During his last days at Oxford in 1840, John Ruskin inscribed in a new notebook, ‘I have determined to keep one part of diary for intellect and another for feeling.’ There is no diary for 1845, when Ruskin made his first Italian tour without his parents. Instead, broadly speaking, what Paul Tucker calls Ruskin’s Résumé is for intellect and the letters home to his father for feeling. The emphasis in this chapter is not upon the letters as travel writing or as indices of Ruskin’s intellectual journal, but rather upon their intrinsic qualities as communications between a son and his father that, though written abroad and taking nine or ten days to arrive, sustain the intimacy of a connection between two difficult and complex personalities who have a ‘strong desire to be speaking’ to one another. Whereas Browning and Barrett are embarking upon a new relationship, John Ruskin seeks to maintain an established connection with a beloved father whose demands are testing.

The premise of this chapter is that an examination of the Cuban son provides important insights into Cuban history and society, into Caribbean race relations, and ongoing processes of cultural fusion involving Afro-descendant and Euro-descendant practices, among others. The chapter focuses primarily on early son history, its antecedent forms, the African-influenced aesthetic sense that gave rise to it, and the popularization of the music and dance in the early twentieth century. Later it briefly considers changes to son music in the 1930s and beyond.

This chapter evaluates the links between the power balance in household relationships and Chrysostom’s preaching on pistis (normally translated as ‘faith’). It argues that, for Chrysostom, pistis is closer to faithful obedience than cognitive belief and analyses how Chrysostom used the expected norms of faithful obedience in household relationships to reinforce congregational faithful obedience to God. The chapter uses this preaching to expose the unequal, reciprocal, and sometimes violent nature of the relationships in the late antique household. It also demonstrates how Chrysostom attempted to regulate the household through reinforcing existing power imbalances in relationships, benefiting the paterfamilias as husband, father, or master. Faithfulness to God and the paterfamilias are intertwined. Wives are exhorted to be faithful to and obey their husbands. Sons are expected to obey their fathers. Slaves are encouraged to be loyal and obedient. Masters are encouraged to treat slaves as if they were their own children – fictive kinship – but in practice this amounted to little change. Chrysostom preached a potentially revolutionary message about faithful obedience to God, but recast it into safe exhortations and a defence of existing societal structures.

Chapter 2 examines the concept of prodigality and the impulse to seize the moment through the sixteenth- and seventeenth-century prodigal son as a temporally subversive denier of delay. I begin with metatheatrical moments that define the prodigal’s denial of futurity in Shakespeare’s second tertralogy. I argue that the action of the prodigal’s riotous living, which challenges hierarchies of age, is paradoxically figured as a period of delay: it is a rejection of social maturation that threatens to feminise the prodigal as ineffectual. I go on to examine five Prodigal Husband plays that constitute a specific sub-genre of city comedy: Thomas Heywood’s How a man may chuse a good wife from a bad (1601-2) andThe Wise Woman of Hoxton (c.1604), the anonymous The London prodigall (1603-5) and The faire maide of Bristow (1603-4), and George Wilkins’ The miseries of inforst mariage (1605-6). In these plays, we see prodigality enforced by the older generation in order to disempower the young. However, when the prodigal son’s repentance is delayed, and he becomes a prodigal husband, he poses a threat to the stability of the marital unit, and potentially to systems of patriarchal control.

This chapter examines passages in Hebrews where the Father or God is portrayed as the speaker of Scripture quotations (Heb 1:5–13; 5:1–10; 7:1–28; 8:1–13). In Hebrews 1, the Father speaks 7 quotations to the Son or to/about the angels. These quotations show the Son’s superiority. In Hebrews 5, the quotations show how the Son is called to be a priest and how that is linked to his Sonship. In Hebrews 7, the author’s important quotation of Ps 110:4 establishes Jesus as a high priest in the likeness of Melchizedek. Finally, in Hebrews 8, the Father speaks and establishes a “new covenant.” In most instances, a pattern emerges where the Father speaks to the Son and confers authority upon him. These speeches are then “overheard” by the addressees.