Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Peter Leithart recently wrote on his blog about the verse from Revelation 13, "Who is able to wage war with the beast?" and I could hardly help but take special notice. These were exactly the words l had had echoing about in my own head recently. Of course the answer…
I confess to mixed feelings about Jon Stewart. There’s a great deal about his work that I don’t particularly like. I don’t like his profanity, the worst of which is mercifully bleeped out before it makes it onto the YouTube clips that are my main source of snippets. I certainly…
The Marriage Pledge , authored by Ephraim Radner and Christopher Seitz and unveiled by First Things editor R. R. Reno, argues that the time has come for Christian pastors to rend themselves away from civil marriage. The Pledge argues that the fact that many states are now allowing same sex…
Psalm 28 has an overall rhetorical structure that looks like this: lines 1-16, prayer to Yahweh lines 17-20, talk about the wicked lines 21-27, talk about Yahweh (center of psalm) lines 28-29, talk about the anointed people lines 30-33, prayer to Yahweh As is so often the case, the enemies…
A river arises in Eden, flows through the sanctuary-garden, and waters the world downstream. A spring springs up from beneath the throne of God in the temple, rushes over the threshold, and then out to the land, toward the Sea of Salt, where it empties and turns brackish water sweet.…
On Wednesday evening, November 19, Justin Holcomb, Canon for Vocations in the Episcopal Diocese of South Florida and co-founder of REST (Real Escape from the Sex Trade) was a guest of the Theopolis Institute for a lecture on sex trafficking, given at Covenant Presbyterian Church, Birmingham. Dr. Holcomb's lecture began…
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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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