Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
This series of post were originally published at the Biblical Horizons blog. The entire paper can be downloaded HERE . 4. The Three Basic Phases of the Covenant We have introduced the three phases of the covenant, from childhood to adulthood to full maturity. Let us look more fully at…
This series of post were originally published at the Biblical Horizons blog. The entire paper can be downloaded HERE . 3. Covenant Maturation Let us now turn to the application of this One Eternal Covenant into history. We have been looking at Covenant Theology. Covenant Theology has to do with…
Hymn Bark is a series designed to purify our good hymns from errors, and purge some bad ones. Here is chapter 2: Not really much wrong with this hymn, though I wish musicians would teach the congregation how to sing it. Routinely the note at the end of line 3…
I begin here a series of criticisms of hymns commonly sung in Reformed and Presbyterian circles. I begin with the hymn “I bind myself,” commonly called “The Lorica. There is only one textual problem with the usual sung version of this, and that is the phrase “eternal rocks.” Obviously that…
This series of post were originally published at the Biblical Horizons blog. The entire paper can be downloaded HERE . 2. What is the Covenant? There are many and varied descriptions of what the Bible means by the word “covenant” (Hebrew: berith). We are tempted to write that there are…
This series of post were originally published at the Biblical Horizons blog. The entire paper can be downloaded HERE . 1. What is Meant by Biblical Theology “Theology” is language (logos) about God (theos). We can distinguish two broad kinds of theology: Biblical Theology and Ecclesiastical Theology. Biblical Theology concerns…
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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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