The idea reflects the belief that God orchestrates events for our good, and what He intends for us cannot be missed or taken away.
Jeremiah 29:11 – “For I know the plans I have for you,” declares the Lord, “plans to prosper you and not to harm you, plans to give you hope and a future.”
Romans 8:28 – “And we know that in all things God works for the good of those who love him, who have been called according to his purpose.”
These verses affirm that God’s plans are purposeful and personal—what’s meant for you will arrive in His perfect timing.
⏳ Divine Timing and Waiting
Sometimes we feel like opportunities pass us by, but Scripture encourages patience and trust.
Ecclesiastes 3:1 – “There is a time for everything, and a season for every activity under the heavens.”
Isaiah 60:22 – “When the time is right, I, the Lord, will make it happen.”
This reminds us that delays aren’t denials—they may be divine redirections.
🛡️ God’s Protection and Guidance
The phrase also implies that if something isn’t for you, it won’t stay—because God protects you from what isn’t meant to be.
Proverbs 3:5–6 – “Trust in the Lord with all your heart and lean not on your own understanding; in all your ways submit to him, and he will make your paths straight.”
💡 Summary
In biblical terms, “What’s for you will never go past you” is a comforting reminder that:
God’s plans are intentional and tailored to you.
You won’t miss what’s truly meant for you.
Trusting in divine timing is an act of faith.
Rejection or delay may be protection or preparation.
When I first heard and sang this song I fell in love with it straight away and have loved it ever since. It is a song of dedication and commitment . The words of the song tell a story. Powerful words to an equally wonderful tune.
In verse one we red of the writer’s faith, in verse two we read how the writer see’s Christ. Verse three goes on to tell us the writer has nothing but love and how they wish to have his saving power. Finally in verse four the writer speaks of the suffering cry of him who died for all mankind
Luke 6:37-38New International Version – UK (NIVUK)
Judging others
37 ‘Do not judge, and you will not be judged. Do not condemn, and you will not be condemned. Forgive, and you will be forgiven.38 Give, and it will be given to you. A good measure, pressed down, shaken together and running over, will be poured into your lap. For with the measure you use, it will be measured to you.
3 My son, forget not my law; but let thine heart keep my commandments:
2 For length of days, and long life, and peace, shall they add to thee.
3 Let not mercy and truth forsake thee: bind them about thy neck; write them upon the table of thine heart:
4 So shalt thou find favour and good understanding in the sight of God and man.
5 Trust in the Lord with all thine heart; and lean not unto thine own understanding.
6 In all thy ways acknowledge him, and he shall direct thy paths.
7 Be not wise in thine own eyes: fear the Lord, and depart from evil.
8 It shall be health to thy navel, and marrow to thy bones.
9 Honour the Lord with thy substance, and with the first fruits of all thine increase:
10 So shall thy barns be filled with plenty, and thy presses shall burst out with new wine.
11 My son, despise not the chastening of the Lord; neither be weary of his correction:
12 For whom the Lord loveth he correcteth; even as a father the son in whom he delighteth.
Proverbs 3 V6 Is probably one of the most common verses quoted in the bible. I’ve lost count of the number of bibles or hymn books I have been presented with or given as a present with that verse on the inside cover.
Helen Steiner Rice (May 19, 1900 – April 23, 1981) was an American writer of religious and inspirational poetry. Helen Steiner was born in Lorain, Ohio on May 19, 1900. Her father, a railroad worker, died in the influenza epidemic of 1918. She began work for a public utility and progressed to the position of advertising manager, which was rare for a woman at that time. She also became the Ohio State Chairman of the Women’s Public Information Committee of the Electric Light Association, and campaigned for women’s rights and improved working conditions. In 1929 she married Franklin Dryden Rice, a bank vice-president in Dayton, Ohio. After the stock market crash in October that year, Franklin lost his job and his investments. He fell into a depression from which he never recovered, and committed suicide in 1932. Rice became a successful businesswoman and lecturer, but found her most satisfying outlet in writing verse for the prominent greeting card company American Greetings. Her poems received wide exposure in the 1960s when several were read by Aladdin on the poetry segment of the Lawrence Welk television show. The demand for her poems became so great that her books are still selling steadily after many printings, and she has been acclaimed as “America’s beloved inspirational poet laureate”. Helen Steiner Rice’s books of inspirational poetry have now sold nearly seven million copies. Her strong religious faith and the ability she had to express deep emotion gave her poems timeless appeal. She died on the evening of April 23, 1981, a month before her 81st birthday, and was buried in Elmwood Cemetery in Lorain, Ohio.
