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Steps Towards Inner Peace Steps Towards Inner Peace

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  • Author: Peace Pilgrim
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About the Book


"Steps Towards Inner Peace" by Peace Pilgrim is a spiritual guide that offers practical advice and wisdom on how to cultivate inner peace through living a simple, compassionate, and fulfilling life. Peace Pilgrim shares her own spiritual journey and insights, encouraging readers to let go of material possessions, negative thoughts, and attachments in order to find true peace and happiness within themselves.

Keith Green

Keith Green Born on October 21, 1953, in Sheepshead Bay, NY; died on July 28, 1982, in Lindale, TX; married Melody Steiner, 1973; children: Josiah (deceased), Keith, Bethany (deceased), Rebekah. Addresses: Record company--Sparrow Records, P.O. Box 5085, Brentwood, TN 37024. Website--Keith Green Official Website: http://www.lastdaysministries.org. Known for his uncompromising approach to both his faith and his music, Keith Green has become a legendary figure in Contemporary Christian music since his death in 1982. Taking on the role of a modern-day prophet, he earned a fervent following thanks to his explicit evangelical message and buoyant brand of pop-rock. Green was a critic both of secular society and of commercial tendencies within the Christian community. Since his passing, he has been the subject of several tribute albums and was inducted into the Gospel Music Hall of Fame in 2001. From early childhood onward, it seemed certain that Green would become a musician. Born in New York, he relocated to the San Fernando Valley area of California with his family not long after. At age eight, he began to perform in stage musicals, appearing in such notable roles as Kurt Von Trapp in a local production of The Sound of Music. In 1965 he published his first song, "The Way I Used to Be," and became the youngest member of the American Society of Composers, Authors, and Publishers. That same year he signed a five-year recording contract with Decca Records and released his first single, "Cheese and Crackers." Though Green was groomed to be a teenage idol, he never quite achieved success. The late 1960s found him experimenting with drugs and dabbling in various Eastern religions. His life began to turn around after he met (and eventually married) songwriter Melody Steiner in the early 1970s. Under Steiner's guidance, Green began to explore fundamentalist Christianity. Before fully embracing the faith, he began keeping company with singer/songwriters Larry Norman and Randy Stonehill, two of Southern California's best-known Christian rock artists. His skills as a singer and composer began to develop as he edged closer to religious conversion. Finally, in 1975 he became a committed Christian after becoming involved with the Vineyard, a well-known San Fernando Valley church. With a convert's fervor, Green became involved in a series of Christian music projects, including the band Good News and the stage musical Firewind. He also began writing spiritually themed songs, among them "Your Love Broke Through," which went on to become a Christian pop standard recorded by Randy Stonehill, Phil Keaggy, and others. Dedicating his reawakened creativity to glorifying God, Green founded Last Days Ministries in 1977. He and his followers evangelized to young rock music fans, street people, and others not being reached by conventional churches. At the same time, he made his debut as a Christian recording artist, signing with Sparrow Records and releasing the album For Him Who Has Ears to Hear. This song collection displays the essentials of Green's musical style: exuberant singing, piano-based melodies, and well-crafted pop/rock production. Among the best-known tracks on Green's first album are "You Put This Love in My Heart," "No One Believes Me Anymore," and "Your Love Broke Through." Balancing the warm-hearted testimony of these tunes are some humorous moments, including "No One Believes Me Anymore," a mock lament sung from the Devil's point of view. Overall, For Him Who Has Ears to Hear introduced Green to the Christian music market as a gifted musical evangelist of enormous potential. As his audience grew, Green made clear that his focus was on spreading Christian teaching rather than providing entertainment. He sought to challenge the assumptions of his fellow believers, criticizing Christians who took their faith for granted. Some compared him with the Old Testament prophet