Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Abbreviated Introduction to the Series Scripture is absolutely dripping with animal metaphors. Animal traits, characteristics, and appearances are attributed to God, Man, Angels, Nations, Armies. Since animals are the lowest creature in the three-tiered hierarchy, they are useful to metaphorically focus on a single aspect of God (bold like a…
Many years ago, while perusing Janice Anderson’s revised doctoral dissertation, Matthew’s Narrative Web: Over, and Over, and Over again , I was impressed by her attention to literary structures of repetition within and across Matthew’s Gospel. 1 Her research, in part, nudged me closer toward my present conviction that Matthew…
Abbreviated Introduction to the Series Scripture is absolutely dripping with animal metaphors. Animal traits, characteristics, and appearances are attributed to God, Man, Angels, Nations, Armies. Since animals are the lowest creature in the three-tiered hierarchy, they are useful to metaphorically focus on a single aspect of God (bold like a…
“Like a lily among the thorns, so is my love among the maidens… My beloved is mine and I am his; he pastures among the lilies.” Song 2:2, 16 In chapter two of the Song of Solomon, the Beloved compares his Love to a lily among thorns. The language of…
Introduction From the very beginning, angels and animals have played mediating roles between God and Man. Just as the World was made three-tiered (Heaven, Earth, Deep), so the creatures were made (Angels, Men, Animals). Before Christ came to build the permanent bridge across the chasm between God and Man, various…
Matthew 13, the third major discourse of the apostle’s gospel, is comprised almost entirely of parables. While it may seem that all the parables serve the same purpose in fulfilling the prophet Isaiah (Matthew 13:14), the parables found in verses 44–52, at the very least, function outside that purpose. This…
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There’s an interview regarding by recent book on empire at http://thegospelcoalition.org/blogs/trevinwax/ this morning.
Shylock has been played for sympathy frequently in the past century. But the sense that his character fits badly in a comedy is an old one. Already in 1709, Nicholas Rowe wrote, “Tho’ we have seen that Play Receiv’d and Acted as a Comedy, and the Part of the Jew…
In an old article in the Shakespeare Quarterly , Barbara Lewalski suggests that Merchant of Venice is a moralistic allegory depicting the character of Christian love. In the play, Christian love involves “giving and forgiving: it demands an attitude of carelessness regarding the things of this world founded upon a…
Mahood again ( The Merchant of Venice (The New Cambridge Shakespeare) ), describing Shakespeare’s and Shylock’s use of the gospels in the play (p. 198-9). “On Shylock’s first meeting with Bassanio, his detestation of the Christians breaks out in the dactylic rhythm and harsh consonants of ’ to eat of…
In an appendix to his edition of The Merchant of Venice (The New Cambridge Shakespeare) (pp. 197-8) , M. M. Mahood explores Shakespeare’s use of the Bible in the play. He notes the extensive echoes of the Jacob narrative, some explicit some not so much. “Shakespeare is unlikely ever to…
Should we love God disinterestedly, without expectation or desire for return from Him, without any desire for happiness? It’s a common idea, but Milbank rightly argues against it. He asks “what constitutes God’s loveability”? His answer” “every charm, every attractive feature of anything whatsoever, radiates outwards, rendering things apprehensible and…
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