Sunday past in the UK was Father’s day, Here is one of Helen’s poem’s
Fathers are wonderful people Too little understood, And we do not sing their praises As often as we should…
For, somehow, Father seems to be The man who pays the bills, While Mother binds up little hurts And nurses all our ills… And Father struggles daily To live up to ‘his image’ As protector and provider And ‘hero of the scrimmage’…
And perhaps that is the reason We sometimes get the notion, That Fathers are not subject To the thing we call emotion, But if you look inside Dad’s heart, Where no one else can see You’ll find he’s sentimental And as ‘soft’ as he can be…
But he’s so busy every day In the grueling race of life, He leaves the sentimental stuff To his partner and his wife…
But Fathers are just wonderful In a million different ways, And they merit loving compliments And accolades of praise,
For the only reason Dad aspires To fortune and success Is to make the family proud of him And to bring them happiness…
And like Our Heavenly Father, He’s a guardian and a guide, Someone that we can count on To be always on our side.
Pip: Faith, health, and the general chaos of being alive — if there's a better brief for a devotional site, I haven't found it.
Mara: Kenneth has been writing on exactly that territory, and today we're looking at a piece that sits right at the heart of it — the image of Christ standing at a closed door, and what it asks of us.
Pip: Let's start with that image, and the hymn behind it.
Light of the World
Mara: This segment is about a single, persistent image — Jesus outside a shut door, waiting. The post asks, quietly, what it means that the door is still closed.
Pip: The hymn at the centre of the post makes the stakes plain. The setup is William How's words, carried through three verses of mounting weight, and the second verse lands hardest: "O Jesus, thou art knocking; and lo, that hand is scarred, and thorns thy brow encircle, and tears thy face have marred: O love that passeth knowledge, so patiently to wait! O sin that hath no equal, so fast to bar the gate!"
Mara: What that verse is doing is connecting the knocking hand to the crucified hand. The patience isn't abstract — it belongs to someone who has already paid a cost. That's what makes the closed door a moral weight, not just a metaphor.
Pip: The post doesn't just stay with the hymn on the page. It opens with a Salvation Army band piece — "The Light of the World," composed by Dean Goffin — and Kenneth notes that if you listen carefully, the bottom end of the band actually emphasises the knocking. The music is performing the theology.
Mara: And then there's Holman Hunt's painting of the same scene — Jesus standing outside a door with no handle on the outside — which Kenneth places at St Paul's Cathedral in London. Text, music, and canvas all working the same image from different angles.
Pip: Kenneth closes by admitting he was moved to tears watching the video he'd chosen to accompany the post. For a piece about a door that's been left shut, that's a fairly direct answer to the question it raises.
Mara: The image of waiting — patient, scarred, unhurried — is the thing that carries across all three forms. The door remains the listener's to open.
Pip: A hymn, a painting, a brass band — three different languages for the same invitation.
Mara: And the door still has no handle on the outside. That's the detail that stays with you.
Pip: There is something quietly stubborn about faith — it keeps knocking, keeps promising a better world, and somehow keeps finding a brass band to make the point.
Mara: Kenneth's posts this episode do exactly that — moving from a beloved Salvation Army piece built around the image of Christ at the door, to a vision of the new creation where that door is finally, fully open. Let's start with the music.
Light at the Door — Salvation Army Band Piece
Pip: The post opens with a piece of band music that carries a very specific theological image — Christ standing outside a closed door, waiting, knocking. The question is what that image actually asks of the listener.
