Posts tagged with: christ

Blog author: dpahman
Wednesday, June 11, 2014

Today at Ethika Politika, I examine the longstanding claim of the Roman Catholic Church that the universal character of the common good in our present era necessitates a world political authority. The problem, I argue, lies in the tradition’s too closely identifying the good of political communities with the common good.

The recently canonized Pope John XXIII, for example, states that “[p]ublic authority” is “the means of promoting the common good in civil society” (Pacem in Terris, 136, emphasis mine). And Pope Benedict XVI continued the call made by John XXIII for a “world political authority” in Caritas in Veritate, specifically recommending that the U.N. be “vested with the effective power to ensure security for all, regard for justice, and respect for rights” (57, emphasis mine). The problem with the U.N., to the popes, is that it is not powerful enough.

In response, I write,

I would worry about a U.N. or any other global political authority endowed with such great power and means. If nation states have failed to ensure the global common good, as the pope admits, why should we expect a global government to be free from error in this regard? The only difference would be that the mistakes of such politicians would necessarily have global consequences. I like my U.N. nearly ineffective and mostly powerless, thank you very much. If anything, to ensure subsidiarity, the larger the political authority, the less power and means it should have. (more…)

MonksInkWhat do markets have to do with monasticism? Quite a lot to the Benedictine monks of St. Andrew’s Abbey in Southern California, according to a recent press release. Their prior Fr. Joseph Brennan describes MonksInk, the monks’ business selling ink and toner cartridges:

Every monastery has something unique about them. For example, a monastery in Louisiana makes soap. Some make jellies and jams. The Camaldolese make amazing fruitcake. But we never developed anything like that. Until now, we only produced ceramics, and even these were designed by a brother monk in Belgium. We really needed to do something different. MonksInk was a good fit.

The article goes on to detail their offerings:

Product selection meets or exceeds what one could find at any big box office supply store — including ink and toner options for every make and model of printer, fax and copy machine, from HP and Epson to Xerox, and every brand in between. Buyers also have their choice of original manufacturer products, alternative cost-saving brands, or re-manufactured items. And, the monks are quick to point out, anyone can always add a prayer request or two as well! (more…)

Anthony Bradley revisits the thought of Abraham Kuyper as a way of understanding the relationship between creation, Christ, and culture.

Over at the Hang Together blog, Greg Forster follows up on a series of ruminations about the gospel described as both a “pearl” and a “leaven.”

He proceeds to focus on the reality that so many place the Great Commission and the Cultural Mandate in conflict by highlighting a couple of scriptural passages: Colossians 3:23-24 and Romans 12:2:

Whatever you do, work heartily, as for the Lord and not for men, knowing that from the Lord you will receive the inheritance as your reward. You are serving the Lord Christ.

Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect.

As Greg notes, here are two places where “we might find these two imperatives stated more clearly in the form of ethical commands, rather than in parables.”

To take another approach that riffs off of musings on the idea of “hanging together,” I’d like to highlight another verse, Colossians 1:17, which says of Christ, “He is before all things, and in him all things hold together.”

One way of understanding the verb appearing as “hold together” in this verse is the act “to bring together or hold together something in its proper or appropriate place or relationship” (Louw and Nida, Greek-English Lexicon of the New Testament). This verb, I think, captures the dynamic between our orientation of the Great Commission and the Cultural Mandate and their orientation and subordination to Christ. The key question is how we properly relate each one of “all things,” including structures like family, work, church, and government, to Christ.

For the implications of what it might mean for cultural production, engagement, and transformation from the perspective of things “holding,” or even with a bit of license, “hanging,” together in Christ, I submit this from Anthony Bradley, who relates what Abraham Kuyper’s vision of Christ’s sovereignty means for the church today. As Bradley says in light of the doctrine of creation and in specific reference to Colossians 1:17, “Now sin destroyed this shalom, but Christ’s sovereignty over creation and culture did not end.”

In today’s culture, there is always an abundance of news stories about the “War on Christmas.” In my commentary this week, I address that concern and the lack of understanding of the deeper meaning of Christmas. Here’s a highlight:

Every December cultural warriors mourn the incessant attacks on Christmas and secularism’s rise in society. News headlines carry stories of modern day Herods banning nativity scenes, religious performances, and even the word “Christmas.” Just as a majority of young people profess they will have less prosperity and opportunity than their parents, many people now expect less out of Christmas. Continual bickering over holiday messaging in corporate advertising itself points to a shrinking and limited Christmas.

