Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
That there is something wrong with the world is obvious. It does not take much time or brilliance to notice it. Once we get the feeling that we could imagine a better world, we are tempted to fix it or, if we cannot, to escape it. For both the world-fixers…
“Our Father in heaven,” what is man that we should be called your sons and daughters, beloved children of God Almighty, Maker of heaven and earth, Yahweh of Hosts, the Ancient of Days. You are not a father preoccupied with work or engrossed in your smartphone; you are a present…
The Son of God took on human flesh and entered into the sin and suffering of our world. His life and teaching and suffering from His conception to His suffering on the cross teaches us a lot about how the good news enters into the world. Recently, I was teaching…
There is an unspoken rule about typology that permeates Evangelical thinking. It goes something like this: “If the New Testament authors don’t use an Old Testament character as a type, we don’t either.” There is a soundness in this reasoning, at least in a preliminary sense. There is no better…
In The world of Silence, Max Picard writes, “There does not seem to be any space left where there could possibly have been anything but noise. We take it for granted much as we take the air itself for granted. Everything begins and ends with noise.” Is it fair to…
God is Not There God is not in the book of Esther. Do a word search and you will get 0 results. Also try Lord, Yahweh, Prayer, Temple, or Sacrifice. Even names with God’s name in them, like Elijah, Jeremiah, or Daniel are missing. The fool says in his heart,…
Showing page 57 of 309
Showing page 41 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.
