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A useful reference to different views and a plus for the Counterpoints series.


Walvoord begins with a simplistic, fundamentalist position of literal, eternal fire. Walvoord does a decent job of making his point. The issue is muddled, unfortunately, with the mantra of literal interpretation as the only method for persons who believe the Bible is inerrant. The connection with dispensationalism is apparent in the frequent, literal application of passages in Revelation.
Crockett steps to the plate next with the metaphorical view. His presentation is the most convincing of the four, partially because of his skill but mainly because of the strength of the argument itself. Crockett sticks to the point and drives it home.
Hayes takes his turn defending the purgatorial position. I was a bit surprised to find a serious consideration given to the idea of purgatory in a work of this nature. Hayes deserves credit for making a valiant attempt to communicate a Catholic belief to a predominantly Protestant audience. He offers little Scriptural support for his position, simply because there is little Scriptural support to be found.
Pinnock concludes the presentations with his view of annihilation. Pinnock is not as convincing as Crockett, but gives some substantial Scriptural evidence and theological reasoning to support his position. Crockett does an excellent job of refuting Pinnock's argument in the brief response he offers.
I intially planned to give this volume three or four stars, because at least two of the arguments presented are extremely weak. On second thought, however, the presentations are all fairly well done -- the problem is with the positions themselves. For anyone wanting a good overview of four doctrines of hell, I strongly recommend this book.

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The impending nuptials of Theseus and Hippolyta set the background for the play, and are certainly the most distant, both from the immediate action, and in terms of romantic possibility. Theirs is a cool, rational relationship, seemingly devoid of passion. The already-married Oberon and Titania, king and queen of fairies, provide another marital backdrop. Both seem to be jealous of the other's chosen distractions, which deprive them of each other's company. Finally, the main action of the play concerns the love affair between Lysander and Hermia. Hermia's father, Egeus, wants his daughter to marry Demetrius, and does not approve of Lysander at all. Helena, Hermia's friend, is smitten with Demetrius, and so, the conflicts begin.
Oberon initiates the action of the play, goading his mischievous aid-de-camp, Puck, to stir up trouble with a love-inducing flower amongst both the human lovers and the fairy queen Titania. Foible and folly ensue when Puck starts into his work. Throw in some common craftsmen from Athens who are trying to put together a simple play for Theseus's wedding, and you have all the ingredients for enchantment.
In "A Midsummer Night's Dream," Shakespeare not only delves into the intricacies of human relationships on a romantic level, but also at the social, class, and interpersonal levels. He even critiques/celebrates the habits of his late 16th century audiences to intriguing effect. If you are tired of tragedy or think Shakespeare too distant or foreboding, pick up "A Midsummer Night's Dream," and you will find a solidly funny and endearing read.