Dear Christian: Did you spend time with God today? ๐๐
๐๐โฅ๏ธ
https://iglovequotes.net/
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐ ๐๐๐๐ ๐๐ ๐ ๐๐๐๐๐ก, ๐๐๐ ๐กโ๐๐๐๐ ๐๐ ๐กโ๐ ๐๐๐๐๐๐๐ ๐๐ โ๐๐๐ฃ๐๐.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐๐ ๐ ๐คโ๐ ๐๐๐ข๐๐, ๐๐๐ ๐กโ๐๐ฆ ๐ค๐๐๐ ๐๐ ๐๐๐๐๐๐๐ก๐๐.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐ ๐๐๐๐, ๐๐๐ ๐กโ๐๐ฆ ๐ค๐๐๐ ๐๐โ๐๐๐๐ก ๐กโ๐ ๐๐๐๐กโ.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐๐ ๐ ๐คโ๐ โ๐ข๐๐๐๐ ๐๐๐ ๐กโ๐๐๐ ๐ก ๐๐๐ก๐๐ ๐๐๐โ๐ก๐๐๐ข๐ ๐๐๐ ๐ , ๐๐๐ ๐กโ๐๐ฆ ๐ค๐๐๐ ๐๐ ๐๐๐๐๐๐.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐ ๐๐๐๐๐๐๐ข๐, ๐๐๐ ๐กโ๐๐ฆ ๐ โ๐๐๐ ๐๐ ๐ โ๐๐ค๐ ๐๐๐๐๐ฆ.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐ ๐๐ข๐๐ ๐๐ โ๐๐๐๐ก,๐๐๐ ๐กโ๐๐ฆ ๐ค๐๐๐ ๐ ๐๐ ๐บ๐๐.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐ ๐๐๐๐๐๐๐๐๐๐๐ , ๐๐๐ ๐กโ๐๐ฆ ๐ค๐๐๐ ๐๐ ๐๐๐๐๐๐ ๐กโ๐ ๐ ๐๐๐ ๐๐ ๐บ๐๐.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐กโ๐๐ ๐ ๐คโ๐ ๐๐๐ ๐๐๐๐ ๐๐๐ข๐ก๐๐ ๐๐๐๐๐ข๐ ๐ ๐๐ ๐๐๐โ๐ก๐๐๐ข๐ ๐๐๐ ๐ , ๐๐๐ ๐กโ๐๐๐๐ ๐๐ ๐กโ๐ ๐๐๐๐๐๐๐ ๐๐ โ๐๐๐ฃ๐๐.
๐ต๐๐๐ ๐ ๐๐ ๐๐๐ ๐ฆ๐๐ข ๐คโ๐๐ ๐๐๐๐๐๐ ๐๐๐ ๐ข๐๐ก ๐ฆ๐๐ข, ๐๐๐๐ ๐๐๐ข๐ก๐ ๐ฆ๐๐ข ๐๐๐ ๐๐๐๐ ๐๐๐ฆ ๐ ๐๐ฆ ๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐ฃ๐๐ ๐๐๐๐๐๐ ๐ก ๐ฆ๐๐ข ๐๐๐๐๐ข๐ ๐ ๐๐ ๐๐.ย ๐ ๐๐๐๐๐๐ ๐๐๐ ๐๐ ๐๐๐๐, ๐๐๐๐๐ข๐ ๐ ๐๐๐๐๐ก ๐๐ ๐ฆ๐๐ข๐ ๐๐๐ค๐๐๐ ๐๐ โ๐๐๐ฃ๐๐, ๐๐๐ ๐๐ ๐กโ๐ ๐ ๐๐๐ ๐ค๐๐ฆ ๐กโ๐๐ฆ ๐๐๐๐ ๐๐๐ข๐ก๐๐ ๐กโ๐ ๐๐๐๐โ๐๐ก๐ ๐คโ๐ ๐ค๐๐๐ ๐๐๐๐๐๐ ๐ฆ๐๐ข.
โThe Beatitudes, ๐๐๐ก๐กโ๐๐ค ๐ป:๐นโ๐ท๐ธ (๐๐ผ๐)
In the spirit of holy week โฑ, I've decided to drop this, if this post doesn't resonate with you, feel free to skip....
The birth of Christ
the rebirth of our hope
the rebirth of our endurance
the rebirth of a peacefull world
if only
atleast we do as
He told us to do
A merry Christmas to all of us
Alive.
