In The Bible Did Jesus Ever Get Angry?

Yes in the bible Jesus did get angry but He did not sin. The word of God said be angry but sin not and this is what Jesus did on several different occasions.

Jesus became angry for righteousness sake, it was not that He disliked anyone because He is the expressed image of God and God is love but He became angry because of the hardness of people heart.

He especially became angry with the Pharisees and Scribes because they had the law but did not abide by it. They turned it into the doctrines of men also, they were blind to see Him as the Messiah. He called them on several occasions vipers and hypocrites. In Matthew 23: 13-15 Jesus said, but woe to you scribes and Pharisees, hypocrites! For you shut up the kingdom of heaven against men, for you neither go in yourselves nor do you allow those who are entering to go in. woe to you, scribes and Pharisees, hypocrites! For you devour widow’s houses and for a pretense make long prayers. Therefore, you will receive the greater condemnation. Woe unto you, scribes and Pharisees, hypocrites! For you travel land and sea to win one proselyte and when he is won, you make him twice as much a son of hell as yourselves.

From these few verses, you can sense His angry because they had make the word of God of non effect because of their tradition. He said that they shut up the kingdom of heaven against men well, Jesus came from heaven and to speak against it made Him angry.

He had a zeal for God and His temple. On one occasion found in Matthew 21:12-13 Jesus went into the temple of God and drove out all those who bought and sold in the temple and overturned the tables of the money changers and the seats of those who sold doves. And He said to them, it is written, My house shall be called a house of prayer but you have made it a den of thieves. This is the only time that I can recall when Jesus put physical action to His angry.

His nature is of peace and love but we can go so far wrong that He will become angry with us but He will not forever remove His loving-kindness from us although we might think He has because of His chastisement.

I remember years ago when I was disobedient. I would say that I was going to do something and if I got into trouble then the Lord would bail me out. My problem was, I was not following God, I wanted Him to follow me. Well, He allowed me to go through a very difficult time and when He brought me through it He told me this in Isaiah 54:8 with a little wrath I hid my face from you for a moment but with everlasting kindness I will have mercy on you says the Lord your Redeemer.

His moment was about six months, that is how long it took me to learn my lesson. Hebrews 12:6 says now no chastening seems to be joyful for the present but painful, nevertheless, afterward it yields the peaceable fruit of righteousness to those who have been trained by it. This is what the Lord done for me and I thank Him for it.

Jesus is not quick tempered, He does not get angry easily but He can get angry. If He does, it will always be for our good because He loves us and that will never change.

By Lizzie Ducking

A Medieval Story for Valentine’s Day, Bonne & Charles

The general word on the Internet is the first Valentine card was sent in 1415. It’s not accurate and it’s not true. The particular Valentine was written in mid-February of 1416; it was on vellum, not card stock; it’s not the first Valentine card; and no one knows if it was sent.

Charles, Duke of Orleans, who was in London, England, wrote the Valentine that all of the Internet declares, and that fact is true. He had a wife, Bonne, who was in Paris, France or somewhere in France. If it was sent to her, it traveled a far distance on foot and on horseback and on ship. Pagan Valentine’s Day had been celebrated in Western Europe for centuries, and romantic, oftimes coded erotic, messages, had been exchanged for about 100 years by then between educated men and women who ran in the same crowd and lived in close proximity. So much for general information on the Internet…More specific information was found on special websites dealing with Medieval times.

Here’s what I found:

It is possible that Charles was lonesome for Bonne, while he was in London. He had just been captured (on October 25, 1415 specifically) by the English on French soil and was being held prisoner in London or in the London countryside. Charles was one of the lucky ones. Just about every other French aristocrat was killed in the Battle of Agincourt during the 100 Year War between the English and the French for land in France dowered to Eleanor of Aquitaine (former Queen of France) when she married Henry II, the English King. Charles and Bonne hadn’t been married long, about 5 years by 1415. He had been soldiering a lot during those five years, so they didn’t see much of each other. A 100 Year War preoccupies a lot of generations of men folk.

