Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
We have moved from death to new life, from Lenten darkness to Easter light. And while Easter Sunday may have come and gone, it's effects are continually with us. This season has brought with it several new relationships, events, and signs of growth for Theopolis. We have been networking with…
In The People's Work , a social history of Christian Worship, Frank Senn summarizes the developments of the medieval period with regard to the Eucharist. He begins by challenging the assumption that medieval society was held together by “the church.” He notes that the church was often divided and conflicted,…
The structure of the Bible resembles something which was grown rather than built, composed rather than assembled. Its employment of “structure-as-sign” at every level from micro- to macrocosmic leads to the conclusion that a hermeneutic worthy of Scripture requires not only training in history, art and music but also the…
For some in first-century Israel, Easter was anything but good news. It was a terrifying surprise. For the rulers and powers that put Jesus to death, the idea that He had been raised by some power beyond their control was chilling. Early in Luke’s gospel, we're told that Herod thought…
Simon Peter went up, and drew the net to land, full of large fish, a hundred and fifty-three; and although there were so many, the net was not torn. (John 21:11) This is one of those texts in the Bible that many people puzzle over. It is not a puzzle…
God is not mocked, Paul says. God is mocked, says Matthew. Who’s right? The two are in perfect harmony, but to see that, we need to run through the passage again. We’ll see that at every point, the mockery is being turned against the mockers. At every point, mockery is…
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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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