This essay describes Newman’s adaptations of plays by Plautus (c. 254–184 BC) and Terence (195/185–159 BC) for performance at the Birmingham Oratory School. Because Newman believed in the value of Latin plays for students, he expended a great deal of energy on their adaptation and production while carefully editing the plays to omit any questionable content.

The essay surveys Newman's work in literary drama, from an early essay on Aristotle's Poetics to his adaptation of Roman comedies for production at the Oratory School, in order to approach his affinities with Hans Urs von Balthasar's theological dramatic theory. Newman does not find a Balthasarian theo-drama via literary drama – perhaps because he was not properly exposed to medieval religious drama – but scattered dramatic analogies in his history writing suggest that he undertakes a theo-drama in that genre. (...) Von Balthasar and Newman employ dramatic analogies to reject chiliastic apocalyptic and foster ‘keromatic’ apocalyptic. (shrink)

According to Henri de Lubac's history of medieval exegesis, the fourteenth century marked the tipping point for the disintegration of history and allegory. The Postilla super totam bibliam of the Franciscan Nicholas of Lyra plays a prominent role in this declension narrative by ceding the “spirit” of interpretation to the separate discipline of theology, and opening the space for critical biblical studies to attain autonomy. But what if Nicholas of Lyra was on the other side of this history? Arguing from (...) the layout of early Postilla manuscripts and the institutional and manuscript culture of the fourteenth century, this article proposes that Nicholas's Postilla represents a vigorous and largely successful attempt to reintegrate Biblical text, historical scholarship, and theological exegesis. Nicholas's approach to the exegetical crises of his own day helps us to reassess the challenges and possibilities of theological exegesis today. (shrink)

Tropologies is the first book-length study to elaborate the medieval and early modern theory of the tropological, or moral, sense of scripture. Ryan McDermott argues that tropology is not only a way to interpret the Bible but also a theory of literary and ethical invention. The "tropological imperative" demands that words be turned into works--books as well as deeds. Beginning with Augustine, Jerome, and Gregory the Great, then treating monuments of exegesis such as the Glossa ordinaria and Nicholas of Lyra, (...) as well as theorists including Thomas Aquinas, Erasmus, Martin Luther, and others, Tropologies reveals the unwritten history of a major hermeneutical theory and inventive practice. Late medieval and early Reformation writers adapted tropological theory to invent new biblical poetry and drama that would invite readers to participate in salvation history by inventing their own new works. Tropologies reinterprets a wide range of medieval and early modern texts and performances--including the Patience-Poet, Piers Plowman, Chaucer, the York and Coventry cycle plays, and the literary circles of the reformist King Edward VI--to argue that "tropological invention" provided a robust alternative to rhetorical theories of literary production. In this groundbreaking revision of literary history, the Bible and biblical hermeneutics, commonly understood as sources of tumultuous discord, turn out to provide principles of continuity and mutuality across the Reformation's temporal and confessional rifts. Each chapter pursues an argument about poetic and dramatic form, linking questions of style and aesthetics to exegetical theory and theology. Because Tropologies attends to the flux of exegetical theory and practice across a watershed period of intellectual history, it is able to register subtle shifts in literary production, fine-tuning our sense of how literature and religion mutually and dynamically informed and reformed each other. "This is an original book. It draws confidently on a wide range of medieval critical and scholarly work, as well as on a cogent body of contemporary theory and theology. It not only moves easily and eloquently between the fourteenth and the sixteenth centuries but also delves back into the 'tropological' Christian thought of the previous thousand years." --Nicolette Zeeman, University of Cambridge. (shrink)