Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Isaac E. Mozeson, The Word: The Dictionary that Reveals the Hebrew Sources of English (Northvale, NJ: Jacob Aaronson Inc., 1995), 310 pp. Reviewed by James B. Jordan. Once there was only one language in the world, the language God spoke to Adam. At the Tower of Babel, there came to…
2. The Setting of the Book of Esther A. Xerxes (continued from previous issue) Ezra 6:14 says that the Jews finished building "according to the command of the God of Israel and the decree of Cyrus and Darius and Artaxerxes king of Persia." The problem with this verse is that…
This essay goes with our previous study of the Amalek pattern back in Biblical Horizons No. 2. Since many do not have this essay, entitled "The Battle of Gog and Magog," let me cite the relevant paragraphs: Note in Genesis 12-15 that Abram moves into the land after escaping Pharaoh…
Proverbs 7:6-23 is one of several passages early in the Proverbs in which Solomon warns his son about the wiles and dangers of the "strange woman." It is certainly quite proper to take these as straightforward warnings against sexual sins, and these are certainly warnings that need to be impressed…
1. In Luke 4:20 we read that after Jesus finished reading from Isaiah, "the eyes of all in the synagogue were fixed upon Him." This is usually taken in a psychological sense: They were amazed at Jesus somehow. I suggest that, as always, a merely psychological reading is a modern…
2. The Setting of the Book of Esther Up to now we have assumed what we must prove, that the king in Esther is Darius the Great. While Biblical chronologists have usually taken this position, commentators on the book of Esther have often taken others as the king. One view,…
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Ibsen, Steiner argues, did not write tragedies. Ibsen wrote “dramatic rhetoric” calling society to reform. For real tragedy, there is no such “solution” to be found, there is no remedy, except destructive sacrifice and perhaps a deus ex machina. From this angle, tragedy is perhaps among the STOICHEIA that prepared…
Some more quotations from Steiner’s Death of Tragedy : “We cannot understand the romantic movement if we do not perceive at the heart of it the impulse toward drama . . . . The romantic mode is neither an ordering nor a criticism of life; it is a dramatization. And…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Steiner notes that, following the Renaissance, European drama operated under the shadows of neo-classical and Elizabethan dramatic practice, the former “closed” and rigidly adhering to Aristotelian criteria, the other open and experimental. He discusses the theory of Thomas Rymer (a neo-classicist) at some length, concluding that the controversies that Rymer…
George Steiner in his Death of Tragedy describes the “Shakespearean difference” as mainly due to Shakespeare’s avoidance of fascination with Hellenic models: “The neo-classic view [which rigidified Aristotelian conceptions of tragedy] expresses a growing perception of the miracle of Greek drama. This perception was fragmentary. There were few translations of…
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