Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
In the 48th year, the third month, and the fourteenth night, while I slept in my bed, I was taken in vision to Xanadu and set upon a high hill. Looking to the west, I saw a large building, surrounded with gardens and fountains, walks and gravestones, and a bell…
‘Tis the season to be informed–sometimes in gentleness, often with vigor–by a variety of Christians (and others) 1 claiming that it is wrong to celebrate Christmas. I have no desire to force anyone to celebrate Christmas against their will. Indeed, it would be insulting to the high holiday to pretend…
Part 2: The Enoch Factor Back in Open Book 21 we discussed "The Enoch Factor." Because that was several years ago (May 1994) and many people have begun reading this letter since that time, we shall return to the subject here and expand what we wrote at that time. After…
Day 6. The sixth day provides the creation of land animals and of humanity. As we saw above, the second day spills over to the first half of the third day, for only at that point did God say that it was good. Similarly, it seems that the fifth day…
During the past two decades, the "quest of the historical Jesus" has entered a new phase. The first incarnation of the quest was rudely shaken by the publication of Albert Schweitzer’s classic Quest of the Historical Jesus , easily the most devastating and funniest work of New Testament scholarship ever…
At the 1997 Biblical Horizons Summer Conference, the Rev. Jeffrey Meyers presented a series of remarkable lectures on the gospel of Mark. Among his many insightful comments, he suggested that the second gospel continues where the first gospel ends; Matthew ends with Jesus saying "Go" (Matthew 28:19), and Mark’s shows…
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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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