Mara: The hymn woven through Dean Goffin's composition puts it plainly. The third verse reads: "I died for you, my children, and will you treat me so? O Lord, with shame and sorrow we open now the door; dear Savior, enter, enter, and leave us never more."
Pip: That is the whole gospel compressed into a request. Not a demand — a request. The scarred hand knocking, the thorns, the tears — the hymn makes sure you understand the cost before you answer.
Mara: Holman Hunt painted exactly this scene, and the post notes it can be seen in St Paul's Cathedral in London. The image and the music are working the same ground — patience, persistence, the door still shut. Kenneth adds that watching the video moved him to tears, which is its own kind of testimony.
Pip: A brass band reducing a grown man to tears is not a small thing. That is the piece doing its job.
Mara: From a door being knocked on, to a world where the separation is over entirely.
A World Without Grief — New Creation Hope
Mara: The post titled "A Better World" anchors itself in Revelation 21, which describes what happens after the door is opened — not just for one person, but for all of creation.
Pip: And the passage does not soften the contrast. It names what disappears specifically.
Mara: Verse four: "He will wipe every tear from their eyes. There won't be death anymore. There won't be any grief, crying, or pain, because the first things have disappeared."
Pip: That list is not abstract. Death, grief, crying, pain — these are the contents of an ordinary human week. The promise is their permanent removal.
Mara: The post pairs this with a song by the Melbourne Veterans Band. The structure of the song itself maps the contrast — earthly world in the first half of each verse, the better world in the second. The shape of the music carries the argument.
Pip: Salvation Army bands, it turns out, are doing serious theological heavy lifting.
Mara: A door being knocked on, and a world where that waiting finally ends — the two images belong together.
Pip: Next time, we will see what else is standing at the threshold.
One of my favourite Salvation Army Band pieces is called ‘The Light of the World’ writtten and composed by Dean Goffin. I suppose one of the reasons I like this piece is the main hymn/theme going through it which is O Jesus, thou art standing. You will also hear the chorus Behold me standing at the door come in the piece and if you listen carefully you will hear the bottom end of the band emphasise the knocking.
Holmun Hunt also painted a picture of Jesus sanding outside a door knocking and I believe this can be seen in St Paul’s Cathedral, London.
O Jesus, thou art standing,
outside the fast closed door,
in lowly patience waiting
to pass the threshold o’er:
shame on us, Christian brothers,
his Name and sign who bear,
O shame, thrice shame upon us,
to keep him standing there!
O Jesus, thou art knocking;
and lo, that hand is scarred,
and thorns thy brow encircle,
and tears thy face have marred:
O love that passeth knowledge,
so patiently to wait!
O sin that hath no equal,
so fast to bar the gate!
O Jesus, thou art pleading
in accents meek and low,
“I died for you, my children,
and will you treat me so?”
O Lord, with shame and sorrow
we open now the door;
dear Savior, enter, enter,
and leave us never more.
I always watch my videos before putting them up and I had seen many videos of the Light of the World but not this one and I got to admit i was moved to tears.
Pip: There's something quietly radical about a site that holds together colonoscopies and resurrection in the same week — as if the body and the soul both deserve a proper look inside.
Mara: Kenneth covers exactly that this episode — a plain-language guide to what endoscopy actually is and does, and then a reflection on Romans 6 and what it means to be alive in Christ rather than ruled by sin.
Pip: Let's start with what happens when doctors need a closer look.
What Endoscopy Is and Why It Matters
Mara: The post on endoscopy sets out to demystify a procedure that many people find daunting — what it involves, what it examines, and why a doctor might order one.
Pip: Harvard Health is quoted directly in the piece, and the description is worth reading aloud: "An upper endoscopy allows the doctor to explore the cause of such symptoms as difficulty swallowing, abdominal pain, vomiting up blood, or passing blood in the stool."
