Abstract: This essay examines the The Troublers of Israel in the context of Methodism's uneasy, and seemingly contradictory, relationship with the theatre and argues that its anonymous author purposefully adapted the operatic form to achieve his rhetorical, and religious, aims. Even though this tactic has confused bibliographers who have miscategorized the piece as an anti-Methodist work since the nineteenth century, the operatic form, like George Whitefield's preaching, effectively demonstrates how the Methodists coopted and redeployed the dramatic arts as a means of conveying their religious message while reframing and refuting anti-Methodist arguments. The Troublers provides further evidence, in addition to Whitefield's preaching, that the Methodists recognized the power of the dramatic arts to influence belief and behaviour at the same time they condemned more mainstream forms of plays and playgoing.

中文翻译：

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卫理公会歌剧？《以色列的麻烦者》（1767）作为对反卫理公会批评的回应

摘要：本文在卫理公会与戏剧之间不稳定且看似矛盾的关系的背景下审视了《以色列的麻烦者》，并认为其匿名作者有意采用歌剧形式来实现他的修辞和宗教目标。尽管这种策略让目录学家们感到困惑，他们将这部作品错误地归类为十九世纪以来的反卫理公会作品，但歌剧形式，就像乔治·怀特菲尔德的布道一样，有效地展示了卫理公会如何利用和重新部署戏剧艺术作为传达其宗教信仰的手段。信息，同时重新构建和反驳反卫理公会的论点。除了怀特菲尔德的讲道之外， 《麻烦者》还提供了进一步的证据，表明卫理公会认识到戏剧艺术影响信仰和行为的力量，同时他们谴责更主流的戏剧和看戏形式。