Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
My copy of Webster’s New Collegiate Dictionary (1976: not so new, really) defines obscene as (1) "disgusting to the senses; repulsive" and (2) "abhorrent to morality or virtue; specif: designed to incite lust or depravity." Definitions such as this serve a useful purpose only when there is agreement on what…
An Overview Here begins a series of studies in the Abomination of Desolation, or Desolating Sacrilege. This month and next I shall set out an overview of what I regard as the best interpretation of the phenomenon. Later essays will look at it in more detail. (The original form of…
29. There are three things that are stately in their march, Even four that are stately when they walk: 30. The lion is mighty among beasts And does not turn back before any, 31. The strutting cock, The male goat, And a king with his army around him. 32. If…
We have seen that it is likely that the Artaxerxes of Ezra-Nehemiah is the same as Darius the Great. If this solution be correct, and I think it is, possibly there is another problem in Ezra that can be resolved by it. In Ezra 4:6 we are told that "in…
Czech novelist Milan Kundera, though hardly a household name in the English-speaking world, has achieved a certain notoriety in America in recent years, largely on the strength of the English translation and film version of his novel, The Unbearable Lightness of Being. 1 The Unbearable Lightness of Being — the…
24. Four things are small on the earth, But they are exceedingly wise; 25. The ants are not a strong folk, But they prepare their food in the summer; 26. The coneys are not a mighty folk, Yet they make their houses in the rocks; 27. The locusts have no…
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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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