Mara: So the upshot is that this is a diagnostic tool with real reach — not just the stomach, but the oesophagus, bowel, bladder, lungs, and womb, depending on the type ordered.
Pip: And the types have names most of us have never had reason to learn — gastroscopy, colonoscopy, bronchoscopy, cystoscopy, hysteroscopy — each one a different entry point into a different system.
Mara: Most procedures take between thirty minutes and two hours, and sedation or local anaesthetic means patients typically feel pressure rather than pain.
Pip: A thin tube with a camera turns out to be doing a lot of quiet, essential work.
Mara: That same idea — seeing clearly what's hidden — carries into the next territory, though the instrument is scripture rather than an endoscope.
Dead to Sin, Alive in Christ
Mara: The post titled Jesus Lives centres on Romans 6, which asks a pointed question: if grace covers sin, does that mean sin no longer matters?
Pip: Paul's answer is immediate and unambiguous — the passage reads, "By no means! We are those who have died to sin; how can we live in it any longer?"
Mara: What this means in practice is that baptism, in Paul's framing, is not a ritual of membership but a participation in death and resurrection — the old self crucified, a new life made possible.
Pip: The stakes sharpen further by verse fourteen: "sin shall no longer be your master, because you are not under the law, but under grace." Grace here is not permission — it's transfer of ownership.
Mara: The reflection closes by connecting the passage to a Salvation Army chorus — "It's no longer I that liveth, but Christ that liveth in me" — which distils the whole argument of Romans 6 into a single repeated line.
Pip: Doctrine set to music tends to travel further than doctrine set to commentary.
Mara: The chorus and the chapter land on the same point: that the life now lived is oriented toward God, not toward the patterns the old self followed.
Pip: A week that moves from the interior of the body to the interior of the self — both asking what's actually going on in there.
Mara: And both suggesting that a clear look, however uncomfortable, is where any honest reckoning begins.
Medical professionals perform a colonoscopy while monitoring the patient and endoscopic images
An endoscopy is a medical test that lets doctors look inside your body using a thin, flexible tube with a camera on the end, called an endoscope. It’s used to investigate symptoms, diagnose conditions, and sometimes even treat problems without surgery.
🩺 What an endoscopy does (in simple terms)
A long, thin tube with a light and camera is gently passed into the body through a natural opening (mouth, nose, or bottom)
The camera sends live images to a screen so the doctor can see what’s going on inside
Tools can also be passed through the tube to take biopsies, stop bleeding, or remove small growths
Harvard Health
Credible health information source
Upper endoscopy (esophagogastroduodenoscopy or EGD)
This test inspects your esophagus, stomach, and the first section of intestine (the duodenum) using an endoscope. An upper endoscopy allows the doctor to explore the cause of such symptoms as difficulty swallowing, abdominal pain, vomiting up blood, or passing blood in the stool. It can also diagnose irritation, ulcers, and cancers of the lining of the esophagus and stomach. During this type of endoscopy, the doctor can also take biopsy samples of tissue.See more
🔍 What it’s used for
According to the NHS, endoscopy is used to look inside areas such as the oesophagus, stomach, bowel, bladder, womb, lungs, and more. It helps diagnose things like:
Difficulty swallowing
Stomach pain or indigestion
Bleeding
Anaemia
Suspected cancer
🧪 Common types of endoscopy
Different names are used depending on the part of the body being examined:
Gastroscopy / Upper endoscopy (EGD) – through the mouth to look at the oesophagus, stomach, and upper small intestine
Colonoscopy – through the bottom to look at the large bowel
Bronchoscopy – into the lungs
Cystoscopy – into the bladder
Hysteroscopy – into the womb
⏱️ How long it takes
Most endoscopies take 30 minutes to 2 hours, depending on the type.
😌 Does it hurt?
You’re usually given sedation or local anaesthetic, so you shouldn’t feel pain—maybe just pressure or mild discomfort.
If you want, I can also explain:
The difference between endoscopy and colonoscopy
What happens before or after the procedure
What type you might need based on symptoms
Would you like a simple explanation, or more detail?
