Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
John 18:1-11 appears on the surface to be a straightforward, if somewhat unusual, narrative of Jesus’ arrest by officers of the chief priests and Pharisees accompanied by an apparently large group of Roman soldiers, all of them led by the betrayer, Judas. But there is much more here than what…
Why is the US embroiled in the Middle East? There are two primary answers: Oil and Israel. Both are fairly intractable problems, the latter in significant part because of the unique convergence of theology and politics that has forged American policy in the region. Dispensationalists insist that we must bless…
There’s a common theme that arises in the study of theologians James B. Jordan and Peter Leithart. It is this: Context matters. Details matter. This is God’s Word. The details are not arbitrary “filler” hiding the kernel of truth in the husk of the text. The husk and the kernel…
Perhaps the most fearful of all possibilities in the world is the possibility of betrayal on the part of someone who is in a “position of trust.” This, unfortunately, is the first block in what ought to be the foundation of every marriage in the world. Every woman has a…
Only one more week to register to the Trinity Term class on "How to Read the Bible," taught by James Jordan and Peter Leithart. Sign up today!
The way we talk about the world matters. Our doctrine of creation tells us that words do not simply reflect reality. They also shape it and the way we inhabit it. Among the world’s many language groups, the Church is distinct. She is called to name things with Scriptural language,…
Showing page 192 of 309
Showing page 32 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.