There are three curious things, though, about these two you should know: (1) It was an arranged marriage whose purpose was to avoid further bloodshed between their families; (2) Bonne was 11 when she was engaged to Charles, who was 16; and (3) his father-in-law, Bonne’s father, had assassinated Charles’ father, Louis.

Maybe they loved each other; maybe not. I don’t even know if they ever lived together as man and wife, for she was only 11 when they married, 16 at the time he wrote the verse. In any event, Charles penned a poem on Valentine’s Day in 1416 and it has been retained for almost 600 years.
You may not know that a Duke is a Prince, and noble, highborn prisoners were prized when captured in battle. They were ‘cash cows,’ held for ransom by the opposition, until their families could raise and pay the money for their release. At that time, although most men folk fought for the French King, France wasn’t exactly a country, then, and the King didn’t assume any responsibility for ransoming his patriotic nobles or aristocrats. (No one cared much for non-nobles or non-aristocrats, except their families. But, they were never captured and held for ransom. More often than not, they were killed. They’re the enormous body counts in battles of old, the serfs and servants.) This ransom was up to the noble or aristocratic prisoner’s family, if they wanted their relative back home. (And they did want their men folk back.) His ransom in today’s money could be as much as $500,000 ($US). The actual amount in Medieval English crowns was 150,000 crowns. This sounds like an enormous sum. What with the French losing the war, their King’s reoccurring madness, Joan of Arc’s triumph, then ignominy, a subsequent economic depression, the Black Plague, and Charles’ family having to pay his upkeep all those years, (plus lots of other things) it took his family 25 years to get the money and treaty agreement together to turn him over.

Bonne died while Charles was held prisoner in England, and they had no children. (She falls from the written record because she did not produce progeny, and no one knows exactly when she died or where she was when she died. Actually, no one is exactly sure where she was living and with whom while she was married to her incarcerated husband, Charles. It’s probable she was transferred to Charles’ family estate at the time of the betrothal and raised by Charles’ family until the wedding, remaining there until she died. There’s one more tidbit about poor Bonne, and that is this: Bonne may not have been her name. It’s really an adjective in Old French, and merely means “good girl.”)

A manuscript of the poem is in the British Library. I don’t know if it’s the original. It’s named by the scribe, Harley, in the archive, and scribes’ copies were often rewritten and rewritten and passed around for years and years amongst wealthy families. If it is the original, it was not unusual for scribes to assist in Valentines, for they made a living writing fancy script and making pretty pictures. (Apparently, Charles’ family sent him enough money to pay the scribe, so he didn’t live too badly while he was held prisoner.) How the manuscript got to the British Library after 600 years was by bequest, but I was unable to check out the provenance. The BL was willing to describe the manuscript: There’s a Cupid image and a 3-part verse. The verse is in Old French, not English. There is no version of the poem on the Internet.

I was able to find a description by A.E.B. Coldiron, who says it’s an appeal to Cupid with Charles as a servant of Cupid (Lust imagery, I think.) but no one is named and there is no heading. Charles says he admires this person (Bonne?) and despairs of seeing her again. He is frustrated (which is what all noble men were required to express in Chivalric code), but Coldiron doesn’t say what he’s frustrated about. He promises to be faithful and praises her beauty, virtue, and honor. He may describe intimate moments they’ve shared, a custom in Valentines, but I suspect not. She was simply too young to have been expected to cohabit with her groom and when she was old enough to cohabit, he was away fighting battles, then captured.

A non-academic source has published the following verse on a website, http://www.homespunpeddler.com and has attributed this verse to Charles in a collection called “Romantic Valentines.” It doesn’t read anything like Coldiron’s description, so I doubt if it’s the one he wrote to Bonne. I offer it to you, so you know what a translated from Medieval French into modern English 15th century Valentine would read like.

“Wilt thou be mine? dear Love, reply

— Sweetly consent or else deny.
Whisper softly, none shall know,
Wilt thou be mine, Love?