Ezekiel, who decried the loose morals and weak faith of his generation. A number of the songs on Green's 1978 album No Compromise were addressed to the spiritually lazy. Most important among these is "Asleep at the Light," a ringing call for Christian activism sung by Green with palpable emotion. Less intense but still effective is the playful "Dear John (Letter to the Devil)" and the country-tinged "Soften Your Heart." All three of these songs received considerable airplay on Christian music stations. Green was uneasy in his role as an emerging celebrity. He spoke out against the Christian music industry's increasing tendency to imitate secular show business ways. "Why do we idolize Christian singers and speakers?," he asked in a statement issued through Last Days Ministries. "We go from glorifying musicians in the world, to glorifying Christian musicians. It's all idolatry! ... It's true that there are many men and women of God who are greatly anointed to call down the Spirit of God on His people and the unsaved. But Satan is getting a great victory as we seem to worship these ministers on tapes and records...." Turning away from the California Christian music scene, Green relocated to Lindale, a small east Texas community, in 1978. In addition to maintaining Last Days Ministries, he decided to launch his own record company, Pretty Good Records. Through this label, he released his next album, So You Wanna Go Back to Egypt, in 1980. This eclectic effort pokes fun at weak-spirited believers in its title track and offers a personal confession of need in "I Want to Be More Like Jesus." The most enduringly popular track proved to be "Oh Lord You're Beautiful," a powerful hymn that became a favorite at Christian worship services. In a bold move, Green announced that So You Wanna Go Back to Egypt would be sold for a variable price, even given away for free to those unable to pay. This decision sent shock waves through the Christian music industry, causing other artists to reconsider their album and concert pricing policies. An estimated 200,000 copies of the album were eventually distributed on a "pay what you can afford" basis. Unlike some of his Christian music peers, Green showed little desire to dilute his message in hopes of reaching a wider audience. His 1982 album Songs to the Shepherd concentrates on worshipful material, praising the Lord in musical settings ranging from uplifting pop ("You Are the One") to blues-seasoned rock ("O God Our Lord") to old-fashioned country ("Draw Me"). While these songs were little-heard outside the Christian community, they helped fire Green's already-committed audience to a greater level of devotion. Fusing his work as a performer and evangelist, he toured actively during the early 1980s, mixing personal testimonials and heartfelt exhortations in between his musical numbers. Green's life was cut short just as he began to hit his stride as a musician and minister. On July 28, 1982, he boarded a small Cessna aircraft for a brief sightseeing flight around his property in Lindale. Also on board were his son Josiah and daughter Bethany, along with the pilot and eight other passengers. Overloaded, the plane crashed shortly after takeoff, killing everyone on board. Recovering from her loss, Melody Green decided to carry on with Last Days Ministries and Pretty Good Records. Recordings of her husband's music were released posthumously, beginning with Prodigal Son and Jesus Commands Us to Go in 1983. Though lacking the cohesiveness of the albums released during his lifetime, both these song collections capture Green in strong creative moments. Prodigal Son's dramatic title track is a particular highpoint. Melody Green continued to guide Last Days Ministries through the coming years and, in 1985, also took on the directorship of Americans against Abortion. Green's musical legacy remained vital as well, with many of his best-known recordings repackaged in compilation albums by Sparrow during the 1980s and 1990s. Multi-artist tribute albums also began to appear, starting with 1992's No Compromise: Remembering the Music of Keith Green. 