Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Our creeds, taking cues from Matthew 28:18-20 and other biblical texts, speak of the order of the Trinity as “Father, Son, Spirit.” This order is evident in the order of redemption as well: the Father sends the Son, who ascends to heaven to receive and send the Spirit. Luke 1,…
The category of “relation” has long been central to Trinitarian theology, [1] but in recent theology it has become a transcendental, as many theologians have argued that relationality is the leading feature not only of divine life but of created life. [2] Human beings made in the image of the…
Listen to Trinity House President Peter Leithart discuss his article on the End of Protestantism with LCMS pastor Todd Wilken at Issues, Etc .
One of the keys to understanding the parable of the wheat and tares (Matthew 13) is to understand the time frame. Jesus is speaking in pictures and symbols about some period of history, but which? What’s the beginning, and what’s the end of the parable? Is Jesus talking about what…
Shakespeare wrote two tetrologies of English history, patriotically celebrating the Tudor monarchy by recounting its chaotic prehistory. Read in chronological order, Shakespeare’s English histories trace the depressing collapse of medieval politics, from the ineffectual but dignified medieval kingdom of Richard II, through the usurpation of Henry Bolingbroke, later Henry IV,…
The Heart of Liturgy What we call sacrament, the food-aspect of worship, is essential here. Biblically, sanctuary worship, or worship in the heavenlies, is always a “marriage supper,” always sacramental. The Papal Church made the Eucharist into a private act largely separated from the community of the church. Protestant churches…
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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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