Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
WHAT IS THE OT PRECURSOR OF THE NT OFFICE OF PASTOR? HOW DOES THE FORMER ILLUMINATE THE LATTER? The first problem to address is: how do we know that there is an office of pastor in the New Testament? 1 Perhaps the way the question is put may permit me…
[This essay was originally published in December, 1981, in The Biblical Educator , a publication of the Institute for Christian Economics, and again with slight revisions in Contra Mundum 7 (Spring, 1993). It is reprinted here as a supplement to my book Creation in Six Days .] In 1979, Dr.…
Anyone seeking to reverse the meaning of this promise needs to come to grips not only with the phrase "God was with the lad" later on, but also with Hagar’s response in 16:13. She worships Yahweh, putting her trust in Him and obeying Him. In fact, Hagar is at the…
Ishmael is the narrator of Melville’s fantasy-romance Moby Dick. Melville takes up the traditional view of Ishmael as a wayward son of Abraham, driven out solely because of the Divine "caprice" of election, an angry man with his hand raised against all other men. He is a fitting "anti-hero," or…
There were five cities at the center of the Canaanite culture in the circle of the Jordan, a place like the Garden of Eden, like the land of Egypt, before it became the Dead Sea at the destruction of the cities (Genesis 13:10). Genesis 14:2 tells us their names: Sodom,…
Meditations by James B. Jordan Genesis 19, the destruction of Sodom and the rescue of Lot, is part two of a story that begins in Genesis 18. These two chapters happen in one 24-hour period: noon and evening in Mamre, and midnight and daybreak in Sodom. God and two angels…
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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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