2001 saw the release of Start Right Here: Remembering the Life of Keith Green, featuring spirited interpretations of his songs by such notable Christian rock acts as MxPx, Joy Electric, and Starflyer 59. Your Love Broke Through: The Worship Songs of Keith Greencontains covers of Green tunes by Michael W. Smith, Twila Paris, Rebecca St. James, and other top-rank Christian pop/rock talents. On November 27, 2001, Green was inducted into the Gospel Music Hall of Fame. The honor served as an acknowledgment of his continuing influence in Contemporary Christian music some 20 years after his death. Green's intensity and dedication have continued to make him a role model for younger Christian performers, such as Rebecca St. James, who paid tribute to him in a Sparrow Records press biography. "I think what touches me most about him was that he was so committed to loving God and living for Him," she said of Green. "I know he was very strong-willed and people were sometimes offended at what he did and said, but it all came out of a pure motive of trying to be committed to Him in every part of his life. He wasn't going to back down just because of what people thought of him. That, to me, says that he was more focused on pleasing God than on pleasing man, something I think we should all try to focus on." Keith Green's Career Began career as child stage actor and composer, early 1960s; signed with Decca, released debut single, "Cheese and Crackers," 1965; began writing Christian songs, mid-1970s; founded Last Days Ministries, released first album, For Him Who Has Ears to Hear, 1977; founded Pretty Good Records, released album So You Wanna Go Back to Egypt, 1980. Keith Green's Awards Induction (posthumous), Gospel Music Hall of Fame, 2001. Famous Works For Him Who Has Ears To Hear , Sparrow, 1977. No Compromise , Sparrow, 1978. So You Wanna Go Back to Egypt , Pretty Good, 1980. The Keith Green Collection , Sparrow, 1981. Songs for the Shepherd , Pretty Good, 1982. The Prodigal Son , Pretty Good, 1983. Jesus Commands Us to Go , Pretty Good, 1984. Because of You--Songs of Testimony , Sparrow, 1998. Here I Am, Send Me--Songs of Evangelism , Sparrow, 1998. Oh Lord, You're Beautiful--Songs of Worship , Sparrow, 1998. Make My Life a Prayer to You--Songs of Devotion , Sparrow, 1998.

hero in an unmarked grave - the unusual modesty of john calvin

On May 27, 1564, just after eight o’clock in the evening, a nurse urgently summoned Theodore Beza (1519–1605) to Calvin’s bedside. “We found he had already died,” Calvin’s friend and fellow pastor later wrote. “On that day, then, at the same time with the setting sun, this splendid luminary was withdrawn from us.” 1  Calvin was 54 years old. Calvin’s death sent a shock wave throughout Geneva and beyond. Beza writes, “That night and the following day there was a general lamentation throughout the city . . . all lamenting the loss of one who was, under God, a common parent and comfort.” He records that two days later “the entire city” gathered at the St. Pierre Cathedral to honor their beloved pastor. Despite Calvin’s prominence, the funeral was unusually simple, “with no extraordinary pomp.” 2  But Calvin’s burial was particularly unusual. Unmarked Grave Eighteen years earlier, on February 18, 1546, fellow Reformer Martin Luther died at the age of 63. As was common practice for ministers, Luther’s remains were interred inside the church where he had faithfully served. His casket lies in Wittenberg’s Castle Church, near the pulpit, seven feet below the floor of the nave. Luther’s successor and fellow Reformer, Philip Melanchthon (1490–1560), is buried beside him. So also William Farel (1489–1565), who first called Calvin to Geneva in 1536, is buried in the cathedral of NeuchĂątel, where he spent the final years of his ministry. When Calvin’s friend and successor Theodore Beza died in 1605, he was buried next to the pulpit of St. Pierre, the Genevan church in which he and Calvin ministered together. But Calvin’s remains lie elsewhere. Rather than being interred in St. Pierre, Calvin’s body was carried outside the city wall to a marshy burial ground for commoners called Plainpalais. With close friends in attendance, Calvin’s body was wrapped in a simple shroud, enclosed in a rough casket, and lowered into the earth. Beza writes that Calvin’s plot was unlisted and, “as he [had] commanded, without any gravestone.” 3 Why did Calvin command that he be buried, contrary to common practice, in an unmarked grave? Some speculate that he wanted to discourage religious pilgrims from visiting his resting place or to prevent accusations from the Roman church that he desired veneration as a saint. 