Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Since Theopolis began in 2013, we have been aiming for the fall of 2016 as the launch date for our year-long Fellows Program. As it turned out, we had only a handful of applicants, most withdrew for one reason or another (none for lack of interest), and we are left…
Charles Spurgeon once quipped, “If you give a man the gospel, wrap it in a sandwich. And if you give a man a sandwich, wrap it in the gospel.” With those words, the great Baptist preacher captured the essence of the church’s mission in the world. The church’s mission is…
This is a continuation of a previous essay by Lindsey Tollefson . 6. We own everything . Sometimes the biggest thing that is keeping us discontent is because we are not happy with what we have been given in material possessions. Especially in the United States it is so easy…
Proverbs 3:1-12 form a section marked off by the reference to the father-son relationship at the beginning and end (vv. 1, 12). Within this section, Solomon gives a series of six commands to his son (vv. 1, 3, 5, 7, 9, 11), the first and the last (vv. 1, 11)…
A letter from Theopolis President Peter Leithart as our fiscal year draws to an end . Dear Friend of Theopolis: It was one of those moments when you realize that other people understand you better than you understand yourself. I was having lunch with a pastor friend at a BJ’s…
Learning to be content and completely satisfied in Christ is certainly a life-long process and a lesson that we are always learning, and always being tested on. As I am learning and wrestling against discontent, I am always looking for practical and tangible ways to set my course towards joy…
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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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