Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Evangelistic Message to the Uninformed: 1 Timothy 3.14-16 Even though this is written as a sermon for delivery, and even though it was preached in a homiletics class, I decided I can’t post it as a sermon because it was not truly preached at a place where nonchristians wanted to…
If we only read the Gospels of Mark and Luke, we might get the impression that Jesus’ ascension was on resurrection Sunday. Matthew speaks of going to Galilee but he does not put things into a clear time frame. John shows us that Jesus appeared to the disciples eight days…
The most cursory glance at the history of Western literature reveals that it has been deeply influenced by the Bible. Some of the greatest classics of Western literature draw their plots, characters, and ideas largely from Scripture; Dante’s Divine Comedy and Milton’s Paradise Lost are two of the most notable…
Few themes emerge as profoundly and persistently in the streams of biblical narrative as the conflict between light and darkness, and the juxtaposition of humanity with monstrosity. These themes not only weave through the fabric of Scripture, emerging in stories from Genesis to Revelation, but also stitch together the human…
In John Wenham’s work, Easter Enigma , he devotes an entire chapter to Mary Magdalene, which is rephrased and summarized here. 1 One of the interesting things that Wenham said was that Mary Magdalene was the second “most favored woman in the Bible.” 2 He adds, “Yet apart from a…
God made man to live in a larger relational context, and even in high rebellion, man cannot escape his created nature. Instead, that nature takes revenge on rebellious man. Autonomous and alone, the self craves absolution but recognizes no authority that might give it; it thirsts for glory but rejects…
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Ibsen, Steiner argues, did not write tragedies. Ibsen wrote “dramatic rhetoric” calling society to reform. For real tragedy, there is no such “solution” to be found, there is no remedy, except destructive sacrifice and perhaps a deus ex machina. From this angle, tragedy is perhaps among the STOICHEIA that prepared…
Some more quotations from Steiner’s Death of Tragedy : “We cannot understand the romantic movement if we do not perceive at the heart of it the impulse toward drama . . . . The romantic mode is neither an ordering nor a criticism of life; it is a dramatization. And…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Steiner notes that, following the Renaissance, European drama operated under the shadows of neo-classical and Elizabethan dramatic practice, the former “closed” and rigidly adhering to Aristotelian criteria, the other open and experimental. He discusses the theory of Thomas Rymer (a neo-classicist) at some length, concluding that the controversies that Rymer…
George Steiner in his Death of Tragedy describes the “Shakespearean difference” as mainly due to Shakespeare’s avoidance of fascination with Hellenic models: “The neo-classic view [which rigidified Aristotelian conceptions of tragedy] expresses a growing perception of the miracle of Greek drama. This perception was fragmentary. There were few translations of…
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