4  But the answer lies somewhere deeper — in Calvin’s understanding of Christian modesty. Forgotten Meaning of Modesty When we speak of modesty today, we most often mean dressing or behaving in such a way as to avoid impropriety or indecency. But modesty more generally refers to the quality of being unassuming or moderate in the estimation of oneself. For centuries, the church understood the connection. Immodest dress was not simply ostentatious or sexually suggestive; it reflected an overemphasis on appearance. As Jesus warned, outward appearance can mask impiety (Matthew 6:16) or pride (Luke 18:12). This is why both Gentile women converts in Ephesus and the Jewish Christians addressed in Hebrews are urged to consider how their outward appearance relates to the disposition of the heart. Excessive adornment could be evidence of self-importance (1 Timothy 2:9). Acceptable worship requires a posture of reverence, not pretension (Hebrews 12:28). Thus, a modest person represents himself neither too highly nor too meanly because he understands both the dignity and the humility of being transformed by the grace of God. “Modesty is simply the outward reflection of true Christian humility.” Modesty, then, is simply the outward reflection of true Christian humility. It obliterates pride by embracing the reality that a Christian is both creaturely and beloved. In this light, self-importance becomes absurd. Grandiosity becomes laughable. Celebrity becomes monstrous. We Are Not Our Own For Calvin, the gospel radically reshapes our view of self. As those created in God’s image, provisioned by his goodness, redeemed by his mercy, transformed by his grace, and called to his mission, those who belong to Christ no longer live for themselves. “Now the great thing is this,” Calvin writes, “we are consecrated and dedicated to God in order that we may thereafter think, speak, meditate, and do, nothing except to his glory.” Calvin continues, If we, then, are not our own but the Lord’s, it is clear what error we must flee and whither we must direct all the acts of our life.  We are not our own : let not our reason nor our will, therefore, sway our plans and deeds.  We are not our own : let us not therefore see it as our goal to seek what is expedient for us according to the flesh.  We are not our own : in so far as we can, let us therefore forget ourselves and all that is ours. Conversely, we are God’s : let us therefore live for him and die for him.  We are God’s : let his wisdom and will therefore rule all our actions.  We are God’s : let all the parts of our life accordingly strive toward him as our only lawful goal. Oh how much has that man profited who, having been taught that he is not his own, has taken away dominion and rule from his own reason that he may yield it to God! For, as consulting our self-interest is the pestilence that most effectively leads to our destruction, so  the sole haven of salvation is to be wise in nothing through ourselves but to follow the leading of the Lord alone . 5 “Modesty blossoms when we experience the freedom from having to prove ourselves to God or one another.” Modesty and humility flow from a heart transformed by the Spirit of Christ. “As soon as we are convinced that God cares for us,” Calvin writes, “our minds are easily led to patience and humility.” 6  The Spirit shapes us with a kind of moderation that “gives the preference to others” and that guards us from being “easily thrown into agitation.” 7  Modesty blossoms when we experience the freedom from having to prove ourselves to God or one another. ‘Modesty, His Constant Friend’ Calvin’s life reflected this reality. Despite the doors that were opened to him through his writing and network of connections, he was committed to “studiously avoiding celebrity.” 8  When the  Institutes  was published in 1536, he was so successful in his object to “not acquire fame” that no one in Basel knew that he was its author. For the rest of his life, wherever he went, he took care to “conceal that I was the author of that performance.” 9  Calvin even sought to avoid a wider ministry in Geneva, having “resolved to continue in the same privacy and obscurity.” He was drawn into the limelight only when William Farel warned him “with a dreadful imprecation” that turning down the post would be refusing God’s call to service. 