Jim Jordan suggests that justification as forgiveness of sins always also includes glorification. The “robe” that covers us (imputed righteousness) is likewise a garment of glory and beauty, so that we are invested for office at the same time we are glorified. He wants also to relate . . . . Continue Reading »
The story of the 10 lepers in Luke 17 is not just about Jesus demonstrating that He is powerful to save, cleanse and heal. He is powerful for all those things; He DOES have mercy on the unclean and the outcasts. But Luke tells the story of the healing almost incidentally: “as they were going, . . . . Continue Reading »
Part of the Renaissance recovery of history was an emphasis on mutability and change. Few themes so dominate the poetry of Spenser or the sonnets of Shakespeare as the fear that Time will gobble up everything good. This was continuous with ancient (and medieval) conceptions of the world, since . . . . Continue Reading »
“Movies,” writes Brian Godawa, a Christian screenwriter, “may be about story, but those stories are finally, centrally, crucially, primarily MOSTLY about redemption.” Godawa uses the theologically loaded term “redemption” intentionally, but he recognizes that . . . . Continue Reading »
Sermon outline for Feb 1: The Days of the Son of Man, Luke 17:11-37 INTRODUCTION Jesus’ mission was to proclaim “the kingdom of God” (Luke 4:43; 8:1). By this, He meant that God was taking control of the world through Him, and putting a sinful and shattered world back together. . . . . Continue Reading »
Barth says that the conflict of faith and heresy is far more serious and important than the conflicts between faith and unbelief. Unbelief cannot be taken with seriousness, he says, because we believe in the forgiveness of sins. But heresy is taken seriously to the extent that it has the form of . . . . Continue Reading »
Henry Ansgar Kelly (pp. 139-140 of Chaucerian Tragedy ) makes this important historical comment at the end of his analysis of Chaucer’s Troilus and Criseyde : “The selection introduction of Aristotelian criteria of excellent in tragedy has been a source of untold confusion in modern . . . . Continue Reading »
While I’m on that subject: I’ve often wondered about the etymology of the “f-word.” The Shorter Oxford says that the derivation is unknown. I have a theory: Medieval courtly love poetry (such as the Roman de la Rose ) traced the development of courtship through several . . . . Continue Reading »
In his beautifully written tribute to the ancient Greeks. Thomas Cahill interprets Euripides’ Medea as a cautionary tale to aristocratic Athenian men. The question he poses to the audience is: “What could drive a woman to such extremes that she would kill her own children.” . . . . Continue Reading »
In a book written in the late 1370s, the surgeon John Arderne prescribed “the Bible and other tragedies” as remedies. These books were good sources, as Henry Ansgar Kelly explains in summarizing Arderne’s point, “for humorous stories of a good and decent kind that doctors . . . . Continue Reading »
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