Yet these problems are signs on the way to important truths, if we have the eyes to see. Record spending and debt, whether in Washington or the home, allude to a society trying to fill an emptiness of the heart. Even our disappointment in poor leadership in America reminds us that we crave a true King and are expectant of a greater day.

In 2010, I penned a related essay “Why the Nativity?” That post delves even deeper into the theology of the incarnation and the celebration of the birth of Christ.

Christmas is a hard time for many people because expectations for joy and changes in their life are so high. In my own life, I count myself among those that have had a difficult time at Christmas because I’m so reflective and I realize life isn’t always how I want it.

There is a sign in front of the church that I attend that reads, “Jesus is all you want, if Jesus is all you have.” I find that the more I deeply ponder the incarnation of Christ, the more I am amazed and my heart is transformed.

I quoted Charles Wesley in my commentary in where he called Christ the “desire of every nation,” and “joy of every longing heart.” The hymn is of course, “Come Thou Long Expected Jesus.” The words are beautiful and I’ve always loved Wesley’s hymns because they deal with the deepest hopes of the heart and he personalizes the person of Christ for all.

Blog author: jballor
Wednesday, February 22, 2012

AschenkreuzYesterday my son asked me why today is called “Ash Wednesday.” In that question I could hear the echoes of another question, “Since Christ has died for us, why do we still have to die?”

The latter question is found in the Heidelberg Catechism, and the brief but poignant answer has stuck with me since I first encountered it. First, the catechism clarifies that our death does not have redemptive power: “Our death does not pay the debt of our sins.” That’s what distinguishes Christ’s death from our own.

But next, the catechism describes two interrelated things our death does do. First, our death “puts an end to our sinning.” What a comforting thought! As Luther put it strikingly, “As long as we are here [in this world] we have to sin.” Our death is the end of our lifelong struggle against sin, and the culmination of the purpose of our entire life. As Calvin writes, “during our whole lives we may aim at a constant rest from our own works, in order that the Lord may work in us by his Spirit.” Our death is where this “constant rest” is finally achieved.

And following from the end to our life of sin, our death marks “our entrance into eternal life.” Thus we enter through our deaths into the eternal Sabbath, where we finally rest from our evil works, enjoy the “constant rest” (Calvin) from sin, and the fullness of life in the Spirit.

So on this Ash Wednesday, when we contemplate the origin and destiny of our earthly life in dust, let us take comfort in the realization that the death of those who are in Christ is merely the end of the beginning of the story. In the midst of our mourning during the Lenten season inaugurated with Ash Wednesday, let us not “grieve like the rest of mankind, who have no hope” (1 Thessalonians 4:13 NIV).

With its subject, use of Scripture, and majestic soaring choruses, George Ferederic Handel’s Messiah is easily the most recognizable musical piece in Western Civilization. It is also perhaps the most widely performed piece of classical or choral music in the West. After hearing a performance of the Messiah, fellow composer Franz Joseph Haydn simply said of Handel, “This man is the master of us all.” Not to be outdone, Beethoven declared, “Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave.”

The text of the Messiah, compiled from Scripture, was sent to Handel by his friend Charles Jennens and begins with Isaiah 40, “Comfort ye, comfort ye my people.” Part 1 of the Messiah deals with the prophetic pronouncements of the Virgin Birth, and the actual birth account taken from Luke’s Gospel. Part II deals with Christ’s passion and his atoning death, his resurrection and ascension, and sending out of the Gospel. Part III is a celebration of the general resurrection of the dead, the day of judgment, the victorious nature of Christ and his triumphant reign. It is a bounty of Christian doctrine packed into an English oratorio. Amazingly, Handel composed the work in 23 days. Quoting the Apostle Paul, Handel said, “Whether I was in my body or out of my body as I wrote it I know not. God knows.”

Messiah is so masterful and celebrated it overshadows some of Handel’s other stellar work. Concerning the Messiah in particular, there is quite a bit of information out there about Handel the entrepreneur. Below is an audio story about Handel’s entrepreneurial endeavors and his charitable work tied into the Messiah that aired on PBS in 2009. You can watch the video version of the story here.

