Peter J. Leithart

James Jordan points out that Boaz “adopts” Ruth into his household when he first meets her. The use of the Hebrew na’ar hints at this. Boaz speaks to his na’ar when he first arrives on the scene (2:5), and invites Ruth to drink water along with his na’arim (2:9). In . . . . Continue Reading »

Boaz calls Ruth “my daughter” (2:8), as does Naomi. This indicates the age difference between them, but also points in a typological direction. After all, Boaz marries his “daughter,” just as Yahweh is both Father and Husband to “Daughter Zion.” . . . . Continue Reading »

Garber notes that Jaques’s “seven ages” speech numerically links the ages of man with “the number of the planets, and the virtues and vices, and the liberal arts.” Specifically the planets: “the schoolboy is mercurial; the lover, venereal; the soldier, martial; . . . . Continue Reading »

Pastoral was a huge fad in Elizabethan England. Marlowe’s brief song of the shepherd exemplifies the conventions of the genre: Come live with me and be my love, And we will all the pleasures prove That valleys, groves, hills, and fields, Woods or steepy mountain yields. And we will sit upon . . . . Continue Reading »

Margaret Garber points out that Arden, the name of the forest in As You Like It , is also the maiden name of Shakespeare’s mother, “so it is arguable that some nostalgia for childhood would double the geographical place with a psychological, or at least a remembered, place of ideal . . . . Continue Reading »

Rusty Reno’s discussion of nature and grace ( The Ordinary Transformed ) is not so satisfying as Jenson’s. Reno says that theology’s challenge is to explain the real relationship between nature and grace without detaching them or conflating them. Too intimate a relationship . . . . Continue Reading »

In the second volume of his systematic theology, Robert Jenson summarizes and critiques de Lubac’s theology of nature and grace. He agrees with de Lubac’s conclusion that the supernatural is not owed to nature because “the reverse in the case.” Quoting de lubac: . . . . Continue Reading »

Ward quotes Rosalind’s line, “Say a day, without the ever,” and asks, “Did Shakespeare know he had used all five vowels, and with such symmetrical elegance that the first two, appearing three times each, neatly surround the remaining three in correct order within: . . . . Continue Reading »

AL Rowse counted some 25 references to the Cain and Abel story in Shakespeare’s plays. As You Like It has two - Duke Senior and Frederick, Oliver and Orlando. And there’s Hamlet Sr and Claudius, Edgar and Edmund, Prospero and his usurping brother. Not to mention all the brother-like . . . . Continue Reading »

In his introduction to As You Like It , John Powell Ward free associates on the Forest of Arden, to good effect: “Arden, garden, Garden of Eden (and Adam), ardent, Mary Arden, Arden in Warwickshire, the Ardennes in France - there are many leads into what is suggested. Despite the frenchified . . . . Continue Reading »