6 What shall we say, then? Shall we go on sinning so that grace may increase?2 By no means! We are those who have died to sin; how can we live in it any longer?3 Or don’t you know that all of us who were baptised into Christ Jesus were baptised into his death?4 We were therefore buried with him through baptism into death in order that, just as Christ was raised from the dead through the glory of the Father, we too may live a new life.
5 For if we have been united with him in a death like his, we will certainly also be united with him in a resurrection like his.6 For we know that our old self was crucified with him so that the body ruled by sin might be done away with,[a] that we should no longer be slaves to sin—7 because anyone who has died has been set free from sin.
8 Now if we died with Christ, we believe that we will also live with him.9 For we know that since Christ was raised from the dead, he cannot die again; death no longer has mastery over him.10 The death he died, he died to sin once for all; but the life he lives, he lives to God.
11 In the same way, count yourselves dead to sin but alive to God in Christ Jesus.12 Therefore do not let sin reign in your mortal body so that you obey its evil desires.13 Do not offer any part of yourself to sin as an instrument of wickedness, but rather offer yourselves to God as those who have been brought from death to life; and offer every part of yourself to him as an instrument of righteousness.14 For sin shall no longer be your master, because you are not under the law, but under grace.
Whilst reading this piece of scripture i am reminded of a chorus well known in The Salvation Army
It’s no longer I that liveth,
But Christ that liveth in me,
It’s no longer I that liveth,
But Christ that liveth in me.
He lives! He lives!
Jesus is alive in me.
It’s no longer I that liveth,
But Christ that liveth in me.
Pip: Faith, health, and the long view — the territory Kenneth keeps returning to, and today it all comes together in one quietly remarkable life.
Mara: Kenneth writes about Lydia Baxter — a nineteenth-century hymnwriter whose work shaped revival movements on both sides of the Atlantic. Let’s start with who she was and why her hymns still matter.
Lydia Baxter — Poet, Hymnwriter, Enduring Voice
Pip: Here is a woman who spent nearly thirty years bedridden with chronic illness, and whose response to that was to write hymns that became the soundtrack of an entire revival era. That is either extraordinary faith or extraordinary stubbornness, and possibly both.
Mara: The post grounds her legacy in one hymn above all others. Written in 1870 for composer W. H. Doane, “Take the Name of Jesus with You” is described as reflecting “her personal reliance on the name of Jesus as a source of comfort during illness.”
Pip: That context changes how you hear the hymn. It is not abstract theology — it is someone in genuine suffering reaching for something that held.
Mara: She was born Lydia Odell in Petersburgh, New York, in 1809, converted young under Baptist missionary Eber Tucker, and her conversion — along with her sister’s — directly contributed to the formation of a Baptist church in her hometown. After marrying Colonel John C. Baxter she moved to New York City, where her home became a gathering place for ministers, musicians, and writers, even as she rarely left her bed.
Pip: A literary salon run from a sickroom. There is something genuinely striking about that.
Mara: Her writing is characterised by simplicity, emotional warmth, and a devotional focus on Christ’s name, comfort, and hope. She wrote for Baptist Sunday School Unions and evangelistic services, and contributed to annual hymn collections across New York churches.
Mara: Beyond “Take the Name,” the post highlights “There Is a Gate That Stands Ajar,” written around 1872 for S. J. Vail and later popularised by Philip Bliss and Ira Sankey — sung widely across the United States, England, and Scotland. “The Gate Ajar for Me” was influential in the early ministry of Ira D. Sankey specifically.
Pip: Her 1855 collection Gems by the Wayside came well before the revival era, which means she was writing devotional poetry for decades before Moody and Sankey made her hymns famous.
Mara: The post closes on that note — that despite lifelong suffering, her hymns radiate hope, patience, and confidence in Christ, and remain in use in many hymnals today.
Pip: Chronic illness, a sickroom, and hymns that outlasted the century. Faith as something you practise under pressure, not just profess.
