Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
To begin with the source of this narrative: Since no human being was present to observe these events, we must assume that this narrative was revealed directly by God to a human author. There are three ways this might have happened. First, we might read, "God said to Abraham (or…
The Empire Strikes Back is a movie most of us have seen more than once. It is generally regarded as the best of the three Star Wars films, which is probably due to the fact that unlike the other two, The Empire Strikes Back made use of the services of…
Now that we have examined three unacceptable approaches to the events recorded in Genesis 1, it is only fair for me to set out what does seem to be recorded there. To begin with the source of this narrative: Since no human being was present to observe these events, we…
Two books on the "Bible Code" have appeared this year. The first, a current bestseller, is Michael Drosnin’s The Bible Code (Drosnin, 1997). The other is Cracking the Bible Code (William Morrow, 1997), by Jeffrey Satinover, known to Christians for his outstanding 1996 book Homosexuality and the Politics of Truth…
Part 1: Introduction The collapse of the Western tradition in the United States, seen in the hostility to Christianity in government and education, and the elimination of "traditional" or "canon" learning from our institutions of middle and higher learning, provides a crisis and an opportunity for serious believers at the…
A Brief Defense of John Murray’s “the Free Offer of the Gospel,” & A Question About the Extent of the Atonement John Murray (1898-1975) is probably the last of the great American theologians; he belonged in the same set as that which contains such eminent Presbyterians as Charles Hodge and…
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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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