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Tim Slover, author of Messiah: The Little-Known Story of Handel’s Beloved Oratorio adds this note,

The Royal Family, fellow Germans from the same region of Hanover, were staunch supporters of his work, but this did not translate into financial security for Handel, as the Crown only sporadically underwrote his opera seasons. When weddings or other occasions called for it, the Hanovers commissioned music from him, but this was never enough to live on, and, anyway, Handel was no court composer. By temperament he was an entrepreneur. He spent several months of every year striking business deals with theater owners, auditioning and hiring singers, and rehearsing and performing instrumental music, operas, and oratorios. His fortunes rose or fell with the public’s reception of his music, and there were lean times as well as prosperous ones.

Messiah, while popular at the time, was certainly not as beloved as it is today. There was controversy surrounding the performance, specifically that such a sacred piece of music would be played outside of the Church and in secular music halls and venues. And while Messiah was composed for charitable purposes, it showcased more of Handel’s entrepreneurial skills and willingness to take risks.

Handel, a devout Lutheran, loved sacred music and believed every word of what he wrote and composed. As mentioned earlier, Handel took a lot of risks with his music because he liked to perform what he loved most. He was bankrupt at various times in his life and had fallen out of favor with the public. Just a few years before the Messiah was composed, Frederic the Great declared that, “Handel’s great days are over. His inspiration is exhausted.” Handel himself was even close to being sent to debtors prison. Before Messiah, Handel conducted what he thought would be his last performance and retired for a time. When Messiah was first performed in 1742, it raised enough money to free 142 men from debtor’s prison so their sons and daughters would not be orphans.

Many readers have of course seen the Messiah performed and may have attended a performance this year or selections may have been performed in their places of worship. It was originally intended as a Lenten piece, but is now largely played in the Christmas season. What is so remarkable about the Messiah to me is not that it is just such a majestic and beautiful work of music, but that it is impossible to separate Christ from the performance. While many sacred works are embraced by a secular world and secular music performers, the meaning of the Messiah is so plain it cannot be overlooked. In fact, Jennens selected the text of Messiah to counter the rising arguments of the deists and secularists of his day.

Messiah thunderously crushes the secular agenda and goals of today or of any period. Theologian Tom Oden offers some profound words on the Western world and Christ in his systematic theology The Word of Life. “It would be strangely unhistorical if the historians accidentally ignored him [Christ] or decided to study all figures except the one who has affected Western history most,” says Oden. He adds that “Western history would not be Western history without him.” Later on Oden observes, “Deeper even than the mystery of his astonishing historical influence is the simpler, starker question that rings through Christian reflection: Cur Deus Homo? Why did God Become human?” Handel answers that so thoroughly, beautifully, and triumphantly with his Messiah.

Blog author: jballor
Wednesday, September 7, 2011

In this week’s Acton Commentary, “Work and Prayer: Of Coins, Sheep, and Men,” I explore what the parable of the Prodigal Son (when read in conjunction with the parables of the Lost Coin and the Lost Sheep) has to teach us about stewardship:

Reading these three stories together teaches us many things about the nature of God’s love for us, such that when we were lost, “While we were still sinners, Christ died for us” (Romans 5:8 NIV). But the stories also provide models for how we should relate to the different aspects of God’s created order, from the material, to the animal, to the human. In each kind of relationship, humans have a definite role to play. In some cases we are called to work actively to achieve God’s purposes in the world. In other cases, out of respect for human freedom and individual sovereignty, we have to engage in active searching for the lost things of this world by less direct means.

Jan van Hemessen - The Prodigal Son - WGA11358

Does this guy have anything to teach us about stewardship?

The Parable of the Lost Son has been the subject of popularization and cultural expression throughout the centuries (see, for instance, Tissot’s set of paintings on “The Prodigal Son in Modern Life”). In recent decades, films like Legends of the Fall (1994) have drawn at least partial inspiration from the story. In this week’s commentary, I don’t have space to treat the case of the elder brother adequately, but Andrée Seu draws parallels between the elder brother in the 1994 film and the tale of the Prodigal Son.

I also draw on C. S. Lewis’ essay, “Work and Prayer,” which appears in the collection of essays, God in the Dock.