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The article focuses on the profound suffering Jesus experienced in the Garden of Gethsemane, marking a crucial moment of isolation and intense trial. Topics include the significance of this hour in revealing the saving design of God, the disciples' inability to support Jesus and their subsequent abandonment, and the deepening of Jesus's relationship with the Father amidst his overwhelming anguish.

Jesus associated himself with the "sign of Jonah" on multiple occasions in response to Jewish leaders demanding that he prove his authority. Possible explanations of the sign are examined here with an emphasis on Jesus's statement that he would be "three days and three nights in the heart of the earth" (Matt 12:40). A close reading of Jonah 2 reveals that Jesus was describing himself as one who must suffer, but that he was depending upon his Father to rescue him from his descent into death. Unlike traditional explanations which assume that the statement must be restricted to the specific period that Jesus was in the tomb, this approach suggests that Jesus's descent began in the Garden of Gethsemane before he died. [ABSTRACT FROM AUTHOR]

Despite the extensive attention that has been given to Philippians 2:6-11 in relation to its Christology, the possibility that v8 alludes to the story about Jesus in Gethsemane has received only cursory mention when it has been considered at all. Philippians 2:8 and the Gospel tradition converge in depicting Jesus choosing to be obedient to God even to the point of death, in the absence of an interpretation of that death as itself salvific. The historical allusion, offered in the midst of a heavily theologized Christological statement, offers an excellent test case for an approach to history which accepts that fact and interpretation are inseparable, and yet still proceeds under the conviction that critical historiography remains possible. [ABSTRACT FROM AUTHOR]

Lucy Hutchinson’s “Elegies,” which were written in the late seventeenth century, mourn the loss of the poet’s husband, Colonel John Hutchinson, and the loss of a republican form of government in the face of the Restoration. The garden landscapes in the poems that invoke Hutchinson’s estate at Owthorpe are typically read as a figure for a lost Eden. I argue for a different biblical garden, however, the Garden of Gethsemane. Examining the poems’ language of betrayal and grief alongside seventeenth-century exegesis on the Gethsemane episode, I show the correspondence between garden spaces, affect, and sympathetic textual and personal engagement. Using the psychoanalytic concept of conveyance, particularly in its gendered articulation in Julia Kristeva’sBlack Sun, I yoke exegesis to poetry in order to argue that mediating environments are capable of producing both subjects and affective experiences. Moreover, these formal products are contingent, depending on a continuous betrayal of the original lost object. [ABSTRACT FROM AUTHOR]

The Great War began with widespread public euphoria across the combatant nations, with community leaders, political, ecclesiastical and other, giving enthusiastic endorsement to the ‘war effort.’ In addition to simplistic and clichéd proclamations that ‘God is on our side,’ early in the war stories of spiritual phenomena, such as the so-called ‘Angels of Mons’ and the ‘White Comrade’, captured the public imagination. As the war progressed, however, and particularly in the wake of the Battle of the Somme from 1 July 1916, there is a noticeable shift in the spiritual and theological language of the battlefront (if not the home front) — away from angelic visitations bringing divinely ordained victory, and towards the ‘suffering God’ of No Man’s Land. The primary vehicle for this are the war poets, and the dominant symbolic language that of the Passion of Christ, who prays with great anguish in the garden of Gethsemane on the night of his arrest and betrayal that the cup of suffering might pass from him. As that cup will nor pass from Christ, neither would it pass those who endured the trenches of the Western Front. By the end of the war, the transcendent God had become an imminent deity, and the place of visitation was not the heavenly places, but the mud and blood of No Man’s Land. [ABSTRACT FROM PUBLISHER]

The olive trees ( Olea europaea ) in the Garden of Gethsemane were radiocarbon-dated with a view to providing an estimate of their ages and in order to determine whether they are even-aged or were planted at different times. All the tree trunks are hollow inside so that the central, older wood is missing. Furthermore, in several trees, a large void in the trunk's centre has led to its breaking-up into different stumps, which makes it very difficult to reconstruct the shape of each stem's basal area. In the end, only three from a total of eight olive trees could be successfully dated. They are of the same age, having started life all through the 12th century, when, during the Latin Kingdom of Jerusalem, the Crusaders were committing themselves to the restoration of Christian memories in the Holy Land. The dated ancient olive trees do, however, not allow any hypothesis to be made with regard to the age of the remaining five giant olives. Nonetheless, the dated olive trees of Gethsemane are a typical example of trees being cultivated in order to emphasize a cultural identity. [ABSTRACT FROM AUTHOR]

The article discusses about Christian faith in God, and the Christian philosophy. Topics include spiritual formation and philosophy, the trust and faith of Christians in God, and the preaching of Apostle Paul. The Christian belief in son of God Jesus Christ and the garden Gethsemane in Jerusalem are mentioned.

The article offers information on playwright and poet William Shakespeare's play "Macbeth." It informs the play offer reference to Jesus Christ who was crucified early in Macbeth. It informs that the Gospels suggests that Shakespeare may have borrowed language for the play from the 1599 Geneva Bible marginal notes. It informs that Jesus went to the garden of Gethsemane in Jerusalem to pray before his arrest.