Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Inspired by our recent podcast on Christmas and Advent music recommendations, we offer here a list of excellent recordings that are sure to enrich your Advent and Christmas season. Praetorius: Mass for Christmas Morning Paul McCreesh with the Gabrieli Consort and Players Amazon | Spotify | Apple Music 2. Christmas…
In the year 1483 in the city of Nuremberg, the leaders of the renowned Saint Lawrence Church were seeking to redesign their altar, and above the table where the priests presided over the eucharist, they wanted new art installed above the prestigious Krell altar. What they decided on took everyone…
The consequences of disobedience start with exile from the garden of God and the Tree of Yahweh, but they do not end there. They cascade down through the structure of the dynastic order. Everything which had previously been given in the Kingdom of Elohim is either taken back or curtailed…
Parallelism: A Course Correction If you have ever studied Hebrew poetry, you have probably heard its basic poetic feature described as “parallelism.” Hebrew poetry is not metered, it does not rhyme, it does not employ many of the common poetical tropes, but its distinctive (and almost universal) feature is commonly…
In The Crown and the Courts , David C. Flatto traces the development of the idea of judicial independence in Jewish commentaries on the Scriptures – particularly Deuteronomy 17 – from the Second Temple and early rabbinic periods. These periods roughly span 400 BC to 300 AD. Flatto does not…
A curious feature of the Infancy Narratives in the Gospel of Luke is the naming of John the Baptist. When the angel appears to Zechariah, he is instructed to give his promised son the name John (Luke 1:13). On the day of John’s circumcision, Luke tells us that “they [presumably…
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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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