Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
When someone expounds the way of salvation found in the Westminster Confession and Catechisms and in the easily-accessible writings of the Reformed heritage, he often finds him embroiled in a debates about the covenant of works and the Mosaic Covenant. One is “proven” to be aberrant by allegations that one…
The ultimate condemnation of a position in Reformed circles is to show that it “leads back to Rome.” Indeed, one gets the feeling that Rome is a worse destination for a Presbyterian than even hell itself. The accusation of Rome stings deeply, of course, because it means that all the…
One of the odd features of Michael Horton’s version of Covenant theology is his interpretation of the covenant God made with Abraham 1 in Genesis 15. According to Horton, The very way in which God made the covenant with Abraham (putting him to sleep; walking through the torn animals by…
What was I trying to do, when I wrote my book on Mark’s Gospel ? Fundamentally, I wanted a book that would change readers by making them better readers of the Gospel of Mark. My ideal reader is not someone who goes to the book to use as a resource…
Why do we need sacraments? According to the Westminster Confession, sacraments were instituted by Christ “to confirm our interest in him” (27.1), “to strengthen and increase” the “faith” of those within the Covenant of Grace and “to distinguish them from those that are without” that covenant (Westminster Larger Catechism, #162).…
In Isaiah 5:1-7, we have a typical covenant lawsuit, in which the Lord accuses his people of rejecting his grace and mercy. It is not my intention here to exegete the entire passage, or to look at the way the vineyard image used here serves as a metaphor in other…
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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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