Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Russian Orthodox liturgist Alexander Schmemann died in 1983, but his importance continues to grow, sometimes in surprising ways. A Russian transplanted to Paris and then to Crestwood, New York, he was an acute observer of the American religious scene. He possessed the clarity of vision the Spirit often grants to…
This is the fifth in a series of studies of Deuteronomy 22:3-23:8. "A bastard ( mazmer ) shall not enter into the assembly of Yahweh; even to the tenth generation shall none of his enter into the assembly of Yahweh" (Deuteronomy 23:2). [i] The translation “bastard” here for mazmer ,…
The Enlightenment project is very comprehensible in terms of the “Wars of Religion” that followed the Reformation. It's questionable whether all that is said about the Wars of Religion is entirely fair (R. J. Rushdoony’s Christian Survey of World History has some very helpful things to say about this). Still,…
The fourth in a series of studies on Deuteronomy 22:30-23:8. One wounded by crushing, or cut in the member shall not enter into the assembly of Yahweh (Deuteronomy 23:1. [i] The translation of this verse varies in different English versions. The basic idea is clear enough, however: a eunuch is…
Trinity House President Peter Leithart will give a lecture on violence at the 2013 Wheaton Theology Conference later this week.
The third in a series of studies on Deuteronomy 22-23. This continues the second essay, which examines Deuteronomy 22:30: "A man shall not take his father’s wife, and shall not uncover his father’s wing" (Hebrew: kanaf ). The Sin of Ham Another story would almost certainly occur to an ancient…
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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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