A mismatched marriage ends in tragedy, and a mystery for Apothecary John Rawlings, in this historical set in eighteenth-century England. February, 1768. Apothecary John Rawlings has travelled to Devon to be by the side of his mistress, Marchesa Elizabeth di Lorenzi, who is due to give birth to their child. Leaving his shop—and his new carbonated water business—in good hands, John arrives at Sidmouth House to a surprise. While Elizabeth is recuperating, John learns that Lady Sidmouth’s cousin, Miranda, is to marry the elderly Earl of St. Austell, who is more than fifty years her senior and has a cruel reputation. As the wedding day approaches, John feels increasingly uneasy, and before too long his worst forebodings are realized . . . Death at the Wedding Feast is the fourteenth book in the John Rawlings Mysteries, but you may enjoy reading the series in any order. “The latest in Lake’s long-running series continues to mix period detail and a sound mystery with a hint of romance.” —Kirkus Reviews

In this deeply contemplative and meditative study, Father Kereszty first places the Eucharist in the universal context of world religions and shows how the Eucharist is God's response to the universal human quest for the perfect sacrifice of thanksgiving, expiation, and communion. Father Kereszty discusses not only the explicit eucharistic texts of the New Testament but demonstrates the role and meaning of the Eucharist within each Gospel, within the theology of Paul, the letter to the Hebrews, and the book of Revelation. He highlights forgotten texts and recovers surprising insights from the Fathers that show the link between the Eucharist and mystical experience, the presence of all the mysteries of Christ (in particular his death, Resurrection, and his coming in glory) in the eucharistic celebration. He then carries the lex orandilex credendi adage to its logical conclusion: the liturgical celebration provides the content and the organizing principle for the systematic presentation.

Emmanuel Falque’s The Wedding Feast of the Lamb represents a turning point in his thought. Here, Falque links philosophy and theology in an original fashion that allows us to see the full effect of theology’s “backlash” against philosophy. By attending closely to the incarnation and the eucharist, Falque develops a new concept of the body and of love: By avoiding the common mistake of “angelism”—consciousness without body—Falque considers the depths to which our humanity reflects animality, or body without consciousness. He shows the continued relevance of the question “How can this man give us his flesh to eat?” (John 6:52), especially to philosophy. We need to question the meaning of “this is my body” in “a way that responds to the needs of our time” (Vatican II). Because of the ways that “Hoc est corpus meum” has shaped our culture and our modernity, this is a problem both for religious belief and for culture.

Examines Hebrews' exposition of Jesus' death, his self-offering in heaven at his ascension, and the link between them.

Timothy Keller, renowned pastor and New York Times bestselling author, explores life’s biggest questions in The Wedding Party, the fourth installment in his Encounters with Jesus eBook series. The Gospel of John details the stories of many who met Christ. In his Encounters with Jesus series, Timothy Keller, pastor of New York’s Redeemer Presbyterian Church and New York Times bestselling author of The Reason for God, explores biblical passages to show how these meetings with Jesus still affect us today. By examining the well known passage where Jesus turns water into wine for a wedding party, Keller sheds light on what will put the world right, and what Jesus has done to do so.

In Jesus the Bridegroom, Brant Pitre once again taps into the wells of Jewish Scripture and tradition, and unlocks the secrets of what is arguably the most well-known symbol of the Christian faith: the cross of Christ. In this thrilling exploration, Pitre shows how the suffering and death of Jesus was far more than a tragic Roman execution. Instead, the Passion of Christ was the fulfillment of ancient Jewish prophecies of a wedding, when the God of the universe would wed himself to humankind in an everlasting nuptial covenant. To be sure, most Christians are familiar with the apostle Paul's teaching that Christ is the 'Bridegroom' and the Church is the 'Bride'. But what does this really mean? And what would ever possess Paul to compare the death of Christ to the love of a husband for his wife? If you would have been at the Crucifixion, with Jesus hanging there dying, is that how you would have described it? How could a first-century Jew like Paul, who knew how brutal Roman crucifixions were, have ever compared the execution of Jesus to a wedding? And why does he refer to this as the "great mystery" (Ephesians 5:32)? As Pitre shows, the key to unlocking this mystery can be found by going back to Jewish Scripture and tradition and seeing the entire history of salvation, from Mount Sinai to Mount Calvary, as a divine love story between Creator and creature, between God and Israel, between Christ and his bride--a story that comes to its climax on the wood of a Roman cross. In the pages of Jesus the Bridegroom, dozens of familiar passages in the Bible--the Exodus, the Song of Songs, the Wedding at Cana, the Woman at the Well, the Last Supper, the Crucifixion, and even the Second Coming at the End of Time--are suddenly transformed before our eyes. Indeed, when seen in the light of Jewish Scripture and tradition, the life of Christ is nothing less than the greatest love story ever told.

The link between weddings and death—as found in dramas ranging from Romeo and Juliet to Lorca's Blood Wedding—plays a central role in the action of many Greek tragedies. Female characters such as Kassandra, Antigone, and Helen enact and refer to significant parts of wedding and funeral rites, but often in a twisted fashion. Over time the pressure of dramatic events causes the distinctions between weddings and funerals to disappear. In this book, Rush Rehm considers how and why the conflation of the two ceremonies comes to theatrical life in the tragedies of Aeschylus, Sophokles, and Euripides. By focusing on the dramatization of important rituals conducted by women in ancient Athenian society, Rehm offers a new perspective on Greek tragedy and the challenges it posed for its audience. The conflation of weddings and funerals, the author argues, unleashes a kind of dramatic alchemy whereby female characters become the bearers of new possibilities. Such as formulation enables the tragedians to explore the limitations of traditional thinking and acting in fifth-century Athens. Rehm finds that when tragic weddings and funerals become confused and perverted, the aftershocks disturb the political and ideological givens of Athenian society, challenging the audience to consider new, and often radically different, directions for their city. Rush Rehm is Assistant Professor of Drama and Classics at Standford University and a free-lance theater director. He is the author of Greek Tragic Theatre (Routledge) and Aeschylus' Oresteia: A Theatre Vision (Hawthorn). Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.