Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
This year’s Biblical Horizons conference was another great success and we would like to thank all those who were involved by helping out with the catering or opening up their homes to attendees and speakers. The talks, open-ended as they were, offered a fresh perspective and food for thought on…
I find myself often rehearsing conversations with my children. When the house is quiet in the late evening, and I'm standing in front of a pile of soapy dishes, I think about what I am going to say to them in certain situations. When I am driving in the car,…
In Matthew 24:29 , Jesus employs “cosmic language,” signs in the sun, moon and stars, to predict the imminent end of the Old Covenant. His first-century audience would have recognized His allusion to the prophecy against Babylon in Isaiah 13 and understood His discourse as a condemnation of Jerusalem as…
The Enthroned One speaks to John (Revelation 21:6): “I am the Alpha and the Omega, the beginning and the end. I will give to the one who thirsts from the spring of the water of life without cost.” It's a little theology proper. For starters, there's the Greek version of…
In reading about how we got into this mess, I came across a very interesting couple of paragraphs that I think the church could learn from if we are going to counter the Obergefell ruling. Prior to 2009, same sex “marriage” had gone to the ballot box thirty-one times in…
In my previous essay on Macbeth , I pointed out that Shakespeare rewrote Scottish history to construct a play which points to Adam’s Fall — a man and a woman tempted by devils to steal the throne and become like gods. It is hard to imagine anyone in Shakespeare’s day…
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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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