Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Reflecting on the centennial of the Fundamentalist-Modernist Controversy, Theopolis contributor Tim Nichols asked Dr. Leithart and me what the five fundamentals of the faith were today . His thoughts went something like this: Back in the early 20th century, in response to a ruinous drift away from the historic Christian…
1. Introduction In this article, I delve into some parallels found in the scholarly analysis of two important literary works: the Testimonium Flavianum by Josephus ( Antiquities 18.63–64) and the Olivet Discourse in the gospel of Matthew (Matthew 24–25). These texts have been at the center of countless academic discussions,…
Over the last twenty years, our American culture has created a culture of obsession over trauma. This could be a result of publications such as The Body Keeps the Score by Bessel van der Kolk, which explores the lasting effect on health that traumatic experiences can have. Or it could…
The Beloved celebrates the beauty of his Shulamite’s lips, describing them as “a thread of crimson” upon a mouth that is altogether lovely (Song 4:3). It were easy perhaps to pass by this all too quickly, passing it off, if we attend to it at all, as a kind of…
This article originally appeared at American Reformer on October 29, 2025. Reproduced with permission. Why the West Was Never Meant to Be Governed by Law Alone Back in the early nineties, I was in the candidate process for Undergraduate Pilot Training with the Texas Air National Guard, hoping to fly…
In his book From Silence to Song: The Davidic Liturgical Revolution , Peter Leithart shows that David, the author of so many Psalms and the musician who trained choirs, instituted a musical and liturgical revolution of how the people of Israel worshipped. The liturgical revolution in turn was designed to…
Showing page 2 of 309
Showing page 3 of 43
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…
Showing page 1785 of 2212
Your weekly digest for all things Theopolis.
