Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Click HERE for part 1. III This leads to a further question. I have argued that silence cannot by itself establish a Scriptural principle, but does Scripture’s silence carry any weight in itself? Does the fact that something is unbiblical in a weak sense tell us anything at all? In…
Although nowadays gap theories are associated with dispensationalism, it was not always so. In the nineteenth century, scholars from a variety of backgrounds (Anglican, Reformed, and proto-fundamentalist) seem to have become fascinated by gaps. If you are not familiar with what I am talking about, this newsletter will acquaint you…
If the debate over Operation Rescue has proven anything, it has proven that there is absolutely no consensus among evangelicals in general, or among "reconstructionists" in particular, about how to use the Bible to judge political actions and movements. Each side of the debate claims biblical authority for its position,…
Two things I asked of Thee, Do not refuse me before I die: Keep deception and words of falsehood far from me, Give me neither poverty nor riches, Feed me with the food that it my portion, Lest I be full and deny Thee, And say, "Who is the LORD?"…
Umberto Eco’s "The Name of the Rose" was certainly one of the best literary works of the past decade, though the film version hardly measured up to it. Now Eco has given us a new novel, "Foucault’s Pendulum." Like Rose, Foucault’s Pendulum reflects on the limitations of human knowledge, and…
From time to time people ask me about "interpretive maximalism." They want to know what it is, and sometimes want to know if it represents some departure from the Reformed grammatico-historical, Biblico-theological approach to the Bible. I have something of a problem with these questions, because "interpretive maximalism" is not…
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Plays might be promoted as a kind of opiate of the masses: Mass entertainment that keeps them from more violent entertainments like rioting and pillaging. This could be problematic, if the entertainments were too heady for most people to follow. Thomas Heywood (1612) suggested that playwrights should “ayme . .…
How regulated was Shakespeare’s own theater? And for what reasons? Patterson highlights various reasons for closing or permitting theaters: audience composition, including the fear that a large collection of workers might be distruptive; public health; economic concerns; religious and moral concerns, especially Sabbatarian; and “a shifting and elusive imperative to…
Shakespeare’s fortunes in the US were, understandably, different from in England. Initially, Shakespeare was America’s most popular playwright, appealing to a wide sector of the American populace. Patterson notes that “by the end of the nineteenth century ‘Shakespeare’ had become a cultural icon, the property only of the ‘legitimate theater,’…
Annabel Patterson notes ( Shakespeare and the Popular Voice ) that contemporary critics, whatever their own political outlook, assume that Shakespeare was an advocate of Elizabethan hierarchy. This view, however, is a product of the 19th century. Dryden, Johnson, and others criticize Shakespeare for violating the conventions of his genre,…
By the 18th century, acting styles also invested Shakespeare with “courtly” virtues of control, dignity, stateliness. Dobson writes, “Shakespearian acting . . . in the decades following Betterton’s death in 1710, seems to have settled into a grandiloquent vein of static declamation, best exemplified by the stout James Quin (1693-1766)…
Dobson again: “after Charles II’s death in 1685 England would never again have another monarch with such an informed interest in the drama (or, mercifully, such a lascivious one), and deprived of royal patronage and protection the playhouses came under renewed attack from the moralists (led by the redoubtable clergyman…
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