Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Ten-thousand ‘yeses’ and a single ‘no.’ From bough it dangles, beauty to the eyes, For belly, food, a fruit to make one wise. Too soon, they eat; they know; the leaves they sew, But, oh! the Love who asks, “Where did you go?” Confessions flow from under leaf’s disguise; A…
In his masterful work, De Doctrina Christiana , Augustine of Hippo writes: I would have learned men to know that the authors of our Scriptures use all those forms of expression which grammarians call by the Greek name tropes, and use them more freely and in greater variety than people…
“In accordance with the creation pattern, God sovereignly took hold of Adam and put him to sleep. Then God divided Adam by removing flesh and bone from his side, and restructured humanity into male and female. When Adam awoke, God distributed the woman to him. Adam gazed upon her and…
Greta Gerwig’s new film, Barbie, has been criticized, probably rightly, for having too many ideas and layers to properly bring in any for a landing. Gerwig herself thought the script was so “ wild and anarchic ” that she was surprised WB agreed to make it. Many see it as…
“Now John wore a garment of camel’s hair and a leather belt around his waist, and his food was locusts and wild honey” (Matt. 3:4). Why is John the Baptizer clothed with camel’s hair? Why does he want to look like a camel? Or at least: what does he expect…
In the second greatest story ever told, The Brothers Karamazov , Fyodor Dostoyevsky tells the story of a family plagued by the lasting legacy of sin’s destructive power and the all-surpassing truth that God is Light and in Him is no darkness. The young protagonist, Alyosha, is a monk committed…
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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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