Mara: That thread — endurance shaping what gets written and sung — is worth carrying into the next episode.
Lydia Baxter (1809–1874) was an American poet and hymnwriter, best remembered for deeply devotional hymns that became staples of 19th‑century Sunday School and evangelistic movements.
Who She Was
Born: Lydia Odell, 2 September 1809, Petersburgh, New York
Died: 23 January 1874, New York City
Affiliation: Baptist
Spouse: Col. John C. Baxter
She became a Christian at a young age under the ministry of Rev. Eber Tucker, a Baptist missionary. Her conversion, along with her sister’s, helped lead to the formation of a Baptist church in her hometown.
After marriage she moved to New York City, where her home became a gathering place for ministers, musicians, and writers—despite her being bedridden for nearly 30 years due to chronic illness.
Her Hymn Writing
Lydia Baxter wrote many hymns for:
Baptist Sunday School Unions
Evangelistic services
Annual hymn collections in New York churches
Her writing is marked by:
Simplicity
Emotional warmth
Strong devotional focus on Jesus’ name, comfort, and hope
Most Famous Hymns
1. “Take the Name of Jesus with You” (1870)
Her best‑known hymn today, written for composer W. H. Doane. It reflects her personal reliance on the name of Jesus as a source of comfort during illness.
2. “There Is a Gate That Stands Ajar” (c. 1872)
Written for S. J. Vail, later popularised by Philip Bliss and Ira Sankey. It became widely sung in the U.S., England, and Scotland.
3. “The Gate Ajar for Me”
Another widely‑loved hymn, influential in the early ministry of Ira D. Sankey.
Other notable hymns include:
One by One We Cross the River
In the Fadeless Springtime
Cast Thy Net Again, My Brother
Publications
Gems by the Wayside (1855) — a collection of religious poetry
Legacy
Despite lifelong suffering, Lydia Baxter’s hymns radiate hope, patience, and confidence in Christ. Her work became central to the Moody–Sankey revival era and remains beloved in many hymnals today.
Emily Elizabeth Steele Elliott (1836–1897) was an English Christian writer and hymn‑writer whose work became widely used in churches across Britain and internationally.
She is best remembered today for the Christmas hymn “Thou Didst Leave Thy Throne and Thy Kingly Crown”, which appears in many standard hymnals.
Key Facts
Born: 22 July 1836, Brighton, Sussex, England
Died: 3 August 1897, Mildmay, Islington, London
Family:
Father: Rev. Edward Bishop Elliott, rector of St Mark’s Church, Brighton
Aunt: Charlotte Elliott, author of “Just As I Am”
Uncle: Henry Venn Elliott, noted clergyman
Grandfather: Henry Venn of the Clapham Sect
This placed her within one of the most influential evangelical families of the 19th century.
Her Ministry and Writing
Emily Elliott devoted her life to Christian teaching, mission work, and hymn writing.
Hymn Writing
She wrote many hymns for:
St Mark’s Church, Brighton (where her father was rector)
The Church Missionary Juvenile Instructor, which she edited for six years
Her major published collections include:
Chimes of Consecration (1873)
Chimes for Daily Service (1880)
Under the Pillow — a large‑type hymnbook for hospitals and the sick
Notable Hymns
“Thou Didst Leave Thy Throne” (1864) — her most famous hymn, now in many hymnals worldwide
“There Came a Little Child to Earth” — a popular children’s Christmas hymn
Hymnary.org lists 29 hymns attributed to her.
Missionary Work
Elliott was deeply involved in the Church Missionary Society, editing its children’s magazine for six years and writing hymns for missionary occasions such as:
“Brothers, sisters, pray for us” (Missionaries’ Farewell)
“Rabboni, Master, we have heard” (Consecration)
Legacy
Emily Elliott’s hymns were translated into Chinese, German, Portuguese, Sinhala, and Spanish, showing their wide influence. Her devotional writing, missionary commitment, and pastoral concern for the sick (through her large‑type hymnbooks) made her a significant figure in Victorian evangelical Christianity.