Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
In this essay we will think about how the whole Bible is structured as one Word of God. To begin with, there is only one Bible, not two. While we divide the Bible into Old and New Testaments, that division has no more meaning than divisions into chapters and verse,…
How should one badly bruised and inadequate church relate to another? (I am not addressing the blessed possessors of absolutely perfect churches, naturally.) I believe there are three things to bear in mind. First, we must be open to the values in other Christian traditions - even Roman Catholic and…
The third and sixth day have a second creative act. Note the chiastic arrangement of the material in these special acts and the parallelism between them, see the figure below. The author arranges the description of each day as a chiasm. Each line in the chiasm is mated with a…
Now the two of them were naked, the man and his woman, and they did not sense shame (Genesis 2:25) The nakedness of Adam and Eve requires several comments. First of all, against those who think that nakedness is what God intended for humanity as a permanent estate, we have…
I’ve been reflecting on the meaning of integration, and our longing for integration in a fragmented world. I’ve been connecting my own covenant epistemology further with the thought of scientist-philosopher Michael Polanyi, artist Makoto Fujimura, and Classical Christian metaphysician D.C. Schindler. In my last post , and now in this…
Luke 13:31-33 is one of the strangest passages in the Gospel of Luke. It begins with a time note that sounds emphatic “At that very hour.” Then, we are told of Pharisees bringing a message that Herod wants to kill Jesus! In His answer, Jesus speaks of a three day…
Showing page 79 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.
