Peter J. Leithart

Luke 14:21-24 The parable of the wedding feast is a parable about the kingdom, where the kingdom is envisioned, as it often is in Jesus?Eteaching, as a dinner, a banquet, a wedding feast. The key point in this particular parable is about who is invited to the wedding feast. First the man?s social . . . . Continue Reading »

INTRODUCTION Antony and Cleopatra is set in the 30s BC, during the period of the Second Triumvirate, which consisted of Antony, Octavius Caesar, and Lepidus. It is a story of middle-aged infatuation between the title characters, carried out in the context of a political struggle between Antony and . . . . Continue Reading »

One Thomas Merriam has a very intriguing article on “Parallel Ironies: Henry VIII (All Is True) and Antony and Cleopatra ” (available in full on his web site ). He argues that the clown’s words to Cleopatra in Act 5 of Shakespeare’s play provide theological commentary on the . . . . Continue Reading »

Some exceprts from Coppelia Kahn’s stimulating feminist study of Shakespeare’s Roman plays [ Roman Shakespeare: Warriors, Wounds and Women (Routledge, 1997)], with appended theological reflections: The word ?suicide?Edoes ?not appear in ancient Latin, but is, rather, an English . . . . Continue Reading »

In Shakespeare’s play, Cleopatra’s outburst against Agrippa (who has suggested that Antony marry Octavia, Caesar’s sister) is remarkable: “That Herod’s head I’ll have” (3.3.5-6). “Herod” cannot be used in the same sentence with . . . . Continue Reading »

Nigel Cameron, director of a Wilberforce Forum council on biotechnology includes the following in his recent email update: “I gave a presentation at the Experimental Biology conference in Washington, D.C. a few weeks ago, where I was surveying the ethical pros and cons of stem cell research. . . . . Continue Reading »

Some of the following notes were taken from a longer introduction to Julius Caesar posted on this site some months ago. INTRODUCTION For several generations, Julius Caesar has been a staple of high school English literature, coming from a period when education was rooted in Greek and Roman classics . . . . Continue Reading »

Paul Nickell’s 1951 Westinghouse Studio One production of Coriolanus is fast-paced, well-acted, and, making allowances for technological weaknesses, interesting and fun to watch. It is also very unlike the play that Shakespeare wrote. The play begins with plebs rioting (or milling around) in . . . . Continue Reading »

The stage history of Coriolanus is as interesting as the play itself. It has provoked riots and demonstrations, and has been used as a way of preventing riots and demonstrations. Here are a few excerpts from RB Parker’s excellent introduction to the play (The Oxford Shakespeare): RIGHT-WING . . . . Continue Reading »

Glory and Song, 2 Chronicles 5:1-14 INTRODUCTION As we close out this brief series on worship, we will be looking at two separate but related issues: the glorification of worship, and music in worship. These are related in several ways: Music is itself a means of enhancing or glorifying worship; . . . . Continue Reading »