Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
What shall we say then? Is there injustice on God’s part? By no means! For he says to Moses, “I will have mercy on whom I have mercy, and I will have compassion on whom I have compassion.” So then it depends not on human will or exertion, but on…
A hundred years ago, William Warley signed a contract to buy a house in Louisville, Kentucky from Charles Buchanan, a white man. Before closing the sale, Warley, who was black, learned that the lot was subject to a city ordinance barring blacks from occupying the premises if most of the…
I concluded the first essay on this topic by saying that I would introduce three books about Shakespeare and the Bible, but I decided to introduce four instead. The three books become four are: Naseeb Shaheen, Biblical References in Shakespeare’s Plays (London: Associated University Presses, 1999) ; Hannibal Hamlin, The…
My children attend a classical Christian school, situated in the independent “free church” evangelical tradition. Over the past few years they have been growing in their acquaintance with the world of Homer, Plato, Virgil, and Livy. They enjoy it, and I envy it. The school is a great school. My…
The Prodigal Son parable (Luke 15) has been a favorite of liberal theologians for a couple of centuries. It seems to be a parable designed for liberal sensibilities: An indulgent, accepting Father; forgiveness extended without a cross; a surly older brother who might represent the "conservative" face of religion who…
“I want now to tell you, gentlemen, whether you care to hear it or not, why I could not even become an insect. I tell you solemnly, that I have many times tried to become an insect. But I was not equal even to that. I swear, gentlemen, that to…
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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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