Isabelle: (Singing) ๅคๆใๅใซ็ฎ่ฆใใ ้ใๆฏใๆฝใใ ้ใใใ่ฟฝใใใใ ่จ่ใฏ่ฆใคใใใชใ (English: I awaken before daybreak, The darkness hides its breath, I chase after the stillness, The words won't be found)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใใใงๆๅพใใช (English: I wonder if this is the last)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใฉใใซใใใฆไฝใจใใใใ (English: One way or another, I want to do something about it)
Ghosts and Isabelle: (Singing) ไปใๆๆพใใใ, ใใ้ใใ ใ ใใฎใพใพ (English: Right now, if you let go, We will merely pass by another, It will be as it is)
Isabelle: ใใไผใใชใ (English: I cannot meet with you anymore)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใใใงๆๅพใใช (English: I wonder if this is the last)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใฉใใซใใใฆไฝใจใใใใ (English: One way or another, I want to do something about it)
Ghosts and Isabelle: (Singing) ไปใๆๆพใใใ, ใใ้ใใ ใ ใใฎใพใพ (English: Right now, if you let go, We will merely pass by another, It will be as it is)
Isabelle: (Singing) ใใไผใใชใ (English: I cannot meet with you anymore)
Isabelle: (Singing) ใใไธ็ทใซใใๅฟ ่ฆใฏใชใ, ้จใใใใชใ, ๆใ่ฟใใใณใซ , ็ญใใ่ฆใคใใใชใ (English: No more then to be together, I don't want to cheat, Whenever I think back, An answer can't be found)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใใใงๆๅพใใช (English: I wonder if this is the last)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใฉใใซใใใฆไฝใจใใใใ (English: One way or another, I want to do something about it)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใใใงๆๅพใใช (English: I wonder if this is the last)
Ghosts: (Singing) LORD GIVE ME ONE MORE CHANCE!
Isabelle: (Singing) ใฉใใซใใใฆไฝใจใใใใ (English: One way or another, I want to do something about it)
Music: https://youtu.be/YixAD9GIAuY?si=dnuQdsDD6OOv5Bld
todayโs lectionary textsโacts 5:27โ32, psalm 118:14โ29, revelation 1:9โ11a, 12โ13, 17โ19, and john 20:19โ31โare so densely interwoven itโs practically rabbinic. itโs the second sunday of easter, which historically functioned as a liturgical echo chamber for the resurrection. but todayโs selections arenโt just liturgical fillerโtheyโre deliberate theological architecture. acts 5:27โ32 put you into a post pentecost context where peter and the apostles, fresh off their spirit induced empowerment, confront the sanhedrin. the line โwe must obey god rather than menโ (ฮดฮตแฟ แผฮฝฮธฯฯฯฮฟฮนฯ ฯฮตฮนฮธฮฑฯฯฮตแฟฮฝ ฮผแพถฮปฮปฮฟฮฝ แผข ฯแฟท ฮธฮตแฟท) is almost a second century anachronism. it anticipates martyrdom theology, rooted in texts like daniel 3 and 6, but also anticipates justin martyr and tertullianโs apologetics. it reframes civic disobedience as divine allegiance.
psalm 118 functions as a hinge text. it's the last of the hallel psalms (113โ118), used during passover, which already overlays a liberation motif onto resurrection. โthe stone the builders rejectedโ (v. 22) gets picked up in matt 21:42, mark 12:10, luke 20:17, and here again as a kind of post easter hermeneutical key. the rejected messiah becomes the cornerstone of a new ekklesia. it's also worth noting how this psalm was used in second temple processionals. what begins as royal liturgy becomes political protest. revelation 1:9โ19 layers on the apocalyptic. john of patmos positions himself in exile โbecause of the word of god and the testimony of jesusโโa deliberate mirroring of the acts narrative. christ appears โlike a son of manโ (แฝ ฮผฮฟฮนฮฟฮฝ ฯ แผฑแฝธฮฝ แผฮฝฮธฯฯฯฮฟฯ ), drawing straight from daniel 7, but recoded with roman imperial aesthetics: golden sash, bronze feet, sword mouth. itโs not just christologicalโitโs anti imperial polemic. domitianโs empire is the beast; the risen christ is pantokrator. then john 20:19โ31. locked room. fear. sudden appearance. peace (ฮตแผฐฯฮฎฮฝฮท แฝฮผแฟฮฝ), said twice. jesus breathes on themโenephรฝsenโan echo of gen 2:7 and ezek 37. this is a new creation moment, a new adam breathing life into a new humanity. and thomas, often unfairly dubbed โdoubting,โ functions more like a johannine stand-in for the reader. he gets to touch the wound (typos), an embodied epistemology. and yet, the final beatitudeโโblessed are those who have not seen and yet have believedโโextends the narrative beyond history into faith. the whole text folds time like a chiasm. so yeah. today is about post resurrection defiance, counter temple theologies, radical reinterpretations of jewish liturgy, imperial subversion via apocalyptic aesthetics, and an invitation to epistemic humility. itโs theology as resistance literature.
THE SMELL OF TOBACCO
AND
CHAOS ENGINES
AND
TOBACCO USE AT NEWSSTANDS
AND
THE BELL TOLLS
AND
AUTOMATED CLAPPERS
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