Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
For years I have read little posts by fresh new Papal converts that assert that Luther, Zwingli, Calvin, etc., believed in the perpetual virginity of Mary. So did Turretin. Setting aside the question of whether these men believed that this notion was important or not — and Calvin, at least,…
The previous discussion led to several points that I’d like to take up in like to take up in more detail. For the sake of discussion, I’ll number them for ease of consideration. 1. Typological “evidences” for Mary as perpetual virgin, queen of heaven, etc. etc. I assert here that…
BMEV, or “Blessed Mary Ever-Virgin,” should not be an issue for any Protestant today, but clamor from various quarters means that we need once again to “get real” with the Biblical data here. Herewith is a reworking of a recent essay on the subject originally published in Biblical Horizons. Early…
When I hear from time to time of some young evangelical Presbyterian going into Roman Catholicism, I ask myself, “Why bother? You’re already in a church pretty much like what the Reformers rejected.” In the Medieval church, the congregation did little but watch while the priest and choir did everything.…
The “New Perspective” sheds light on what the New Testament means by the “mystery” of God. The mystery theme is quite pervasive in the apostolic writings, and shows up across genre lines, in the gospels, the epistles, and Revelation. One could even make a solid case that the revelation of…
THIS should be a link to the Sanctus I put together for use at the Biblical Horizons Conferences. Some churches have been using it also.
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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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