Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
And a great portent appeared in heaven, a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars; she was with child and she cried out in her pangs of birth, in anguish for delivery (Revelation 12:1-2). Then Joshua spoke…
In his post asking Ought we Anoint the Dying? Peter Leithart makes an excellent and important point about our suffering as members of Christ. However, he only parenthetically mentions that the verb in question in James 5 is not chrio but aleipho . By assuming that these words are interchangeable,…
We spend a lot of time in the church talking about what it means to live like a Christian. But what does it mean to die like a Christian? If we are to follow Christ in life, what does it mean for us to follow him in death as well?…
How would one go about answering the question posed by my title? That depends on what the question means. Obviously, different definitions of the question would require different approaches to an answer. Right off hand, I can think of at least three possible — though not necessarily mutually exclusive —…
In recent weeks and months, we have seen events that are not the event. The drama around these events is not the events themselves, but the anxiety about the events, and then even the anxiety about the anxiety about the events. That is the real event. The events in Ferguson,…
Anointing the sick, including the dying, is one of the traditional seven sacraments of the Catholic Church. The Reformers denied that the rite qualified as a sacrament. Formally, this was because anointing did not have a direct authorization from Jesus; more theologically, it was not one of the marks that…
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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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