Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
I believe hymnals should be shorter than they are. Much shorter. 100 hymns at most, let’s say. I imagine that this will be a hard one to swallow for most of my readers, so I will attempt to bolster my argument as best I can. I can’t think of any…
Joshua is never called a king in the Bible. Yet while lacking the title, Joshua possesses the trappings of biblical kingship to a degree that it seems warranted to consider him a royal figure. There are lots of reasons for thinking this. In a 1981 Journal of Biblical Literature article,…
God speaks. He is not silent. He has designed humanity for reception of such communication and also to speak on His behalf. This speaking is not simply happenstance. It is not just a curious quirk about humanity. It is intrinsic to who we are that we speak and shape the…
One evening, years ago, home from college for Christmas break, I dreamt that I was playing the piano, passionately and well, in the church sanctuary beneath the parsonage in the renovated mansion in rural New Hampshire where my father was the minister. It was something of a lucid dream because…
I’m a big worrier. Always have been. Some of my earliest memories are of being anxious to the point of getting sick, sometimes for trivial reasons. My mind moves a million miles a minute, wondering what will happen in 5 minutes, or tomorrow, or next week, or in ten years.…
“The sun had gone up on the earth when Lot came to Zoar. And the LORD rained on Sodom and on Gomorrah sulfur and fire from the LORD from heaven, and he devastated those cities and the whole valley and all those dwelling in the cities and the growth of…
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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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