— aye or no?
Spite of Fortune,
we may be Happy by one word from thee.
Life flies swiftly —
ere it go Wilt thou be mine, Love?

— aye or no?”

Frankly, the above verse is not that terrific, is it? I would call it doggerel. Maybe something is lost in the translation. If not, I think he could have done better. He had a lot of time on his hands.

I’d like to believe that Charles and Bonne did love each other, but don’t know for certain. (The glimmer of hope I entertain that Charles loved Bonne is an anecdote about him reading a love poem he composed to her at their wedding ceremony. Some scholars believe he was showing off his poem prowess, but some scholars are without a scrap of romance in their souls.) Things were different six hundred years ago: love and marriage didn’t intersect amongst nobility and aristocrats. Children were pawns and shuffled around to do smart things for their families. Duty to family superceded love and children dutifully married other children. Romance was in the chivalrous code, hence, unrequited. Sexual congress was for procreation, a duty, and family lineage promulgation was its purpose. Lust was with wrenches, when they could be found. If Bonne and Charles loved each other, it’s a sad story of 2 children from good families. If they didn’t love each other, it’s a jailhouse reverie of a young man who burns. I don’t want to leave you on either note. So, I’ll go for this: go get some vellum (stretched goat skin), pen a personal message of your feelings to your love, make it pretty and fancy all over, and hand it to your love. Maybe your message will be memorialized until 2605, when someone like me comes around to figure what happened then.

Marking Tools: Gauges

MARKING GAUGES

The beam and fence may be made of wood or metal. Wood marking gauges are more common and may or may not have brass strips inlaid to reduce wear. Some beams have scales, but these are best used only to set the fence to an approximate distance.

Basic use

To use a marking gauge, loosen the thumbscrew and slide the fence the desired distance from the pin. Tighten the thumbscrew and make a test mark; readjust as necessary. Place the fence of the gauge up against the edge of the workpiece and angle it so the pin tilts away from the direction you’ll move the square. Although most woodworkers feel they have better control pushing the gauge, there’s no reason not to pull it if this feels better to you.

Steady, even pressure

A marking gauge will accurately scribe parallel lines as long as you use steady, even pressure to hold the fence firmly against the edge of the workpiece. If you don’t, the pin can and will wander. Pressing firmly will also keep the beam parallel to the surface, which will prevent the pin from scribing at an angle.

CUTTING GAUGE

A cutting gauge is very similar to a marking gauge except that instead of using a pin to mark the work-piece, it uses a knife. The advantage to this is that the knife cleanly cuts through the wood fibers instead of tearing them, as a pin does. This makes a cutting gauge the tool of choice whenever you need to mark lines across grain.

You might then think, why not throw out my marking gauge and just use the cutting gauge? Because since the knife of a cutting gauge leaves such a thin, crisp line, it virtually disappears when you use it to scribe a line along the grain. Shop-Tip: To create a “universal” marking gauge, some woodworkers file the point of their marking gauge to a finer point. This does an adequate job of marking both with and against the grain, but is still inferior to results from the individual gauges.

Basic use

The technique for using a cutting gauge is virtually identical to that of the marking gauge, with one exception: Take care to use very light pressure. If the knife is sharp (a few licks with a diamond hone will bring it to a crisp point), it’s easy to cut deeply into the wood, leaving cross-grain scratches that can be a hassle to remove.

MORTISE GAUGES

A mortise gauge has two pins instead of one to simultaneously mark out two parallel lines. It’s designed specifically to lay out the cheeks of mortises and tenons. One of the pins is fixed, while the other is independently adjustable.

In some cases, this pin adjusts via a simple pull slide; on others there’s a thumbscrew or knurled knob mounted to the end of the beam. Many mortise gauges also feature a third pin on the beam opposite the two mortise pins. This allows the mortise gauge to also function as a marking gauge.

