Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
I live in an area where Mardi Gras is in full swing, and I can remember from my upbringing that Fat Tuesday was a last ditch effort at debauchery before the pseudo-spiritual practice of “giving something up for Lent” really began. In my youth I would give up some kind…
Part 1: Observations from the Texts (Matthew 9:14-17, Mark 2:18-22, Luke 5:33-39) The precipitating context for the new wine/old wineskins discussion is people asking Jesus why His disciples did not fast. His immediate answer is that you can’t get the friends of the groom to fast at the bachelor party…
Simply, “progress” means to move forward. In that sense, a slug can progress from one end of the sidewalk to the other. But for us in twenty-first century America, progress means something else. For us, it is almost a synonym for goodness. The slug can only “progress” if the other…
I have the privilege of being able to counsel a lot of women who are seeking abortions. I can tell you that the majority of them are seeking to end their pregnancies not because they feel like it would be a fun thing to do, but because they are scared…
Last night, along with a few online friends, I watched this debate on the meaning of life between William Lane Craig, Rebecca Goldstein, and Jordan Peterson, hosted by Wycliffe College. While watching it, and reflecting upon Peterson’s work more generally (about which I’ve written in the past ), I was…
I’m glad to have been invited to contribute regularly to the Theopolis Institute website. Thank you, readers, for welcoming and joining what I hope will be a venture of integration. Integration itself is what I want to explore. And for me personally, this is the shape of my current integrative…
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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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