10  In brief autobiographical comments he wrote the year that he died, we see a glimmer of his own surprise over God’s sovereign hand through his life. God so led me about through different turnings and changes that he never permitted me to rest in any place, until, in spite of my natural disposition, he brought me forth to public notice. . . . I was carried, I know not how, as it were by force to the Imperial assemblies, where, willing or unwilling, I was under the necessity of appearing before the eyes of many. 11 It is no surprise, then, that a few days before his death, Calvin exhorted his friends to not be those who “ostentatiously display themselves and, from overweening confidence, insist that all their opinions should be approved by others.” Instead, he pleaded with them to “conduct themselves with modesty, keeping far aloof from all haughtiness of mind.” 12  For Beza, Calvin’s modesty — forged by his vision of God’s glory, Christ’s redeeming love, and the Spirit’s animating power — was his defining characteristic. After Calvin’s burial, Beza captured it in verse: Why in this humble and unnoticed tomb Is Calvin laid — the dread of falling Rome; Mourn’d by the good, and by the wicked fear’d By all who knew his excellence revered? From whom ev’n virtue’s self might virtue learn, And young and old its value may discern? ’Twas modesty, his constant friend on earth, That laid this stone, unsculptured with a name; Oh! happy ground, enrich’d with Calvin’s worth, More lasting far than marble is thy fame! 13 Free to Be Forgotten In old Geneva, on the grounds of the college Calvin founded, stands an immense stone memorial to four leaders of the Protestant Reformation. At its center are towering reliefs of Calvin, Beza, Farel, and John Knox (1513–1572). Calvin would surely detest it. But the monument is a metaphor. We live in a culture that fears obscurity and irrelevance. We measure ourselves against others and build our own platforms in the hope that we will not be forgotten. We attempt to distinguish ourselves at the expense of the humility and modesty that honors Christ. Calvin would have us be free from such striving. For however anyone may be distinguished by illustrious endowments, he ought to consider with himself that they have not been conferred upon him that he might be self-complacent, that he might exalt himself, or even that he might hold himself in esteem. Let him, instead of this, employ himself in correcting and detecting his faults, and he will have abundant occasion for humility. In others, on the other hand, he will regard with honor whatever there is of excellences and will, by means of love, bury their faults. The man who will observe this rule, will feel no difficulty in preferring others before himself. And this, too, Paul meant when he added, that they ought not to have everyone a regard to themselves, but to their neighbors, or that they ought not to be devoted to themselves. Hence it is quite possible that a pious man, even though he should be aware that he is superior, may nevertheless hold others in greater esteem. 14 We may rightly regard Calvin as a hero of the faith, but he didn’t ultimately see himself that way. Humility had taught him to walk modestly before God and others — and, in the end, the freedom to lie down in a forgotten grave. Theodore Beza, “The Life of John Calvin” in  Tracts Related to the Reformation  (Edinburgh: Calvin Translation Society, 1844), 1:xcv. ↩ Beza,  Tracts , 1:xcvi. ↩ Beza,  Tracts , 1:xcvi. ↩ Eighteenth-century guidebooks indeed list the disused Plainpalais cemetery as an important stop for tourists, though they warn that pilgrims will search for Calvin’s resting place in vain. By the nineteenth century, keepers of the burial ground staked out a “likely-enough” site for Calvin’s grave (complete with a rudimentary marker) simply to avoid the irritation of being so frequently asked. ↩ John Calvin,  Institutes of the Christian Religion , ed. John T. McNeill, trans. Ford Lewis Battles (Louisville, KY: Westminster John Knox Press, 2011), 3.7.1 (emphasis mine). ↩ John Calvin,  Commentaries on the Catholic Epistles , trans. John Owen (Edinburgh: T. Constable,1855), 149. ↩ John Calvin,  Commentaries on the Epistles of Paul the Apostle to the Philippians, Colossians, and Thessalonians , trans. John Pringle (Edinburgh: T. Constable, 1851) 52–53. ↩ John Calvin,  Commentary on the Psalms , trans. James Anderson (Edinburgh: Edinburg Printing Company, 1845), 1:xli, xlii. ↩ Calvin,  Psalms , 1:xlii. ↩ Calvin,  Psalms , 1:xlii. ↩ Calvin,  Psalms , 1:xli, xliii. ↩ Beza,  Tracts , 1:xci. ↩ Beza was widely known for his literary works. As a humanist, he became famous for his collection of Latin poems in  Juvenilia , published just before his conversion in 1548. He continued to write poetry, satires, and dramas until the end of his life. Francis Sisbon’s nineteenth-century translation attempts to capture the sense of the Latin in a more familiar poetic form (Theodore Beza,  The Life of John Calvin , trans. Francis Sibson, [Philadelphia: J. Whetham, 1836], 94). For the original text, see Calvin and Beza,  Tracts , 1:xcvi. ↩ Calvin,  Commentaries on the Epistles of Paul , 53. ↩

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