Setting the pins

The first step in using a mortise gauge is to set the pins. To do this, hold the mortise chisel up to the pins, adjust the traveling pin over to match the width of the chisel and lock it in place. Then slide the fence over so the pins are set the desired distance from the edge of the workpiece. Try the setup on a scrap piece first and check the layout with a rule. Readjust as necessary.

Basic use

Just as with the marking gauge or the cutting gauge, the critical thing here is to firmly press the stock up against the edge of the workpiece. All you’re looking for here is steady even pressure. Popeye-like strength will only cause problems – most commonly, excess pressure will shift the position of the traveling pin or the beam. Use a light, firm grip, and tilt the gauge away from the direction of movement.

PANEL GAUGES

A panel gauge is basically a wood marking gauge that’s designed to handle big panels. The difference is the beam is much longer (typically 15″ to 30″) than a standard gauge and the fence is much wider. In the past, panel gauges were often made of mahogany with brass wear fittings. You can also regularly find antique panel gauges on the Internet at various sites, running anywhere from $20 to $40 for a gauge in good condition.

Two hands

Using a panel gauge is definitely a two-handed operation. After you’ve loosened the thumbscrew (older versions often use a wedge to lock the beam in position) and adjusted the pin or knife the desired distance from the edge, lock the beam in place. Then press the fence firmly against the edge of the workpiece with one hand while you apply light downward pressure to the pin or knife with your other hand. Move the gauge slowly with steady even pressure.

Cutting disc

Instead of a pin or knife, the Bridge City panel gauge shown here uses a cutting disc. The disc is made of hardened steel and is beveled to help pull the fence into the work-piece as you move the gauge along the edge of the workpiece. This leaves razor-sharp lines with no tear-out, even when your cutting across the grain.

DOVETAIL GAUGES

A dovetail gauge (or dovetail marker) is a single-use tool that’s designed to lay out the pins and tails for dovetail joints. Quality dovetail gauges will offer the two most common angles for dovetails: a 1:8 slope for hardwoods and a 1:6 slope for softwoods. If you generally use these two slopes, a dovetail gauge or set of markers like those shown in the top photo will serve you well (the gold marker is for hardwoods, the dark marker for softwoods). If you prefer to set your own angles, a bevel gauge is a better choice.

Tails

To use a dovetail marker, first use a marking or cutting gauge to set the depth of the tails to match the thickness of the wood. Then carefully lay out the tail spacing. Position the dovetail marker so it aligns with one of the marks and so the slope is in the correct direction. Then use a pencil or marking knife to mark the side of the tail. Flip the marker over and mark the opposite side. Continue like this until all the tails have been marked. Depending on how you cut your dovetails (I always cut the tails first and then use them to locate the pins), you may or may not want to mark the pins at the same time you lay out the tails. Whichever method you choose, align the marker with the layout marks that you made on the end of the work-piece and mark their location with a pencil or marking knife.

BEVEL GAUGES

A bevel gauge (or sliding T-bevel) is an invaluable layout tool in the shop. You can use it to verify angles, set tools to match angles, and lay out virtually any angle. Most bevel gauges feature a metal slotted blade and a stock or body made of wood, plastic, or metal, available in a variety of sizes. The blade conveniently slips into the slot in the body for storage. The blade is locked in place by tightening a thumbscrew, wing nut, lever, or knob at the base of the stock.

Duplicating an angle

A common use of the bevel gauge is to duplicate an angle so that you can reproduce it. To do this, loosen the thumbscrew or wing nut so it’s friction-tight, and press the stock of the gauge up against the edge of the workpiece. Then angle the blade until it rests on the angled end of the workpiece. Tighten the wing nut, and then use the gauge to duplicate this angle on another workpiece.

Setting with a protractor

In many cases you’ll want to set the bevel gauge to an exact angle, or read the angle you’ve just set (such as when you’re duplicating an angle). The most accurate way to do this is to use a protractor. The critical point here is to make sure that the blade of the bevel gauge intersects the base of the protractor exactly on center. Then either adjust the blade to the desired angle, or read the angle of the blade.