthos echoes the Hebrew concept of “mourning” (ʼevel) found in passages such as Joel 2:12-13, where God invites His people to return with weeping. The New Testament usage confirms continuity between the covenants: sorrow over sin precedes renewal, while judgment brings inevitable lament to the unrepentant.
Jesus, the Man of Sorrows (Isaiah 53:3), embodies righteous mourning. His atoning work provides the basis for Revelation 21:4. Because He bore our griefs, He will finally remove every cause of grief from His people.
Penthos frames the believer’s journey from contrition (James 4) through the world’s final reckoning (Revelation 18) to everlasting consolation (Revelation 21). It testifies that divine justice and mercy are perfectly balanced: mourning is demanded where sin reigns, yet it is forever banished where the Lamb reigns.
The image number on this photo is 4019.
GREEK 4019
4019. perideó περιδέω
Meaning: to bind around, to wrap around
Strong’s Greek 4019 describes the action of binding something completely around, enclosing it so that movement is restricted. Its single New Testament occurrence, found in John 11:44, pictures the physical wrapping of Lazarus’ limbs in grave-cloths. The verb therefore conveys both literal restraint and an atmosphere of finality that death seemed to impose—until Jesus spoke.
Historical Context: Jewish Burial Customs: First-century Judean burials typically involved washing the body, anointing it with spices (John 19:40), and winding strips of linen around the limbs and torso. A separate cloth was tied around the head to keep the jaw closed. Such wrappings were tight enough to inhibit movement; bodies were then placed in rock-hewn tombs, often sealed with a stone (Mark 15:46). The verb of John 11:44 fits naturally within this cultural practice: Lazarus was secured in a way presumed irreversible, underscoring the magnitude of the miracle that followed.
“The man who had died came out with his hands and feet bound with strips of linen, and his face wrapped in a cloth. Jesus said to them, ‘Unbind him and let him go.’” (John 11:44)
The binding accentuates several features of the narrative:
1. Certainty of Death: The embalming-like procedure left no doubt that Lazarus had been dead four days (John 11:17, 39).
2. Complete Helplessness: Bound hands and feet symbolize total incapacity; Lazarus could not free himself.
3. Divine Initiative: Only the authoritative voice of Jesus reversed the irreversible, causing the once-bound man to emerge alive.
4. Human Participation: Although Jesus effected resurrection, He commanded bystanders to remove the grave-cloths, illustrating a partnership in which divine power and human obedience meet (cf. John 2:7; John 9:7).
The single use of this verb in connection with Jesus’ seventh sign in John reinforces the evangelist’s overarching purpose: “that you may believe that Jesus is the Christ, the Son of God” (John 20:31). By undoing the grave’s bindings, Jesus previews His own resurrection, where grave-clothes are left behind in orderly fashion (John 20:6–7). The event therefore functions apologetically—demonstrating Jesus’ sovereignty over death—and pastorally—offering assurance of bodily resurrection for believers (John 11:25–26).
Symbolism of Binding and Release: Scripture frequently contrasts bondage with deliverance. While Strong’s 4019 is unique to John 11:44, related verbs such as δέω (“to bind,” Matthew 12:29) and λύω (“to loose,” John 11:44; Revelation 5:2) create a thematic tapestry:
• Physical bondage mirrors spiritual captivity (Luke 13:16; Romans 7:23).
• Release foretells the liberty granted in Christ (Luke 4:18; Galatians 5:1).
Thus Lazarus’ unwrapping becomes a living parable of salvation—moving from death to life, from confinement to freedom.
MYSTERY BABYLON .. THE SATANIC WORLD ORDER .. HAS BEEN JUDGED!! MENE MENE TEKEL UPHARSIN!!! WEIGHED WEIGHED IN THE BALANCE AND FOUND WANTING!! WE WILL SOON SHOUT BABYLON HAS FALLEN!! FALLEN!!
AMERICA .. LAZARUS .. WILL DIE AND BE RESURRECTED (BORN AGAIN) INTO THE GOLDEN AGE OF GLORY BY GOD ALMIGHTY!!
The connection between "Babylon and tattoos" spans historical practices in ancient Mesopotamia, biblical references that shaped Western views, and modern tattoo culture inspired by Babylonian mythology and the city's symbolic legacy.
In ancient Babylon, tattoos (or bodily incisions) were primarily used to mark servants, slaves, and devotees. These incisions, often placed on the hands, arms, or legs, acted as a brand or identifier of ownership, status, or allegiance to a specific deity or master.
Babylonian practices directly influenced the Old Testament's stance on body modification. Because tattooing and ritual cutting were associated with pagan mourning and fidelity to idols, the Mosaic law forbade them.
LEVITICUS 19:28 "You shall not make any cuts on your body for the dead or tattoo yourselves: I am the Lord."
This prohibition was largely designed to prevent the Israelites from adopting the cultural and religious practices of neighboring Babylonian and Canaanite societies.
Today, the legacy of Babylon lives on in tattoo art as a symbol of power, mystery, and ancient history. Popular designs inspired by this theme include:
- The Lion of Babylon: A major symbol of royal power in ancient Mesopotamia.
- The Ishtar Gate: Known for its striking blue and vibrant dragon and bull reliefs.
- Cuneiform & Mythology: Tattoos featuring the ancient Babylonian cuneiform script or depictions of deities and figures like Gilgamesh.
- The Whore of Babylon: A popular, dramatic backpiece or sleeve motif for those who appreciate apocalyptic or mythological art.
HOLY MOLY!!!!!! ONLY GOD!!!!!!!
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